Well-crafted but improbable action set pieces cast the 56-year-old Neeson as an essentially indomitable force taking on and prevailing against almost any number of gun-toting assailants — like Jason Bourne, Bryan combines boundless resourcefulness with essentially indomitable physical prowess — but the film’s emotional force rests on the comparatively persuasive setup.
The name of Saint Thomas More has cropped up in recent discussion of current events as never since — well, if not since the English Reformation, at any rate probably since one of my all-time favorite films, A Man for All Seasons, won six Academy Awards at the 1966 Oscars, including Best Picture, Best Director (Fred Zinnemann), and Best Actor (Paul Scofield).
If “The Flying Nun” is a bit too, well, flighty for some tastes, consider another 1960s production about a consecrated religious — a real-life one in this case, and a canonized saint — given to slipping the surly bonds of earth.
Here is a mouse-hero who is truly serious about honor, devotion and courage, in a movie that feels like a storybook rather than an action movie — a movie that, in addition to honor and devotion and courage, is also about longing, imagination, resentment, contrition, forgiveness and redemption. It’s also a trippy movie in which the kingdom of Dor celebrates the annual Soup Day festival like Mardi Gras in New Orleans, rain magically stops falling when the queen dies and a sort of magical food golem helps the royal chef create new soups.
Does Tales From Earthsea, the latest Studio Ghibli release brought to North American theaters by Disney, have the Miyazaki touch? Well, yes and no.
Opening on Mother’s Day weekend, French director Thomas Balmès’ Babies documents the first year in the life of four babies from four different corners of the world: Mongolia, Namibia, San Francisco and Tokyo. Balmès, who lives in Paris with his wife and three children, discussed his film over the phone with me.
We really do accept as normal whatever we’re raised with, don’t we? Like, say you’ve lived all your life alone in a lonely tower in a hidden valley, and your golden hair is 70 feet long, and the only mother you’ve ever known — the only person you ever see — comes and goes using your hair as a rope ladder, and she’s never let you so much as set one foot outside, and your hair does this magic trick when you sing that — well, not to give it away, but that would just be life to you, wouldn’t it?
(Review by Jimmy Akin) Teacher’s Pet is the story of a boy and his dog. It’s not the usual boy and his dog story, though. In this case, the dog wants to be a boy. And in this movie, he gets his wish.
Tears of the Sun (Columbia) presents a picture of American military presence abroad that is simultaneously appealing and troubling: superheroic Navy SEALs going about doing good, rescuing refugees, battling evil ethnic-cleansing rebels, and earning the gratitude and goodwill of indigenous peoples, all in defiance of their orders and American foreign policy.
The superhero movie to end all superhero movies? Or every superhero movie at once?
Thanks to this film, I’ll be adding “Shrinking World Syndrome” to SDG’s Very, Very Little Movie Glossary.
For good and for ill, it’s as much a testament and a fixture of traditional American ideals and affections as a courthouse display of the stone tablets, and as weighty and solid.
Although less speculative and less freely adapted than the earlier film, The Ten Commandments shamelessly rips off interpretive conceits and even specific dramatic beats from The Prince of Egypt, from the menacing of Moses’ basket by a passing croc to the foundering of Ramses’ chariot on the shores of the Red Sea, allowing him to live to see the destruction of his army and the escape of the Israelites.
Thanks to my friend Mark Shea of Catholic and Enjoying It! for including my work here at Decent Films among his “Ten must-see web resources for Catholics” for Our Sunday Visitor.
The story wobbles between plotlines and characters that make emotional sense and ones that don’t. And the climax (hastily rewritten and reshot mere weeks before opening day) is pretty much unsalvageable. In Spielberg and Hanks’s professional hands the whole package remains passably entertaining, but much of it doesn’t bear thinking about afterwards — not because the premise is implausible, but because, granted the premise, characters do things that no one would, or should, do under those circumstances.
Yet against all odds, T3 is a smart, rousing extension of Cameron’s paranoid fantasy that not only meshes seamlessly with the past and future continuities of the earlier films, but actually advances and develops the series’ apocalyptic mythology.
Alain Cavallier’s stark, austere reflection on the mystery of the little saint of Lisieux’s romance with Jesus is a reverie rather than a meditation, built of fleeting minimalist vignettes, almost snapshots, glimpses of its subject rather than an integral portrait. There is no sense of judgment, of approval or disapproval of its subject’s life, or even, finally, of real understanding. His Thérèse is a riddle, and we must make of her what we can.
“Ordinary girl. Extraordinary soul” is the tagline of Thérèse, Catholic actor-director Leonardo Defilippis’s reverent, uplifting, straightforward biopic of the Little Flower. Of the tagline’s two clauses, the film’s special burden seems to be the first part, “ordinary girl.”
Recognition and praise are always appreciated, but this month’s shout-out from Image Journal naming me their Artist of the Month for January 2012 is especially gratifying. They have some thoughtful comments about my film writing, both with respect to craft and content, and the guy they’re describing sounds to me like the guy I try to be. Suz says they nailed me. What do you think?
Pieces of April is about the danger, and the necessity, of hoping against hope in a troubled situation, of taking the risk of trying to make it work when there is ample reason to foresee failure.
Copyright © 2000– Steven D. Greydanus. All rights reserved.