Uncut Gems is electric,If you can tap into it quickly, you can ride the current right up until it arcs off the screen and into your skull, at which point you can either let it continue through your body warming your every cell or you can switch off and just wait for it to end.
Ford v Ferarri is a story of how a team of underdog idealists prevailed working within the stifling climate of an immense corporation. It’s a story about what it costs an idealist to work within an institution.
Parasite, Bong’s latest, is no exception. It is the most fun I’ve had at the movies all year. Bong excels at taking his narratives in unexpected directions and shifting tone rapidly along the way.
A common trope of faith and film writing is that the cinema is a “sacred space.” In Martin Scorsese’s The Irishman, the theater becomes a confessional.
Robert Eggers is back with The Lighthouse, another unsettling time warp into the dark recesses of American folklore.
In this way, the film manages to stay focused on the particularities of Bazan’s story, but it does so by setting this one man’s personal journey against the backdrop of a series of broader shifts.
To watch Joker is to stare the sickness in the face. The film is a disturbing experience. We are not used to spending time with these kinds of characters anywhere, even at the movies.
Downton Abbey bets mightily on your existing affiliation with the characters and world. This allows it to get down to business in that pragmatic way that is typical of the Crawleys and their household staff and to indulge in the refined panache they, and we, have come to expect from the estate.
Will the darkness of evil be overcome? Will the spirit of the Antichrist—a term mentioned multiple times by different characters—reign in this world? Is God the author of suffering? Or is there salvation in Christ and the possibility of eternal life and light? Can faithfulness to God make a difference in this world?