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Shaun the Sheep Movie (2015)
The world of Shaun the Sheep puts a smile on my face before anything even happens.
Shazam! (2019)
It’s a little bit about the Seven Deadly Sins and a lot about how a 14-year-old boy would react if he were suddenly bequeathed with superpowers beyond imagining and also an Adonis-like adult physique in a bright red super-suit.
The Shoes of the Fisherman (1968)
Fascinating despite flaws, The Shoes of the Fisherman is impossible to watch first of all as a movie. By a strange twist of chance or fate, it demands to be viewed as a curious, at times almost prescient anticipation of the reign of John Paul II, filtered partly through the lens of the Silly Sixties.
The Shop Around the Corner (1940)
Who but Ernst Lubitsch could have pulled off such a winning romantic-comedy classic that dares to include, but is not marred by, such tragic undercurrents, with a frank subplot involving adultery, attempted suicide, and the collapse of a marriage?
Shrek (2001)
Loosely based upon a story by children’s author William Steig (Sylvester and the Magic Pebble), Shrek is a satiric, updated fairy-tale love story, sort of like The Princess Bride, if André the Giant had been the hero, and had worn Lou Ferrigno body paint. And if Princess Buttercup did Matrix-style wire-fu and knocked out bad guys.
Shrek 2 (2004)
If Pixar’s Toy Story movies connect with the child in all of us, DreamWorks’ Shrek pictures are aimed squarely at our inner adolescent. I suspect I may be more in touch with my inner child than my inner adolescent.
Shrek Forever After (2010)
After three Shrek films aimed squarely at adolescents, I’m mildly surprised to find that DreamWorks has made a final chapter aimed more or less at middle-aged men, and specifically husbands and fathers. You know, undemanding middle-aged men going to a Shrek movie. But still.
Shrek the Third (2007)
Shrek the Third continues the deliberate bad taste that is the franchise’s hallmark, with the usual hit-and-miss results… What’s missing is the heart that leavened the first two films.
Sight & Sound Theatre’s Jesus: An Evangelical Gospel story
“Where the Bible comes to life” is the slogan of Sight & Sound Theatres, headquartered in Lancaster County, Pennsylvania, in the heart of Amish country.
Signs (2002)
Signs has the
heart that was lacking in Unbreakable, but stumbles badly
in its treatment of the paranormal, in this case the world of
"X-Files" / "Twilight Zone"
Signs of Change at Disney?
Now, encouraging signs of change in recent Disney films suggest that the Mouse may be starting to get the message. The new trend began with surprisingly strong pro-family themes in direct-to-video sequels such as Lady & the Tramp II: Scamp’s Adventure. This positive depiction of family continued in the theatrically released (though still low-budget) sequels Return to Never Land and Jungle Book 2.
Silence (2016)
When 17th-century Japanese authorities in the time of the Tokugawa shogunate found it necessary to send the colonial powers of Europe packing and their European Jesus with them, they didn’t just shatter the missionaries’ bodies. They shattered their narrative.
The Silence of the Lambs (1991)
Lecter fascinates us because he embodies qualities that we associate with civilized, reasonable existence, yet he is murderously sociopathic. In our therapeutic age, he’s a shocking reminder that, beyond all psychobabble about “behavior modification” and the like, there remains the sheer reality of good and evil. The doctor is in: God help us all.
![Silence [video]](/uploads/articles/silence.jpeg)
Silence [video]
Martin Scorsese’s Silence is simply one of the year’s most difficult and necessary films.
Silent rage against the machine: Metropolis and Modern Times
Metropolis is an operatic, dystopian science-fiction parable with roots in various sources including biblical and medieval Christian imagery, while Modern Times is a satiric comedy at times recalling Dickens and anticipating “Dilbert.” Yet the two films converge around political, economic, social, and technological themes.
Silverado (1985)
By the time the credits roll, we’ve had a whirlwind tour of virtually everything you can do in a Western. There are shootouts, standoffs, ambushes, jail breaks, posse pursuits, wagon convoys, saloon gunfights, outlaw hideouts, family feuds, wounded heroes, bucket-line firefighting, a cattle stampede, and much more.
Simone: Reality and Fantasy in Hollywood (2002)
The first line of the film’s closing credits read, "Introducing S1m0ne as Herself." At the time of the early-look screening I attended, no further information about "Simone" was readily available. The movie’s production notes, website, and Internet Movie Database entry were all silent about who, or what, Simone might be.
Sinbad: Legend of the Seven Seas (2003)
With its swashbuckling action and blend of traditional and 3D computer animation, Sinbad most resembles Disney’s Treasure Planet — yet for once DreamWorks handily outdoes its archrival, with bravura action set pieces, a surprisingly complex romantic triangle, and an even more remarkably thoughtful exploration of moral issues and character.
Singin’ in the Rain (1952)
Celebrating its 60th anniversary in style, Singin’ in the Rain comes to Blu-ray with an astoundingly good-looking new transfer of the best available film elements.
Singing to Babies (and Kids)
Our new arrival, Matthew, is going on a month old, and he’s learning a lot about the world. One of the things he’s learning is that when Papa holds him, it’s not delicious like with Mama —but Papa sings songs, which seems to interest him. Suz says that when he’s not hungry he seems to prefer to be held by Papa, which may have as much to do with my patented rocking hold technique as my crooning, but I like to think the crooning helps too.
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