“One of my strongest opinions,” J.R.R. Tolkien wrote in a 1971 letter, “is that investigation of an author’s biography … is an entirely vain and false approach to his works.”
The real Bundy could be charming, but an honest film about Bundy and Kloepfer’s relationship could just as easily be called Super Weird, Emotionally Abusive and Threatening.
Patrick Creadon (I.O.U.S.A.) offers a compellingly attractive if one-sided portrait of a figure of exceptional gifts, astonishingly diverse accomplishments and extraordinary influence.
A reader of my review of Mary Magdalene offers an impassioned defense for the medieval Western view of St. Mary Magdalene as a penitent with a notoriously wanton sexual past, a profligate adulteress or harlot.
The prison setting and the word “redemption” in the Ludlumesque title are vaguely evocative of the most popular prison movie of all time, The Shawshank Redemption. A prison sentence, though, is seldom a redemptive experience for anyone.
Running just over three hours long, Avengers: Endgame builds to a denouement with a valedictory air akin to the last act of Peter Jackson’s similarly sprawling The Return of the King, except that it comes at the end of 22 movies instead of three movies.
Anyone who directs a movie about the converging efforts of Pope St. John Paul II and Ronald Reagan to take on the Soviet Union is someone I’m interested in talking to. But Robert Orlando isn’t just anyone to me.
Somewhere roughly between Risen and Last Days in the Desert in its narrative and interpretive sensibilities, Mary Magdalene presents an interpretation of Jesus’ ministry, passion and resurrection that seems in some ways — with important caveats — fairly traditional, viewed from a feminist perspective with some biblical justification.
It’s a little bit about the Seven Deadly Sins and a lot about how a 14-year-old boy would react if he were suddenly bequeathed with superpowers beyond imagining and also an Adonis-like adult physique in a bright red super-suit.
“My story isn’t a neat and tidy one,” Abby tells us at the start, but this telling is still pretty neat and tidy. Perhaps the real story was messier.
Copyright © 2000– Steven D. Greydanus. All rights reserved.