Like the biblical prophets who spoke truth to those who wielded societal and religious power, the scientific experts were largely ignored as people distracted themselves with foolish, vainglorious pursuits.
Kevin & Sarah Welch-Larson reconvene to discuss their favorite movies of 2021 and contemplate the end of a very strange year.
Stories that don’t end hint that the storyteller is writing aimlessly into the void, and they trap the audience in the world of the story.
Reviewing the products of 1981 and 2021 reveals our desperate search for salvation from death… and salvation from modern daily life.
Here’s what everyone was reading at Christ and Pop Culture in 2021.
The film’s highs and lows are mined from something viscerally human and somehow understated: the desire for connection.
Kevin and Sarah close out 2021 with a new film and genre from Steven Spielberg with a remake of West Side Story.
While You Were Sleeping is unusual for this genre because it shows the necessity of both family and shame for the storied couple’s well-being
Even criminals deserve a chance at redemption, and there is always hope where there is new life.
Like Paul in Dune, we can fall into the trap of moral expediency—the temptation to care more about winning than about holiness and humble service.
A Castle for Christmas is hopeful in the same way that Advent is a season of hope.
While the Christmas story is Marvel-like in the sense that it explains Jesus’s supernatural powers by showing us his supernatural origins, it’s not fictional.
So it is with the “plot” of spiritual warfare throughout human history. Like Miss Sloane, God begins his story with a monologue of such significance that it shapes and reveals all that is to come.
Eternals is a movie that purports to be about human exceptionalism, but doesn’t give us anything exceptional about humans to cheer for.
How do you imprint a memory onto celluloid? Kenneth Branagh attempts to answer that question with his latest film, Belfast.
Put on your dapper clothes and sit in the geometrically perfect room of your choice for a review of Wes Anderson’s, “The French Dispatch.”
