Anna and Elsa’s relationship is a major improvement on the first film, but in almost every other way this sequel is lost in the woods.
Harriet’s appeal is multifaceted, appealing to three demographics underserved by mainstream Hollywood fare: women, people of color and people of faith. Producer Debra Martin Chase knows something about these three demographics.
The strongest scene in Kasi Lemmons’ Harriet might be a moment when its indomitable protagonist appears at her weakest.
I’m tempted to call Light from Light the first ghost story I’ve ever seen that I completely believe.
Silence, reflection, the search for meaning, the interior life: These are among the hallmarks of Paul Harrill’s work.
Near the end comes a moment when Alexandre is asked whether he still believes in God. The scene cuts from a complex reaction shot, the question left unanswered. The point, I think, is neither to affirm faith nor to deny it, but to highlight the stakes. By their action or inaction Church leaders make God more credible or less credible, instill faith or shatter it.
It’s tempting to suppose that Maleficent: Mistress of Evil opening in the wake of Columbus Day isn’t a coincidence.
Is it possible, in the world of Joker, to believe in real heroism? Do the filmmakers even care about that question?
There seems to be no reason for the title Ad Astra, meaning “to the stars,” to be in Latin, except to highlight writer–director James Gray’s elevated intentions.
Many movies have made me cry. Very few have been as difficult or impossible even to write about without crying as Nanfu Wang and Jialing Zhang’s brilliant, devastating Sundance Grand Jury winner One Child Nation.
Copyright © 2000– Steven D. Greydanus. All rights reserved.