Our seasonal movie-watching during Advent, Lent, and the Christmas and Easter seasons varies from year to year, but Triduum is always the same.
“That damn movie follows me around like an albatross,” Christopher Plummer once fumed about the one film for which — despite a prolific, varied, successful career in film, television, and theater — he would always be best known.
21 years. That’s how long I’ve been at this. A film list 21 years in the making. 21 top films. 21 runners-up. 21 honorable mentions.
The cowriter and director of a new film about Our Lady of Fátima talks about why he was drawn to the story and how he tried to realize the miraculous, from a very human Virgin Mary to surreal visions of war and hell.
The FX documentary asks hard questions of both sides of the abortion debate — but only one side gets thoughtful answers
Of the seven sacraments at the heart of the Church’s life, from the very beginning perhaps the most intriguing to filmmakers has been, ironically, the least visually impressive — a hidden rite involving only the minister and the recipient.
“Where the Bible comes to life” is the slogan of Sight & Sound Theatres, headquartered in Lancaster County, Pennsylvania, in the heart of Amish country.
In the last few weeks, articles about movies to stream while sheltering in place during your coronavirus quarantine have proliferated across the internet almost as fast as the virus has spread around the world. What makes this article different?
An exquisite art-house film about a beatified martyr. The triumphant arrival of a belated documentary of a celebrated gospel concert. A fact-based drama about an alliance of devout and unbelieving survivors of clerical sex abuse calling for justice. These are just a few of an unusually large crop of notable films that tackled religious and spiritual themes in 2019.
Harriet’s appeal is multifaceted, appealing to three demographics underserved by mainstream Hollywood fare: women, people of color and people of faith. Producer Debra Martin Chase knows something about these three demographics.
Silence, reflection, the search for meaning, the interior life: These are among the hallmarks of Paul Harrill’s work.
“Honor, greetings and blessings to you, conquerors of the moon, pale lamp of our nights and our dreams!” Paul VI exclaimed in his July 21 message to the astronauts on the day after the lunar landing. “Bring to it, with your living presence, the voice of the spirit, the hymn to God, our Creator and our Father.”
For Catholics and other Christians, the contradiction between Zeffirelli’s faith and the themes of his religious films on the one hand and his openly homosexual lifestyle on the other raise perennial questions about the mysterious relationship of art and the artist.
Forgiveness in the face of murderous violence is a radical act that remains as shocking and controversial today as it was when a Second Temple–era Palestinian prophet commanded his disciples to love and to pray for those who persecuted them and ended his mortal life praying for divine forgiveness for his own executioners.
All art — even pop art, even bad or offensive art — is in some way a mirror to the soul of the culture that created it. Whether we embrace them, condemn them, or are indifferent to them, these secular apocalypses reveal something about who we are as a culture.
The prison setting and the word “redemption” in the Ludlumesque title are vaguely evocative of the most popular prison movie of all time, The Shawshank Redemption. A prison sentence, though, is seldom a redemptive experience for anyone.
Anyone who directs a movie about the converging efforts of Pope St. John Paul II and Ronald Reagan to take on the Soviet Union is someone I’m interested in talking to. But Robert Orlando isn’t just anyone to me.
Particularly striking to me, and even moving, is a theme connecting Cloudy With a Chance of Meatballs and Spider-Man: Into the Spider-Verse (though not The Lego Movie): how themes of father–son conflict ubiquitous in other cartoons play out with unexpectedly insightful, consequential fathers.
2018 was a remarkable movie year — for family films, films with religious themes, and documentaries — but it was also a year of family men who weren’t there for their families.
I’m struck by the extent to which Christopher Nolan’s celebrated Dark Knight trilogy (of which the monumental second chapter, The Dark Knight, was released 10 years ago this week), watched back-to-back, can be fruitfully considered as an extended comic-book riff on the story of Abraham and God’s judgment on Sodom in the Book of Genesis.
Copyright © 2000– Steven D. Greydanus. All rights reserved.