Newly remastered for Blu-ray and DVD, the classic animated adaptation of Richard Adams’ beloved tale is available from Criterion.
With a new Blu-ray edition of The Voyage of the Dawn Treader available March 3, here’s a look back at the series so far … and a look ahead.
Looking over the eight lists below plus my own top 10, three films stand above the rest — two starring Marion Cotillard.
Jesse Moss’s The Overnighters is an existentially probing documentary with more layers than a twisty Hollywood thriller, at turns inspiring, challenging, sobering and finally devastating.
This is the first completely new Decent Films in ten years. It’s also the first version ever that feels more or less complete to me. Not that there aren’t still bugs and tweaks to be addressed — and not that I wasn’t thrilled about the 2010 (and 2005) iterations when they were new.
Want to know the truth behind the “Devil’s Bible”? Or the Dead Sea Scrolls? How about one of the Old Testament’s two famous arks? Curious about UFOs, Bigfoot or the Bermuda Triangle?
“Bless me, Father, for I have sinned,” says Matt Murdock, the blind lawyer turned masked hero in the first line of the new trailer for Netflix’s upcoming Marvel Comics superhero series “Daredevil.”
I’m not sure we get to know any characters in all of cinema quite the way we get to know Mason Evans, Jr. and his family.
Cinematically, Birdman is sort of an anti-Boyhood, at least with respect to how they each play with time. That’s not necessarily to pit them against one another, although at the end of the day my feeling is that Boyhood tells me about life, whereas Birdman only tells me about Alejandro Iñárritu.
Very few historical films so successfully deconstruct the Great Man view of history while nevertheless offering a credible portrait of a leader who was, in fact, a great man.
No Jane Austen or Shakespeare. No Hepburn or Cary Grant, Meg Ryan or Tom Hanks. No Say Anything or Jerry Maguire, no City Lights or Sunrise: A Song of Two Humans. Nothing against any of the above, but you don’t need me to tout them. Instead, here are ten films you might not find on other lists of movie romances.
Return to Me has an easygoing Catholic vibe akin, but not identical, to Golden Age Hollywood piety; in fact, the movie blends nostalgia and irreverence for the Catholic Hollywood of Bing Crosby’s era.
Among a few Disney films deserving of the title “masterpiece,” Fantasia remains a unique achievement.
The quest for justice and harmony echoed through the best films of 2014, playing out in various arenas: social, domestic and spiritual.
Woody Allen keeps telling us God is dead, but he also keeps compulsively burying him.
By mid-year I would have predicted that Mendoza would surely prove to be the best big-screen priest of 2014 — but Brendan Gleeson’s Rev. Lavelle in John Michael McDonagh’s Calvary proved me wrong.
What can Catholics do to keep things Christmasy until mid-January? Among other things, I suggest keeping the tree and the lights lit until at least January 6, if not the following Sunday — and saving the Christmas movies till after Christmas day.
“What are your favorite Christmas movies?” As a Catholic film critic, I get this question several times every December, often on the air or via social media. The question, alas, touches on a sore subject for me.
Selma achieves something few historical films do: It captures a sense of events unfolding in the present tense, in a political and cultural climate as complex, multifaceted and undetermined as the times we live in.
Angelina Jolie’s Unbroken is an honorable movie about an inspiring true story. It is impeccably crafted, with a raft of remarkably talented people behind it. It is a celebration of the old-fashioned virtues of duty, grit, fortitude and honor. In the end, it tips its hat to faith, forgiveness and reconciliation. The film I just described is a film that, on paper, I should love.
I want to say I love the idea for Little Orphan Hushpuppy … but I’m not convinced there’s actually an idea here.
Changes like these are sadly typical of the Hobbit prequel trilogy, which is far cruder and less sensitive to the charm and beauty of its source material than the Lord of the Rings films were. As bad as Christopher Tolkien’s fears in 2012 about The Hobbit films might have been, the reality is worse.
“Will you follow me … one last time?” Well, if you promise it’s the last time.
What I can say is that The Hobbit: The Battle of the Five Armies (a title strangely stuffed with too many the’s, at a time when movie titles often dispense with articles) includes — amid overinflated spectacle and cynical fan service — some of the best stuff of any of this prequel trilogy.
The director of Gladiator, Kingdom of Heaven and Robin Hood takes on the story of Moses.
It’s a movie with many problems, like most of Scott’s recent epics (Prometheus, Robin Hood, Kingdom of Heaven), but Scott has a better story to work with here and adds something of value to the world of Bible cinema.
Ridley Scott’s Exodus: Gods and Kings (in theaters Dec. 12) is the year’s second major Old Testament epic from a director who is not a believer — but don’t get Scott started on Noah’s rock-monster Watchers.
The Exodus is probably the Bible’s most cinema-ready story, the perfect Bible-movie subject. Unlike the stories of Noah, Abraham, David, Jesus, Peter, or Paul, it offers a sustained narrative structure, with a clear central conflict between a strong hero and a strong villain, building to a series of grand climaxes.
Stick a fork in them, they’re done. Or maybe that’s just me.
Stephen Hawking and Jane Wilde’s 30-year-marriage gets the Wikipedia treatment, if Wikipedia were prettier, and sanitized.
Copyright © 2000– Steven D. Greydanus. All rights reserved.