Fans and philosophy students endlessly debate whether the world of The Matrix is most influenced by Eastern mysticism or Cartesian philosophy, Christianity or gnosticism, humanism or post-humanism. No such debates will be occurring over V for Vendetta, which weighs down what could have been a thought-provoking dystopian scenario with leaden specificity and sanctimonious ideo-political commentary.
“When it comes to fighting vampires and performing exorcisms, the Roman Catholic Church has the heavy artillery” is how Roger Ebert opened his review of John Carpenter’s Vampires.
Now, you can have a sci-fi movie in which Haley Joel Osment plays a robot. What you can’t do is suddenly bring human-like robots into the end of a ghost story in which the existence of that kind of technology hasn’t been established. And you can have Kevin Spacey claim to be from another planet, but not in the last reel of what had until then looked like a solidly earthbound crime thriller.
Mira Nair’s Vanity Fair is many things, but a howl to a congregation of fools isn’t one of them.
The pope’s remarks were both forward looking, speaking to the potential of cinema to become “a more and more positive factor in the development of individuals and a stimulus for the conscience of society as a whole,” and also historically minded, speaking positively of the praiseworthy contributions of “many worthwhile productions during the first hundred years of [the cinema’s] existence.”
With The Village, Shyamalan has gone to the well once too often. Whether or not you see the anti-climactic twists coming is almost beside the point. For the first time, Shyamalan has created a puzzle movie populated by characters we can’t identify with, living in a world we can’t relate to. The viewer has no stake in this story; he comes to the Village a stranger in a strange land, and remains so through the course of the film.
Whether one sees The Revenant as a spiritually rich, profound meditation on good and evil or an overwrought attempt to transmogrify atrocity into transcendence, Christians should recognize that when it comes to media depictions of violence, there are two potential dangers, not just one.
Mary of Nazareth, now touring North America in isolated screenings hosted by Ignatius Press, is the latest in a number of Gospel films over the last couple of decades focusing in a special way on the role of the Blessed Virgin in the Gospel story.
In 1984, filmmaker Philip Gröning had an idea for a film. He took his proposal to the prior of the Grande Chartreuse monastery, the head monastery of the Carthusian order, high in the French Alps between Grenoble and Chambéry. Gröning wanted to shoot a documentary inside the Grande Chartreuse — not an ordinary documentary, concerned with the transmission of information, but a spiritual voyage into the inner meaning and experience of monastic life.
Copyright © 2000– Steven D. Greydanus. All rights reserved.