I’m tempted to call Light from Light the first ghost story I’ve ever seen that I completely believe.
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.
Alas, the mission wasn’t to improve The Lion King, only to mount it as realistically as possible. Favreau wasn’t hired as a creative, but as a taxidermist.
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.
It’s the classic movie monster’s dilemma: You either die a villain or live long enough to see yourself become the hero.
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.”
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.
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.
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.
At this stage in Marvel Cinematic Universe history you almost need a Tolkieneque set of appendices and diagrams to make complete sense of everything.
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.
Copyright © 2000– Steven D. Greydanus. All rights reserved.