Deep Focus

Avatar: The Way of Water insists that deep, emotional connection between things with breath and blood in them is more powerful and important than any technological ambition or achievement. That’s an admirable message.

Watching The Fabelmans is like sitting at the feet of an accomplished raconteur. I wanted to live in this film. I never wanted it to end.

When Black Panther: Wakanda Forever isn’t being a Marvel movie, it’s a lot of fun.

Physical beauty is but one aspect of beauty, the glint of a greater glory. People are beautiful because they are complex and ineffable, endlessly fascinating creations of the eternal God.

This is not Disney’s film. It is a much darker, weirder tale, rough with knots and splinters, but glowing with boyish mischief.

What a knotty tale this is! You never feel resolution, only sadness and longing and bewilderment.

You didn’t come here for a lesson. You came here to watch the Rock make things go boom.

We keep telling this story because we long for our relationships with out parents to be right.

Hocus Pocus 2 does that thing that Disney has been doing for the last decade or so and tries to offer its villains a measure of redemption.

Blonde is an aesthetically provocative deconstruction of our culture’s conceptions of Marilyn Monroe, of society’s willingness to sacrifice people on the alter of celebrity and consumerism.

Top Gun: Maverick isn’t a movie. It’s music. It’s the kind of story sung by ancient Greek poets who beseech the Muses for inspiration.

The original cartoon, Chip ’n Dale Rescue Rangers, was itself a reboot/reimagining of a couple of classic Disney characters. Why not do it again?

Doctor Strange in the Multiverse of Madness is another variation on the multiverse concept echoing through our blockbusters of late.

We see what we have the eyes of faith to see. The Northman lets us see with viking eyes for a couple of hours. I see, and I shudder.

Everything Everywhere All at Once asks a question that is easy for us to answer: What is the meaning of life?

The Worst Person in the World and The Batman cry for new narratives, for new ways of reaching maturity that don’t depend on childrearing and violence.