Tags :: This vs. That

Noah vs. Moses: Stacking up the two Old Testament Hollywood epics of 2014 ARTICLE

Noah vs. Moses: Stacking up the two Old Testament Hollywood epics of 2014

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>Fantasia</i>: The Sistine Chapel of Disney animation ARTICLE

Fantasia: The Sistine Chapel of Disney animation

Among a few Disney films deserving of the title “masterpiece,” Fantasia remains a unique achievement.


Two Very Different Responses to Parenthood: Chef and Obvious Child

Among this summer’s successful indies were a pair of R-rated comedies — each from a filmmaker serving as writer, director and star — depicting two very different responses to the formidable responsibilities of parenthood.


Evil Dead [video]

Evil Dead in 60 seconds: my “Reel Faith” review.


Religious Vision: Les Misérables and Anna Karenina

Have today’s movies lost religion? Not necessarily — but sometimes it helps to know where to look. For instance, mainstream films are more likely to include sympathetic depictions of religious faith in period pieces than in stories set in the present day.


Which Disney Villain is the Most Evil?

An intriguing question posed to me in another forum: “Who is the worst Disney villain? Mother Gothel in Tangled is bad (kidnapping, brainwashing). The evil Queen from Snow White?”


A House Divided: Broken Homes, Flying Houses, Divorce, and Death in Family Fantasy Films

Like Dorothy’s house, uprooted in fairy-tale response to her running away, physical domiciles in one family film after another are displaced, torn asunder, and undergo fantastic, traumatic crises and transformations in visionary mirroring of the upheaval in the characters’ lives. Among the more striking examples of this poetic linking of house and household are Jon Favreau’s intriguing 2005 fantasy Zathura, Gil Kenan’s 2006 Halloween tale Monster House, Mark Waters’s smart, scary 2008 thriller The Spiderwick Chronicles, and Pete Docter’s 2009 Pixar fantasy Up.


Footloose (2011)

The upshot is that this new Footloose is a dumbed-down, sexed-up take on a story that was already risqué and not too bright — one that shies away from the ’84 film’s critique of the church, but is also further from its lingering Christian worldview.


Girls Rule, Boys Drool? Stereotyping the sexes in family films

Over and over we see smart, tough, confident, independent heroines — Astrid in How to Train Your Dragon; Hermione in the Harry Potter films; Tigress in Kung Fu Panda; Eve in Wall-E; Colette in Ratatouille; Jewel in Rio — next to whom the heroes appear variously awkward, diffident, incapable, clueless or ridiculous.

<i>Dumbo</i> & <i>The Lion King</i>: Overrated or Must Haves? POST

Dumbo & The Lion King: Overrated or Must Haves?

Both newly available in multi-disc Blu-ray/DVD combo editions, Dumbo and The Lion King were each developed during one of Disney’s two periods of greatest creative flourishing … Both Dumbo and The Lion King are much beloved, though in my opinion they’re both overrated and comparatively disappointing.


Moses, Spielberg & DeMille: Why Spielberg should do the next Moses movie

There’s something instantly appealing about the thought of Spielberg directing Hollywood’s first major live-action take on Moses’ story since Cecil B. DeMille’s 1956 crowning achievement, The Ten Commandments.


Cars vs. A Bug’s Life: Which is Pixar’s least impressive film?

With Cars 2 approaching this weekend, I thought I’d take a look back at Cars, easily Pixar’s least impressive and celebrated film since their second picture, A Bug’s Life.


Kung Fu Panda vs. How to Train Your Dragon

I seem to be on a comparison kick: A while back I did a massive comparison/contrast between Harry Potter and the Deathly Hallows: Part 1 and The Empire Strikes Back. Then I followed up with a comparison/contrast of Fantasia and Fantasia 2000.


Fantasia and Fantasia 2000: Revisiting the Sistine Chapel of Disney Animation

(Newly available on Blu-ray/DVD) Rather than a static motion picture, Fantasia was originally conceived as a repertoire, a selection of presentations that over time could be augmented by new pieces while old ones were retired, like an orchestra rotating its concert lineup … Ten years ago, amid the wreckage at the end of the 1990s Disney Renaissance, the Disney studio marked Fantasia’s 60th anniversary with Fantasia 2000, a film intended to honor in a way the original repertory conception of Fantasia.


Harry Potter’s Empire Strikes Back? Don’t Make Me Laugh

12 reasons why Deathly Hallows: Part 1 is no Empire Strikes Back … or even The Two Towers.


Infographic: Pixar vs. DreamWorks

Props to reader Victor for highlighting this infographic from a few years back analyzing the differences between the creative processes at Pixar and DreamWorks.


3:10 to Yuma (2007)

There’s no spiritual duel, no earned respect and debt of honor. There is just a broken man and a capricious one: one harboring hopeless dreams of being a man again in the eyes of his wife and son but no hope of achieving it; the other larger than life, an implacable force of nature able to kill men and seduce women essentially at will, and who never has any reason to honor or respect the other man, but could conceivably take pity on him and go along with him, if it strikes his fancy.


The School of Rock vs. The Fighting Temptations

The hero’s nearly religious reverence for rock’s angry posturing and anti-authoritarianism — reverence culminating in a pre-concert prayer to the "God of rock" — isn’t quite condoned, but isn’t put in any larger context either. Rock culture’s darker side is whitewashed (it’s not about drugs, kids, and groupies are really just band cheerleaders!), and subjects other than music (and even music other than rock) get short shrift. Then there’s the swishing, lisping fifth-grade "band stylist" bringing "Queer Eye" camp to the grade-school setting.


Harry Potter vs. Gandalf

What, then, defines morally acceptable use of good magic in fiction? Where, and how, do we draw the line? How do we distinguish the truly worthwhile (Tolkien and Lewis), the basically harmless (Glinda, Cinderella’s fairy godmother), and the problematic or objectionable (“Buffy,” The Craft)? And where on this continuum does Harry Potter really fall?