Replacing Karloff-ian malice and spite / Cumberbatch-ian grousing makes this one Grinch-lite. / It’s a kinder and gentler tale than we’ve seen / Of course he’s not nice, but this Grinch is less mean.
Gosnell is subtitled The Trial of America’s Biggest Serial Killer (echoing the similar subtitle of the book by producers Phelim McAleer and Ann McElhinney) — but notorious abortion doctor Kermit Gosnell isn’t the only one on trial here.
First Man is Damien Chazelle’s third film in a row about special individuals whose quest to achieve great things is linked to emotional isolation from others.
It was the experience of reporting in Jerusalem on the 1961 Adolf Eichmann trial for The New Yorker that led the philosopher Hannah Arendt to coin her famous phrase “the banality of evil.”
When such movies are done well, you get, say, The Incredibles or John Favreau’s Chef. When they aren’t, you get Jim Carrey in Mr. Popper’s Penguins or Steven Spielberg’s Hook — possibly the closest analogy for Christopher Robin, though Hook, for all its flaws, was clearly a personal film for Spielberg, whereas Christopher Robin feels cobbled together from bits and pieces of other movies without a cogent vision of its own.
Mission: Impossible – Fallout completes possibly the most improbable cinematic hat trick in Hollywood history: An unpromising series that began with three patchy, uneven entries has now produced three terrifically entertaining ones.
I’m not thrilled about the lack of worthy romantic leading men in recent Hollywood animation, but I prefer the theme in Frozen, about needing to get to know someone before deciding to get married, to this series’ magical, inexorable “Zing” moment.
In some ways Ant-Man and the Wasp is the kind of movie I wanted Ant-Man to be: namely, a refreshing antidote to the rest of the Marvel Cinematic Universe.
Apparently velociraptor is the cowbell of dino design and the filmmakers are Christopher Walken.
As The Incredibles in its day towered over the Hollywood animation landscape of the last decade, so in some measure does Incredibles 2 in this decade — but what a different and diminished landscape it is today.
For a few formative years of our lives, Mr. Rogers showed us the way. Why don’t we walk that way? Because of all the voices dominating the discussion ever since.
Schrader makes greater use than ever before of what he calls the “transcendental toolkit” — but it’s still very much a film from the writer of Taxi Driver. If Toller partly evokes Bresson’s wan, saintly curé, in time we see that he’s also part Travis Bickle, which can be as difficult to watch as it sounds.
Watching Disney’s Rogue One and Solo, the two stand-alone “Star Wars Story” movies that come without episode numbers and opening crawls, is a little like watching the legendary Dutch boy trying to plug the leaks in the dike with his fingers … as new leaks burst all around him.
Wim Wenders, whose eclectic career has embraced arthouse dramas, documentaries, music videos and concert films, approaches the subject of his latest nonfiction film from an unusual perspective: the significance of an unprecedented papal name.
Six years ago I described The Avengers as “awesomeness squared”; Infinity War strives with all its might for awesomeness cubed and even tesseracted. It wants to leave you texting your friends “MIND. BLOWN.” It might succeed — but there’s a catch.
I am only a permanent deacon and a film critic, not a priest and certainly not an exorcist, but if Cristina’s voice hasn’t been digitally tweaked, for my money the devil needs a new sound design team.
Jeannette is a dialogue, and a mutual cross-examination, not only among the main characters of the drama, and above all between man and God, but also between the poet Péguy and the filmmaker Dumont, and even between Péguy the Socialist unbeliever of 1897 and Péguy the believing Catholic of 1910.
While A Quiet Place is a terrific film just the way it is, I can’t help wishing there were more families like this in other kinds of movies.
The sell for Steven Spielberg’s Ready Player One is a little like the sell for Jurassic Park, except instead of dinosaur shock and awe, it’s pop-culture nostalgia shock and awe.
The film is more than a dramatization, more than a biopic, more than a documentary: It is a spiritual portrait, almost a mystical portrait, of a Christ-like soul sharing in the sufferings of Christ.
Copyright © 2000– Steven D. Greydanus. All rights reserved.