Articles by Nick Olson

“The latest Bourne iteration is not quite as satisfying because it lacks the compelling moral-identity politics which made the action sets engrossing and not merely exciting.”

Can Batman succeed at leveraging darkness to pursue the light?

This is a high schooler who is still haunted by the sudden abandonment of his parents, still wrestling with his Uncle’s death and his role in it, still . . . too self-conscious to be unambiguously good.

“‘Moonrise Kingdom’ mirrors the Noah story in that the floods of judgment bring about re-creation, a fresh harvest which yields quality crops — and relationships.”

“What makes Brave satisfying is that it ultimately supports Merida’s quest for individuation, while also warning against desire for the kind of freedom which would promote self over others.”

While this summer blockbuster’s ambition to explore humanity’s most pivotal questions is admirable, Prometheus is ultimately less insightful than it is convoluted.

The most consistent summation of Snow White that I’ve seen is that it is a “missed opportunity,” and this seems an apt description.

“Bully is effective in that it gives a significant voice to a problem that is often perpetuated due to the pressure to remain silent.”

“Lucky Life deals with suffering, friendship, marriage, memory, death, and faith — communicated in an image-driven, poetic style.”

“[T]he most haunting image of the season for me is when Don opens an elevator door to see an enigmatic void before him.”

“I take issue with the insinuation that one can’t enjoy The Avengers for what it is and still have good reasons for thinking its form of entertainment represents a worthwhile outing to the cineplex.”

“As his search becomes more revealing, Cyril’s child-like faith in his father begins to erode, and so too does the young boy’s sense of self-worth.”

“If mature moviegoers are truly concerned with discernment, then they’d better start cultivating finer imaginations that are oriented in such a way so as to desire what is good.”

“What if the protective one-way mirror that supports the slasher sub-genre’s one-dimensional characters and our demand that they be relentlessly sexualized and punished was, in a sense, broken — or, at least, turned inside out?”

“Responsibility involves both participation in, and recognition of, a larger order — not one or the other.”

“I can’t help but wonder if ‘Games’ has its enthusiasts due to a deep-seated preference for the celebrity over the martyr.”