Few filmmakers working in Hollywood today enjoy so sterling a reputation as Bird. Although Tomorrowland is only his fifth feature film, and only his second in live action, his achievements in his first four films are extraordinary.
Tomorrowland argues that the future is as dark or as bright as we choose to make it; that artists, scientists and dreamers can save the world; that the dystopian post-apocalyptic nightmares dominating popular culture are killing us, and are no more inevitable or realistic than the Space-Age techno-optimism of Disney’s Tomorrowland and EPCOT, Roddenberry-era Star Trek and even The Jetsons.
My favorite cinematic depiction of the Ascension of Jesus is one of the very first, from a very early silent film released 110 years ago.
Every serious Christian movie buff should own a copy of Peter Dans’ Christians in the Movies: A Century of Saints and Sinners. First published in 2009, Christians in the Movies was originally available only in an expensive hardcover edition priced as a library reference work; since then it’s been reprinted in an affordable paperback edition.
Half a century later, The Sound of Music is probably still the world’s favorite big-screen stage musical adaptation. Joyous, gorgeous, comforting, full of (almost) uniformly spectacular songs, the film’s emotional power is irresistible, even for the many critics, such as Pauline Kael, who hated its shallowness and emotional manipulation.
Long after other Best Picture nominees of 2014 have been forgotten, Ava DuVernay’s Selma, starring David Oyelowo as Dr. Martin Luther King, Jr., will still be watched, appreciated and talked about.
Any time I run across a list of movies people probably haven’t seen but should, one title I look for is the Catholic director Leo McCarey’s forgotten humanist masterpiece Make Way for Tomorrow.
The first word in Avengers: Age of Ultron, from Iron Man (Robert Downey Jr.), is a rude expletive. The second word, from Captain America (Chris Evans), is a mild rebuke. In two words of dialogue, writer–director Joss Whedon gives us characterization, conflict and theme.
Last year’s Interstellar and the previous year’s Gravity follow different paths in a long tradition of asking ultimate questions against the biggest canvas available to our senses, the universe itself.
New this week from the Criterion Collection are the Blu-ray debuts of a pair of classic films from the 1940s — each arguably its director’s masterpiece, and one of two films for which the director is best known.
The comic genius Preston Sturges believed that laughter is the best medicine, and that what people in hard times want is to forget their troubles and escape for 90 minutes or so into a world of lighthearted comedy, snappy repartee and slapstick silliness.
It is about self-interest and empathy, practical necessities and moral choices. It’s about the importance of work and the ruthlessness of economics based purely on self-interest and competition. I can think of no film that more persuasively or powerfully illustrates in human terms what popes from Leo XIII to Francis have been talking about for over a century regarding the dangers of pure capitalism unrestrained by moral concerns.
Mirroring its populist tale pitting a devout young undergraduate against Kevin Sorbo’s hostile philosophy professor, the faith-based hit indie God’s Not Dead sharply divided enthusiastic faith audiences and scoffing critics.
Recently I had the opportunity to field 18 questions from Sean Salai, SJ for a profile piece in the Jesuit magazine America. I had a lot of fun answering Mr. Salai’s thoughtful, sometimes surprising questions, ranging from how my faith informs my film writing to what I gave up for Lent.
Like Miyazaki, Tomm Moore isn’t afraid to take the time to breathe deeply, savor moments of silence and beauty, and open the door to wonder and mystery.
There are good reasons for introducing parent-child conflict into family films, depriving child protagonists of a parental safety net, depicting single-parent households, etc. There’s no good reason positive depictions of healthy, intact families in family films should be an endangered species.
Kenneth Branagh’s Cinderella is such a gallant anachronism, such a grandly unreconstructed throwback, that it offers, without ever raising its voice, a ringing cross-examination of our whole era of dark, gritty fairy-tale revisionism.
Of the two, Noah was by far the more divisive, with its startling fantasy trappings, alarming family conflict and invented antagonist. Many hated it; I loved it. No film last year inspired me to think or write more than Noah. By contrast, while Exodus: Gods and Kings sticks closer to the broad outlines of the biblical story and includes some provocative ideas, I found it generally less interesting and engaging.
I consider the chronological numbering system a travesty, since I maintain that the only right way to discover the Narnian world is the way Lewis “discovered” it.
Calvary is full of depraved, troubled characters, and in trying to minister to them Fr. Lavelle sometimes gets his hands dirty. Does he cross moral lines?
The ongoing cultural influence of the “Star Trek” phenomenon is incalculable, and Leonard Nimoy’s contributions are an immense part of that. Nimoy wasn’t just an actor doing a job; in a real sense he was a co-creator who helped to define his character in many ways.
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.
Copyright © 2000– Steven D. Greydanus. All rights reserved.