During the second week of Advent, as we’re wrapping up Genesis and turning to Exodus, our family viewing often includes DreamWorks’ two animated Pentateuch movies: the Exodus movie The Prince of Egypt and its made-for-TV prequel, Joseph: King of Dreams.
Due to the vagaries of history, Lloyd is less well-known today than Chaplin or Keaton, but his legacy lives on. If you’ve seen Back to the Future (1985), Bringing Up Baby (1938), any of Jackie Chan’s movies, or any incarnation of Superman or Harry Potter, or you’ve experienced Lloyd’s influence.
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.
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.
“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.
“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 a sense in which “Avatar: The Last Airbender” is for my children in part what Star Wars was for my generation: a new and enthralling mythology about a young hero with a mysterious power slowly learning to channel that power to fight against a tyrannical empire.
We aren’t exactly talking The Matrix here, but it’s been awhile since a Hollywood popcorn action movie elicited such a range of theological and philosophical analysis.
Much like Pope Francis himself at times — or even like Jesus himself — Saint Francis of Assisi has often been made into an avatar or mascot of people’s likes (or dislikes) rather than being recognized as the surprising, vibrant figure he really was.
Casino is more than a reboot: It’s also a kind of origin story, based on the first Ian Fleming novel. As such, it’s the story of how James Bond lost his soul, or whatever was left of it, at the very moment when he dared to hope for redemption.
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).
As technology progresses and the culture and the Gospel continue to draw further apart, transhumanist aspirations flourish, both as a worldview and in the world of popular culture.
All violence is not the same. There are obvious, important differences between realistic war violence, violence in a serious social drama, cartoon violence in an action movie, horrific violence in a crime movie, slapstick violence in a comedy and so forth. Ultimately, though, I think it’s important to give ourselves regular breaks from violence of any kind. Violence is unavoidably part of human nature, but it’s far from the most interesting part.
The Dardennes’ films generally have redemptive arcs of some sort, or at least the hope of redemption — though there are no traditional happy endings, only hopeful new beginnings. Theologians ponder the mystery of evil; the Dardennes are intrigued by the mystery of goodness.
Are manmade things ever worth dying for? How do you weigh the value of art or artifacts against the value of human life? On the one hand, human life is sacred; things are just things. On the other, the cultural heritage of a people is an irreplaceable treasure that belongs not only to the whole community, but to all future generations.
In another movie, a line like “We are not things” could be a platitude, but in the context of vividly imagined atrocities with unnerving echoes of recent headlines, this simple affirmation is fraught with topical power that has only grown in the months since the film’s theatrical debut.
Copyright © 2000– Steven D. Greydanus. All rights reserved.