The film “Rashomon” is famous for depicting four different versions of the same event—a potential rape and a murder in a secluded forest, involving a bandit, a nobleman, and his wife. None of these versions is even close to the same
“I used to want to save the world, but I knew so little then.” So says Diana the Amazon in the opening of Wonder Woman, a movie that mixes the worlds of comic books, World War I, and ancient Greek myths.
Ghost pirates, ghost sharks, witch chases, buildings dragged through streets, Galileo Galilei’s diary, and Galileo’s ruby, which is a key to unlocking the Trident.
The Case for Christ tries to present a rational defense of Christ’s death and resurrection. The movie picks on an older apologetics target (that is, rationalistic atheism), and it names its opponents.
Those are ideas that The Circle plays with, but it ends up asking complex questions that result in apparent artistic incoherence. How do we use technology that benefits us without being enslaved by it or by those who control it?
Given the name “Life,” the title of this new outer-space science-fiction thriller, I was looking for a grand artistic gesture. I wanted a movie about all the vast complexities involved in the purpose of life itself.