It’s just like the opening act of Favreau’s Chef: Favreau is literally Carl, and Disney is Dustin Hoffman.
Tony, Tony, Tony. How can we miss you if you won’t go away?
Toy Story 4 does not continue the story of the first three films, but casts about for new things to do in this world with the sprawling cast of characters in Bonnie’s orbit, most of whom once revolved around the now-absent figure of Andy.
Forgiveness in the face of murderous violence is a radical act that remains as shocking and controversial today as it was when a Second Temple–era Palestinian prophet commanded his disciples to love and to pray for those who persecuted them and ended his mortal life praying for divine forgiveness for his own executioners.
All art — even pop art, even bad or offensive art — is in some way a mirror to the soul of the culture that created it. Whether we embrace them, condemn them, or are indifferent to them, these secular apocalypses reveal something about who we are as a culture.
How can you watch a movie when you keep wanting to close your eyes in prayer?
The best X-Men movies, by my lights, are about hope. Dark Phoenix doesn’t seem to know what it wants to be about.
It’s the classic movie monster’s dilemma: You either die a villain or live long enough to see yourself become the hero.
Who is the target audience for Precious Moments from hell, or at least from a bad country song?
When they announced The Lego Movie, this is basically the movie I thought we were going to get.
It’s the story you know already, almost exactly. They say the lines and sing the songs, the same songs, almost exactly. It’s a good story and they’re good songs. There are no spoilers in this review because how could there be?
“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.
The Disney nostalgia train rumbles on with Tim Burton back at the throttle — not quite throttling the iconic tale of the flying baby elephant, but only barely rising to the challenge, sort of like Casey Junior struggling to clear that daunting hill.
Particularly striking to me, and even moving, is a theme connecting Cloudy With a Chance of Meatballs and Spider-Man: Into the Spider-Verse (though not The Lego Movie): how themes of father–son conflict ubiquitous in other cartoons play out with unexpectedly insightful, consequential fathers.
At this stage in Marvel Cinematic Universe history you almost need a Tolkieneque set of appendices and diagrams to make complete sense of everything.
So Bradley Cooper can direct and sing as well as act, and Lady Gaga can act as well as sing. The music is solid and sometimes excellent, but does Hollywood’s fourth take on this story have anything new to say?
First Reformed made more than half of the nine individual lists below, and unsurprisingly topped the year’s best films according to the Arts & Faith Ecumenical Jury … What’s more surprising — anyway I’m a little surprised, and delighted — is that another film was even more esteemed in this little community … and it wasn’t any of the films I would have expected.
The two sequels greatly expand the world and the mythology of the original Dragon. Yet our hero’s personal self-development was pretty much complete at the start of Dragon 2.
“No matter what they say,” the mother tells the maid, “we women are always alone.” More than any other 2018 film about unreliable men, Alfonso Cuarón’s Roma is a tribute to women holding their worlds together.
2018 was a remarkable movie year — for family films, films with religious themes, and documentaries — but it was also a year of family men who weren’t there for their families.
Chris Miller and Phil Lord, Chris Miller and Phil Lord / Do whatever Chris Miller and Phil Lord do.
Can they swing from a thread? / No they can’t, they’re Hollywood filmmakers.
Copyright © 2000– Steven D. Greydanus. All rights reserved.