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C. S. Lewis: Beyond Narnia (2005)
Starring Anton Rodgers as an avuncular Lewis at home in Oxford in 1963, the year that he died, the short film cuts between Lewis’s running commentary on the events of his life and flashback dramatizations of those events.
The Cabin in the Woods [video]
Cabin in the Woods in 60 seconds: my “Reel Faith” review.
Cabrini celebrates human dignity and solidarity; the saint remains an enigma
What kind of world do we want, and what will we do to achieve it? Those are the questions with which Alejandro Monteverdi’s Cabrini leaves us at the end of its 140 minutes. The questions land harder after the story we’ve seen.
Call Me By Your Name Q&A
Last week controversy erupted over my “Reel Faith” video review of the Best Picture–nominated movie Call Me By Your Name, a gay-themed coming-of-age drama about a same-sex relationship between characters played by Timothée Chalamet and Armie Hammer.
The Call [video]
The Call in 60 seconds: my “Reel Faith” review.
Calvary (2014)
Sometimes misleadingly described as a dark comedy, Calvary is certainly dark, and there are sporadic bits of absurdist humor. In keeping with its title, though, it really is a passion play, with Father James as an innocent victim to be sacrificed for the sins of the Church.
Can Muslims and Christians coexist? Of Gods and Men
Of Gods and Men is the most extraordinary cinematic depiction of the Christian ideal in at least the last quarter century. It also depicts something of the variety of expressions in the Islamic world.
Can’t win department: Cross-examination on The Magdalene Sisters
I don’t use Google alerts or otherwise troll for people talking about me online, so it was only happenstance that I happened upon a self-labeled “rant” about my Magdalene Sisters essay from a Bill Van Dyk, whose website is called Chromehorse.net.
Caped crusaders and the common good
Questions around how what people need and deserve and how they should be governed are of course recurring themes in the saga of Zorro’s more famous heir, Batman … We don’t look to superhero movies to answer these questions for us, but their varying answers tell us something about ourselves and the times in which they were made.
Captain America: Civil War (2016)
Civil War also demonstrates that the right way to do a “versus” movie pitting heroes against one another is by building relationships — and tensions — over time, then allowing characters to fall out over meaningful practical and personal issues.
![Captain America: Civil War [video]](/uploads/articles/captainamerica3_bmsvkq4.jpg)
Captain America: Civil War [video]
At last, a Marvel Cinematic Universe movie that doesn’t come down to destroying a large urban area while saving the city, planet, or universe.
Captain America: The First Avenger (2011)
After a rash of immature, bad-boy cinematic superheroes for whom responsibility is a bigger challenge than taking down supervillains — think Iron Man, Thor and Green Lantern — a hero for whom decency, humility and self-sacrifice come naturally is a breath of fresh air.
![Captain America: The Winter Soldier [video]](/uploads/articles/captainamerica2.jpg)
Captain America: The Winter Soldier [video] (2014)
I like Lawrence Toppman’s comment on this one: “This sequel is, by design, entirely absorbing and satisfying without being one whit memorable.”
Captain Horatio Hornblower (1951)
Directed by Raoul Walsh (The Thief of Bagdad) from a screenplay adapted by Forester himself from his first three novels, the film deftly balances some of the best age-of-sail sea battles ever filmed with a love-interest storyline in which Hornblower finds himself unexpectedly taking on a female passenger, Lady Barbara Wellesley (Virginia Mayo).
Captain Marvel (2019)
At this stage in Marvel Cinematic Universe history you almost need a Tolkieneque set of appendices and diagrams to make complete sense of everything.
Caramel (2007)
As the name implies, Caramel is a gooey, insubstantial confection, often sweet, occasionally cloying, sometimes sticky — in many respects about on a par with the likes of Beauty Shop. The humor is broad, characters stereotypical, the situations formulaic. Yet there’s no good–bad character divide, no requisite A‑story conflict, and few tidy resolutions.
Cars (2006)
Cars is Pixar’s most improbable success to date, a film that could easily have misfired, but somehow does not.
Cars 2 (2011)
Visuals aside, Cars 2 is the first Pixar film ever (or at least since A Bug’s Life) that could one could easily imagine as a DreamWorks film—circa Shark Tale perhaps, with its punningly fishified analog of the human world. Or, with its frenetic action and gimmickry, Cars 2 bears some resemblance to a Blue Sky Studios cartoon (circa Robots, say, or Rio, with its world culture flavor). In a word, not only is Cars 2 mediocre, it doesn’t even feel like mediocre Pixar.
Cars 3 (2017)
At this point it seems like too much to hope for that any Pixar sequel, let alone a Cars sequel, should function smoothly from start to finish, but at least it ends well.
Cars vs. A Bug’s Life: Which is Pixar’s least impressive film?
With Cars 2 approaching this weekend, I thought I’d take a look back at Cars, easily Pixar’s least impressive and celebrated film since their second picture, A Bug’s Life.
Recent
- Crisis of meaning, part 3: What lies beyond the Spider-Verse?
- Crisis of meaning, part 2: The lie at the end of the MCU multiverse
- Crisis of Meaning on Infinite Earths, part 1: The multiverse and superhero movies
- Two things I wish George Miller had done differently in Furiosa: A Mad Max Saga
- Furiosa tells the story of a world (almost) without hope
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