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.
We cloak the monstrous in euphemisms. We call it “unspeakable” or “unthinkable” — designations that are accurate simply because in using them we make them so. In Catholic circles a dozen years ago, one sometimes heard about “The Crisis”; later it became “The Scandal.” We all knew what these terms referred to, but did we really know?
“He has been many different men,” Antonio Banderas tells Catherine Zeta-Jones in the last scene of the rousing 1998 action movie The Mask of Zorro.
Hall doesn’t want credit; as far as he’s concerned, the rescue was God’s work, not his.
Both films revolve around a number of tense cat-and-mouse interviews between the believing protagonist and a shrewd Nazi antagonist … The interviews in both films are a clash of worldviews.
The Peanuts Movie comes billed as being “From the imagination of Charles Schulz,” and, almost astonishingly, it pretty much is.
“Peanuts”’ appeal was universal: It was beloved by young and old, by the intelligentsia as well as the masses; it was the definition of mainstream, yet it was also embraced by the counterculture. It was bitterly pessimistic, yet never succumbed to the despair and nihilism of, say, “Dilbert” or “Pearls Before Swine.”
“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.
If the early scenes with Marty’s mother suggest that parents sometimes try to hold their children to a standard they never tried to meet themselves, the parking scene suggests that the reverse may also be the case: Children may want their parents to embody a higher standard than they want for themselves.
There is not a wasted or unnecessary shot in Peter Weir’s Witness, or a superfluous line of dialogue. Like the great barn-raising scene late in the second act, the film’s construction is both efficient and unhurried, functional and beautiful.
Copyright © 2000– Steven D. Greydanus. All rights reserved.