Film Archives

Wade and Kevin get back to basics with a review of Josh Trank’s unconventional small-budget film examining the last year of the infamous gangster’s life.

Wade and Kevin wrap up their auteur series with a look at the work of America’s foremost purveyor of immaculately framed family dysfunction: Wes Anderson.

Wade and Kevin continue their auteur study with David Fincher as they rank their Top 10 David Fincher films and see the common elements in his work.

Kelly Reichardt is the next subject of our 2020 Auteur series. A major figure in film, Kelly Reichardt’s quiet, understaded style has left a large impact.

Amid the coronavirus pandemic, Fury Road offers a glimpse of coming renewal, of rebirth.

How do we make sense of truth in a world where deepfakes are leaping from the big screen into our homes?

A lot of people have been watching Contagion recently, and many others are asking why. Is it strangely comforting? Terrifying but in a helpfully distancing way? Morbidly fascinating? The apocalyptic book of Revelation can help us understand.

A good story doesn’t make you feel more afraid than you were before; a good story helps you see the best way to act in the midst of your anxious fear, providing you with hope.

Many of us use humor as a defense mechanism when things go dark, but Waititi seems to use humor as joy-finding—a way of mining light out of dark ore.

Wade and Kevin begin a South Korean cinema marathon. First up is Bong’s 2010 film Mother, a story of murder, money, and parental obsession.

Gerwig’s recent adaptation of Little Women echoes the Bible’s ability to hold within its pages quite a variety of ideas on marriage and singleness.

Christians are commanded to love our neighbors, but we cannot love people we make no effort to understand.

It’s in those moments that the internet feels like a good place to be—a place to reveal how a single story written by an English chap in the 1950s has touched and shaped thousands of lives for the better. 

Our apathy toward racial injustice is partially rooted in an insufficient understanding of the family of God.

In locking us into the perspective of one of these characters, 1917 ends up being a story that, through the artistry, reminds us that one life has value in the midst of millions.

Spring suggests that to be truly human is to love in a manner that transcends any evolutionary roots.