Insofar as writer-director Gunn (Guardians of the Galaxy) was hired to make an definitive break from the nihilistic, grimdark Snyderverse DC movies and recover a sense of Superman as a character so decent and generous that it’s okay if he’s corny: mission accomplished.
Pixar’s Elio is the kind of movie that Lightyear should have been.
“Whoever saves one life, saves the world entire.” That saying from the Talmud — popularized as a tagline for Schindler’s List, in which Ben Kingsley’s Itzak Stern quotes the line — is not used in The Life of Chuck, but in my mind it might as well be.
The decency and goofy sweetness of the King films continue in Paddington in Peru, though the broader moral and social themes are lost in the quest adventure plot.
I do hope to get back to more regular movie writing in 2025. For now, I hope you enjoy my latest “quick win,” a tongue-in-cheek Christmas movies list I published at All Things SDG.
Watching Chris Sanders’s The Wild Robot, I felt things I haven’t felt in a very long time watching a Hollywood animated movie outside the Spider-Verse: wonder, discovery, joy.
A question worth asking of a story, then, is: “Is there room for God in this story, in this world?”
Sometimes it seems like the universe is sending you a message. In the MCU, the calls are coming from inside the house.
Is it possible to tell meaningful stories in a multiverse premise? Or does the multiverse idea tend toward nihilism?
The Fury Road prequel is a satisfying return to the world of the demented 2015 film—but there were two missed opportunities, relating to Immortan Joe’s Wives and Furiosa’s revenge.
Copyright © 2000– Steven D. Greydanus. All rights reserved.