<em>Vivo/Alive</em>: A documentary about Eucharistic adoration returns to theaters for one day only ARTICLE

Vivo/Alive: A documentary about Eucharistic adoration returns to theaters for one day only

Vivo remains focused on the experiences of its subjects and their spirituality. It’s not a catechetical or apologetical presentation, but a portrait of five souls and a document, perhaps, of the workings of grace. Vivo is alive.

<em>Lightyear</em> is an <nobr>anti&ndash;space opera</nobr> for an anti-heroic age ARTICLE

Lightyear is an anti–space opera for an anti-heroic age

It pains me to say this: If Lightyear is Andy’s Star Wars, what an impoverished childhood Andy had.

Jurassic World Dominion REVIEW

Jurassic World Dominion (2022)

The word “dominion” is uttered once in Jurassic World Dominion, in an oblique, irreverent allusion to Genesis 1. “Not only do we lack dominion over nature, we are subordinate to it,” asserts Dr. Ian Malcolm (Jeff Goldblum) in one of his trademark, smugly iconoclastic epigrams. Later in the same speech, though, Malcolm turns with surprising optimism to the power of genetic science to shape the future. Does he really believe this? Is this speech coherent? Is the film itself coherent?

Top Gun: Maverick REVIEW

Top Gun: Maverick (2022)

Top Gun: Maverick is more than a nostalgia sequel or legacyquel; it is almost more than a movie. It is a manifesto and a monument, a defiant time capsule and a swaggering IMAX spectacle without precedent or peer.

Doctor Strange in the Multiverse of Madness REVIEW

Doctor Strange in the Multiverse of Madness (2022)

I’m thinking of a moment in the original movie in which Stephen looks skeptically at a deeply corrupted individual nattering about the greater good and retorts, “No. I mean, come on — look at your face.” Nobody says that in the sequel, but they should.

Trying to reach the sublime: Robert&nbsp;Eggers, cinematic poet of the past ARTICLE

Trying to reach the sublime: Robert Eggers, cinematic poet of the past

In the Viking epic The Northman, the arthouse horror auteur behind The Witch and The Lighthouse takes on his most ambitious challenge to date.

<em>Petite Maman</em>: A quietly powerful fairytale about childhood, loss, and ties that bind ARTICLE

Petite Maman: A quietly powerful fairytale about childhood, loss, and ties that bind

For a child, losing a grandparent can be part of growing up, a coming-of-age experience; losing a parent for an adult can be an encounter with childhood, especially if it involves going through the contents of the household they grew up in, the actual stuff of their childhood.

<em>Father Stu</em> is a mostly endearing, shaggy redemption story ARTICLE

Father Stu is a mostly endearing, shaggy redemption story

Based on the unlikely true story of an amateur boxer turned priest who died of a rare degenerative disease, Father Stu leans on Wahlberg’s mischievous charm and buoyant aura of invincibility, with hints of something darker and more fragile beneath the surface.

&ldquo;Everything happens for a reason&rdquo;: Mark Wahlberg and Teresa Ruiz on <em>Father Stu</em> ARTICLE

“Everything happens for a reason”: Mark Wahlberg and Teresa Ruiz on Father Stu

I recently spoke with Mark Wahlberg and Teresa Ruiz via Zoom about making the film and what it meant to them.

<em>The Godfather</em>&rsquo;s two endings: Lighting a candle and the wrong side of the door ARTICLE

The Godfather’s two endings: Lighting a candle and the wrong side of the door

Now half a century old, Francis Ford Coppola’s revered New Hollywood masterpiece has one of the best-known final shots in film history — but it almost had a much more Catholic ending.