All of this makes “Blade Runner 2049” sound like a movie of a thousand ideas. In fact, it is a movie only of recycled ideas, reminding me of a dozen films and videogames that it imitates.
This makes Beast Epic one of Iron & Wine’s most accessible albums. It’s not as eccentric as Beam’s most recent efforts and it’s more polished and has more sonic variety than his earliest work.
For two hours, “Logan Lucky” offers many great jazz-like riffs on the familiar melodies of the heist-movie plot. Its reworkings of those melodies bring new delights to the tired notes of heist films, including “Ocean’s 11” and its two sequels. It also reminds us, while altering those melodies, how much we like those worn-out old plots.
The Dark Tower destroys, through its reductive vision, creative possibilities for good fantasy storytelling.
Midway through Valerian and the City of a Thousand Planets, I thought we were witnessing one of the greatest visual experiences in movie history.
In an era of superhero movies galore, Dunkirk reminds us again of real human fragility and fear.
This movie asks us to side with the apes, to root against the human army that they face, and to feel elated at the prospect of a planet full of sentient apes, without sentient humans.
In constructing an entire world, The Wire highlights a much more complicated way of approaching moral life than is often attempted.
Few films have combined such artistic merits with such a searching and sympathetic portrayal of Christian faith.
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.
With the movie looking to be one of the biggest financial flops in recent cinema history, and with iAt’s resident snarky film critic, Josh Matthews, out of town, you might wonder why I would be volunteering to write a review of this movie (aside from a borderline-pathological need to write that makes this my 50th piece for iAt). Well, I …
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.
What The Shack lacks for in clarity, it makes up for in boldness. It deals head-on with the vexing questions of why a good God allows evil to exist and why people have to suffer.
It’s billed as a true-crime podcast, but that’s like calling Dylan a gospel singer; while a section of the story revolves around the crime that McLemore mentions in the email, it’s really only a couple of records in a lifelong catalog.
There are two movies here, neither of which get along well with the other. There’s the Disney musical with the melodramatic love story. And then there’s everything in and about the Beast’s castle.
When I was a grown-up, I watched Logan, and again I remembered being a kid who watched those cartoons, in part to root for Beast and Cyclops and Wolverine, and in part to deal with a dark and dreary world.
Scorsese has made his most “Christian” movie here—at least, overtly Christian. Silence says in a hundred creative ways that God is Not Dead, although not, thankfully, in the title.
The core of this movie is love: love for vocation, talents, location, art, and other people. At the end of the day, this is a movie made up of the basics: primary colors, ordinary singers, real location shoots around the city of Los Angeles.
“Hacksaw Ridge” is a rare bird among war movies, neither pro- nor anti-war. It is in part a response to gung-ho World War II movies in which American warriors kick Nazi or Japanese butts and take names.
Manchester by the Sea is one of those rare realistic movies that seems like a documentary, as if the movie screen were a window onto lives elsewhere. It offers us exactly what we should keep going back to the movies for: to learn to be more human.
I went to see Fences to hear some good dialogue, but left with a stronger conviction to lead a Christ-honoring life in my marriage and in the body of Christ. This is one play adaptation that will have an impact on me for years to come.