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We Are Marshall (2006)
More than most films of its ilk, We Are Marshall rises above the clichés that define the genre, connecting sport to larger issues in an emotionally satisfying way.
“We are not things”: Mad Max: Fury Road and commodifying human life
In another movie, a line like “We are not things” could be a platitude, but in the context of vividly imagined atrocities with unnerving echoes of recent headlines, this simple affirmation is fraught with topical power that has only grown in the months since the film’s theatrical debut.
We Have a Pope [Habemus Papam] (2012)
In a way it’s like the antithesis of a Dan Brown novel. Brown’s stories peer with feverish, lurid imagination at the inner workings of the Catholic hierarchy, discovering all manner of ridiculous subterfuge, ruthlessness and skulduggery. Moretti’s film hardly peers at all.
We Have a Pope [Habemus Papam] [video]
We Have a Pope in 60 seconds: My “Reel Faith” video review.
Welcome to the 15th anniversary Decent Films redesign!
This is the first completely new Decent Films in ten years. It’s also the first version ever that feels more or less complete to me. Not that there aren’t still bugs and tweaks to be addressed — and not that I wasn’t thrilled about the 2010 (and 2005) iterations when they were new.
Welcome to the New Decent Films!
Has it really been ten years?
“Welcome Yet Nonessential”
Those three words from Peter Debruge’s Variety review of next weekend’s Toy Story 3, called out by Peter Chattaway in blogging the review, perfectly encapsulate what I’ve thought had to be the case about this film since I first heard of it. More broadly, as Peter suggests, it seems a harbinger of things to come from this “third phase” in Pixar history that this film is ushering in.
What a Girl Wants (2003)
Despite these similarities, What a Girl Wants differs from The Princess Diaries in three important respects, all of which are, as far as they go, good ideas.
What Are “Real Movies”?
Borrowing a page from the UK’s Campaign for Real Ale, Roger Ebert blogs from Cannes on the need for a Campaign For Real Movies.
What Are the Decent Films?
Must a decent film deal only with uplifting or wholesome subjects, or may dark or disturbing themes also be dealt with? Can a film include nudity or profanity and still be “decent”? Can “humane culture” include popular films or genres like action films and romantic comedies, or do only highbrow “art films” count as true culture?
What Cannot Be Seen
Beauty, loss, longing, mystery: Fans of Tolkien might reach for such language in describing the power of Middle-earth. They are not words that many Americans naturally associate with animation. American animation typically means humor, slapstick, sentiment, and perhaps a positive message about family or believing in yourself.
What did Jesus know and when did he know it?
There are many things I love about The Young Messiah, as my review elaborates, but the way it depicts Jesus’ consciousness at the age of seven is one of my favorite things about it.
What does a starship need with God?
“What does God need with a starship?” That line, uttered by William Shatner’s Capt. James T. Kirk in the much-derided Star Trek V: The Final Frontier (1989) — co-written and directed by Shatner himself — is probably that film’s most famous (or infamous) moment.
What is Peter Bart Smoking?
The celebratory media frenzy over the 50th anniversary of The Pill has reached even the pages of Variety, where past editor and current vice president and editorial director Peter Bart has written a strange essay called “‘Sex’ and the summer franchise” (subscription required) that somehow contrives to link a blip in summer movie patterns to five decades of contraception.
What Lies Beneath (2000)
But when the plot then descends into a Lethal Weapon-type action-chase scene, it’s clearly gone off the rails: a proper ghost story has an entirely different atmosphere from a Lethal Weapon action flick.
What we lose when Star Wars goes to the Dark Side
Even features come with trade-offs, and the Marvelization of Star Wars is no exception. This might not be as clear in The Force Awakens — about as pure a work of nostalgia and homage as can possibly be contrived short of a shot-for-shot remake — as it is in Rogue One, where the Marvel-style engineering is more obvious.
What Women Want (2000)
Women are from Venus; men are from the gutter.
What’s Up, Michael Bay?
What if Pixar’s Up had been directed by Michael Bay instead of Pete Docter? This seems pretty accurate, actually.
What’s Catholic response to Spotlight been like? Mostly positive, actually.
Why has Catholic response to Spotlight been so positive? One key reason is the film’s shrewd choice of point of view.
What’s so special about Pixar’s flawed protagonists and their moral journeys
Only Pixar regularly impresses on viewers that just because you’re the hero of your story doesn’t mean you’re right about everything: that you may make serious mistakes, there may be consequences, and you must take responsibility.
Recent
- Crisis of meaning, part 3: What lies beyond the Spider-Verse?
- Crisis of meaning, part 2: The lie at the end of the MCU multiverse
- Crisis of Meaning on Infinite Earths, part 1: The multiverse and superhero movies
- Two things I wish George Miller had done differently in Furiosa: A Mad Max Saga
- Furiosa tells the story of a world (almost) without hope
Home Video
Copyright © 2000– Steven D. Greydanus. All rights reserved.