It would be going too far to say that Moana combines everything I enjoy about contemporary Disney with everything I dislike, but it’s got quite a bit of both.
In some ways it warrants comparison with Christopher Nolan’s Interstellar, if only because Arrival achieves much of what I was hoping for from Interstellar.
The fact is, moving from the Harry Potter films to Fantastic Beasts feels a bit like moving from the original Star Wars trilogy to the Star Wars prequels.
In each of their latest films, the battle against a threatening power raises questions about which principles the protagonist should or shouldn’t compromise in order to protect his world — questions that aren’t necessarily clearly answered by the end of the film.
The director and screenwriter spoke at a screening of the film at the New York Archdiocese’s cultural center, and I chatted with Gibson about the film.
Gibson crafts a resolutely traditional exercise in Hollywood mythmaking: a tale of a man who stoically endures accusations of cowardice before being vindicated as the bravest of all, a man of integrity who stands by his unpopular principles regardless of the consequences; a pious man whose sincere faith eventually wins the respect and admiration of his less devout comrades.
The paradox of contemporary Hollywood blockbusters is that in our time virtually anything conceivable, no matter how wild and out there, can be put on the screen, but it almost never is.
The prominent, polyvalent exploration of the uses of religion and especially Scripture, both to condone slavery and to condemn it, to sedate slaves and to inflame them, is one of the most striking and welcome things about the film.
As a seminarian in the 1940s, the future Pope St. John Paul II wrote a play about a Polish artist turned religious who helped inspire his vocation. In 1997, a film adaptation featuring Christoph Waltz was directed by Krzysztof Zanussi (Life for Life).
Krzysztof Zanussi on Our God’s Brother, Adam Chmielowski, Pope John Paul II, and how he discovered Christoph Waltz.
The truth is that It’s a Wonderful Life is both darker and more subversive than its popular reputation as cheery holiday “Capra-corn” would suggest, and more robustly hopeful than cynics and hipster deconstructionists would have it.
1999 was a very good year for film, and how much more peculiar Tim Burton’s Miss Peregrine’s Home for Peculiar Children might have been had it come out that year, before the X-Men and Harry Potter franchises were launched in 2000 and 2001, respectively.
The film sketches in these characters just enough to hold the story together. What really interests Berg is exploring how the disaster happened, what it was like, and how those 126 people responded, for better and for worse.
The pitfalls of human nature being what they are, to dwell excessively on negative thoughts and preoccupations — to give free rein to outrage, anger, fear, antipathy, and, all too easily, hatred — is a constant temptation. (It’s a special hazard during election seasons, but the problem is perennial.) That which is dishonorable, unjust, impure, and worthy of condemnation drowns out what is honorable, just, pure, and worthy of praise.
None of this is to say that Inside Out doesn’t present a lopsided view of the place of emotions in human nature. It does. Most if not all stories, even great ones, are lopsided in some respect or other.
There are so many reasons Queen of Katwe shouldn’t even exist, and just thinking about them all makes me even more vexed at Hollywood for its desperate obsession with exhausted franchise fare when there are winning and wonderful stories like this to be told.
Possibly the best and most cinematic sequence in Hillsong – Let Hope Rise is a montage that strikingly captures how the music of the Australian Evangelical church-based praise band Hillsong United touches, and unites, people all around the world.
Many actors come to own the roles they play so completely that once you see them, you can’t imagine anyone else in the part. Tom Hanks plays roles in which you can’t imagine anyone else even before you see him.
Nearly 15 years ago the British futurist Ian Pearson predicted that by 2010 the world’s highest-paid celebrity would be an artificial “synthespian.” That didn’t pan out, but now journalists and PR people are trying to hype A.I. entities as filmmakers behind the camera.
There is a purity to Brad Bird’s directorial debut The Iron Giant, based on the British poet Ted Hughes’ children’s novel The Iron Man, that is inconceivable in the family film landscape of today.
Greater has three surprises, which is three more than most faith-based films, particularly of the inspirational sports-movie variety.
Kubo and the Two Strings comes close to being a masterpiece, and one of the two best American animated films in years, the other being Pixar’s Inside Out.
On paper, and sometimes even on screen, there’s some promise and potential in this remake of Ben-Hur.
I’m almost afraid to say it out loud, or even in writing, but with Pete’s Dragon joining The Jungle Book and Cinderella, Disney may be giving the lie to the old cliché “They don’t make ’em like that any more.”
Here is a sobering question: Has there been a single substantial, positive depiction of Catholic faith or identity in a major Hollywood non-horror film in the last 10 or 15 years?
One area of representation is disproportionately ignored: how Hollywood deals with religious belief and identity.
The tipping point has been reached where I now wish that even the original Ice Age had never been made in the first place. Yes, even if it means no Scratt ever.
You know his name. David Webb. You did know that was his name, right?
The new Ghostbusters is perhaps more important than good, which isn’t a great place to be.
This may be the first movie I’ve ever seen where I got more out of reading the Wikipedia entry afterwards.
Copyright © 2000– Steven D. Greydanus. All rights reserved.