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.
First Cow and Nomadland offer their characters to us as fellow travelers on the road of life, who know that home isn’t just a place, it’s friendship.
Shang-Chi moved away from the modern “buffered” self toward a recognition of the enchanted “porous” self.
Shang-Chi’s actualization into an MCU superhero gives us a hero who comes from a culture that is more we-focused than me-focused, and I see that as a good thing.
The Suicide Squad is a genuinely bad movie because it plays on war and death for laughs in irreverent, dehumanizing ways.
In her stand-alone film, Black Widow steps out of the shadows of an overly sexified characterization and becomes elevated.
Unlike the Marvel Cinematic Universe, the best Indiana Jones installments present viewers with truly sacred relics.
This reciprocal, mutual mentoring is possible only because of time inversion, proving that Tenet’s sci-fi premise is no mere gimmick. The story’s moral core depends on it.
Most of us have some knowledge of the Woodstock festival. But why don’t we know about the Harlem Cultural Festival, which was held at the same time?
So now you had a nationwide craze over a genre of music that barely existed (having just broken off from Motown and R&B), based on a piece of long-form journalism that was entirely fictional and a movie made by people with no real connections to the original disco scene.
Crazy Rich Asians director Jon M. Chu helms this film version of the Lin-Manuel Miranda Broadway hit about an NYC neighborhood.
The Father reminds us how important it is to make room for good remembering, even in the absence of a good memory.
Writer-Director Liam Gavin’s A Dark Song (2016) promises its audience horror, delivers creeping unease, and ultimately yields itself up to awe—taking us on a journey from the depths of entropic despair to the heights of spiritual renewal.
To invest one short moment with such great meaning, Plummer must have done, to coin a phrase, something good.
As the months of the pandemic translated into far more hours spent inside and online than outside and in person, I have seen more ugliness—more meanness—in this world than ever before.
Love and Monsters pushes beneath the familiar “unstoppable force of love” trope to unveil our varied attempts at quelling the painful longing that often hangs in the shadows of it: loneliness.
