For Harry Potter star Daniel Radcliffe, who stars as a young solicitor named Arthur Kipps, The Woman in Black is an opportunity to make a reasonably graceful break from the role that has dominated his life since childhood. For the new owners of England’s legendary Hammer horror brand, until recently dormant from the 1970s, it’s an opportunity to stake their claim to continuing in the tradition of Terence Fisher, Jimmy Sangster et al. For curious movie watchers, it’s an opportunity to see how Radcliffe does in another role — and how an old-fashioned haunted house story plays today.
For a few formative years of our lives, Mr. Rogers showed us the way. Why don’t we walk that way? Because of all the voices dominating the discussion ever since.
Movies like Man of Steel and The Lone Ranger misunderstand and besmirch their iconic heroes. This movie understands and reveres its protagonist. That’s worth a lot, especially today.
Wonder Woman 1984 is bonkers in a way that superhero movies these days don’t have the nerve to be.
Halfway through I found myself rooting for the film to be the best version of itself, a sign that a film is working even when it’s not completely successful.
With evocative watercolor backgrounds and character design strongly reminiscent of Potter’s illustrations, animation ranging from fine to excellent, and dialogue and narrative drawn straight from the source material, the series is remarkably faithful to the text, spirit, and look of Potter’s beloved stories.
Where Paul Greengrass’s brilliant United 93 crafted a documentary-like anatomy of events without presuming to get inside people’s heads or explain actions or motivations, World Trade Center is a more conventional Hollywood film, with dramatic dialogue, characters following clearly plotted arcs, and a swelling soundtrack to reinforce the mood.
It’s the end of the world was we know it … again. World War Z: my “Reel Faith” 60-second review.
Miyazaki’s whole body of work (less one or two sub-par exceptions) offers unduplicated vistas of imaginative wonder and beauty, images of startling power, admirable and likable heroines and heroes, humanely conceived supporting characters, elusively engaging storytelling, wholesome moral themes, and unexpected sly humor. He is the sort of artist whose work doesn’t just entertain audiences, but wins enthusiasts. For those who haven’t yet discovered him, Miyazaki is a taste well worth acquiring.
“Let’s have some fun,” says one god to another, suggesting that they “put on a show.” The moment comes late in Wrath of the Titans. Very, very late. I don’t remember the response, if any, but “Why start now?” would have been appropriate.
Wrath of the Titans in 60 seconds: My “Reel Faith” video review.
Wreck-It Ralph in 60 seconds: my “Reel Faith” review.
“If it’s bad art,” Madeleine L’Engle once wrote, “it’s bad religion, no matter how pious the subject.”
It was only last week, though it seems like a lifetime ago, that I was standing on top of the Empire State Building, squinting to the south with my two older children toward the proud twin towers of the World Trade Center.
Copyright © 2000– Steven D. Greydanus. All rights reserved.