It’s not the unmade epic about the life of Paul of Tarsus many would like to see, but what it is is worthwhile in its own right.
Jolie’s Lara was perhaps having too much fun for much sense of urgency, but Vikander’s Lara isn’t really having fun at all, which makes it hard for the audience to have much fun either.
“If it’s bad art,” Madeleine L’Engle once wrote, “it’s bad religion, no matter how pious the subject.”
It’s hard to pick clear favorites from the latest roundup of the last year’s best films according to my circle of Christian friends and peers.
There is a certain fascination in how fascinated Paul Thomas Anderson and Daniel Day-Lewis are in material that is not fascinating.
Not the year’s better film starring Sally Hawkins as a handicapped dreamer with an inarticulate, seemingly almost subhuman lover.
The more firmly rooted in a sense of time and place a film is, the more revelatory it often is of the present.
If you ever wondered what it might have looked like for Samson to slay 1,000 Philistines with the jawbone of an ass, wonder no more.
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.
If you didn’t know that the Best Picture–nominated Call Me By Your Name is an uncritically rapturous celebration of a same-sex relationship between an inexperienced youth played by Timothée Chalamet and an experienced man played by Armie Hammer, you might almost guess it from the opening titles, an arty overture for the film that follows.
Copyright © 2000– Steven D. Greydanus. All rights reserved.