Seeing and Believing 388 | Asteroid City & War of the Worlds (2005)
Alien-invasion movies are taking over the podcast as Kevin and Sarah review Wes Anderson’s Asteroid City & Spielberg’s War of the Worlds.
Alien-invasion movies are taking over the podcast as Kevin and Sarah review Wes Anderson’s Asteroid City & Spielberg’s War of the Worlds.
Succession helps us evaluate our preconceived notions about influence and control, exposing our abandonment of Christ-like formation.
God created us in his image to live at his speed so we might know others and know Him.
This week, we review a pair of movies about coming of age and learning to live with yourself: Pixar’s new Elemental and Kelly Fremon Craig’s The Edge of Seventeen.
Ant-Man and the Wasp: Quantumania reveals our culture’s continued belief that some sort of unseen world exists—and a world where changes have drastic repercussions for our own.
We can live in the moment precisely because we entrust ourselves and our futures to God.
To wit, I wrote this because some British lads dressed as hobbits wrote songs that made my heart soar toward the God who laced the world with transcendent desires.
Kevin and Sarah take on horror-adjacent movies in two different flavors this week: The Blackening and Jeremy Saulnier’s Green Room.
Insulating a child from all possible danger has the side effect of training him to anticipate danger in every possibility.
When a culture loses its imagination, it loses more than just quality “content” or good “entertainment.” It loses a bit of its soul.
Sarah and Kevin review Celine Song’s debut feature Past Lives, and the Merchant/Ivory adaptation of Edith Wharton’s A Room with a View.
Because we aim to do everything unto the glory of God, how we worship and what team we root for can be equally consequential to our witness.
A story can carry within it the seeds of absolute, biblically-grounded truth without ever mentioning the Bible, or Christianity, or any religious topic.
Kevin & Sarah review Spider-Man: Across the Spider-Verse and then take on a different “superhero” in Paul Verhoeven’s 1982 satire, RoboCop.
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