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  1. Yesterday
  2. Thespylesley

    Christians and swearing on stage

    I am struggling on whether or not to audition for a show where “JC” is used as an expletive in one of the audition songs. I wish I could just say Cheese and Rice and call it a day!
  3. Last week
  4. winter shaker

    New Editorial Staff at Image

    The announcement is here if you have not already heard.
  5. Peter T Chattaway

    The Conjuring 3

    Links to our threads on The Conjuring (2013), Annabelle (2014), The Conjuring 2 (2016), Annabelle: Creation (2017), The Nun (2018) and Annabelle 3 (2019).  - - - 'The Conjuring 3' Finds Director With 'Curse of La Llorona' Filmmaker (Exclusive) After helming two installments of New Line’s hit horror series The Conjuring, filmmaker James Wan is stepping aside and letting some fresh blood take over. Michael Chaves, who is coming off of the horror movie The Curse of La Llorona, which Wan produced, has been set to direct The Conjuring 3 for New Line. Wan will remain closely involved as a producer, via his Atomic Monster production company, and act as a godfather on the feature. Also returning as producer is Peter Safran via his Safran Company banner. Chaves was discovered by Wan and his Atomic Monster execs off of his award-winning horror short The Maiden, which catapulted him to his directorial debut La Llorona, which New Line will open April 19, 2019. His work on the latter clearly impressed both Wan and New Line. . . . David Leslie Johnson, who worked on The Conjuring 2 and Wan's upcoming Aquaman, is in the midst of writing the script for The Conjuring 3, which will once again focus on husband-and-wife paranormal investigators Ed and Lorraine Warren. Patrick Wilson and Vera Farmiga played the duo in the first two installments and will be back for more scares. . . . The Hollywood Reporter, October 3
  6. Peter T Chattaway

    Annabelle 3

    Links to our threads on The Conjuring (2013), Annabelle (2014), The Conjuring 2 (2016), Annabelle: Creation (2017) and The Nun (2018). - - - Patrick Wilson & Vera Farmiga To Reprise ‘Conjuring’ Roles As The Warrens In Third ‘Annabelle’ Movie EXCLUSIVE: For the first time in The Conjuring universe, the Ed and Lorraine Warren characters will appear in one of the film series’ spinoff titles, Gary Dauberman’s untitled Annabelle project. To date, the paranormal investigators have appeared in the core Conjuring 1 and 2 movies. Patrick Wilson and Vera Farmiga will return to play Ed and Lorraine, but as we understand it, they’ll be in a supporting capacity in the Annabelle threequel. Annabelle 3, the sixth title in The Conjuring franchise, picks up with the Warrens bringing the Annabelle doll to a place where she can no longer wreak havoc: their Artifacts Room. Annabelle awakens the room’s evil which sets its sights on a new target: the Warrens’ ten year old daughter Judy. The young girl, along with her teenage babysitter cousin and the cousin’s friend, square off against the evil doll. . . . The Untitled Annabelle Project starts filming this week and releases July 3, 2019. Deadline.com, October 18 - - - 1. Having the Warrens appear in a spin-off movie feels a little, to me, like Iron Man co-starring in a Captain America movie. 2. The two Conjuring movies were both based on purportedly true stories, and the PR for those films relied heavily on interviews with the real-life people on whom those stories were based. But the Annabelle and Nun spin-offs have been completely fictitious. (The real-life Annabelle is a Raggedy Ann doll. The movie Annabelle is... not. Just for starters.) So it's interesting to me that the Warrens -- real-life characters -- are going to be brought into one of the spin-off films, as will their daughter. (Did they actually have a daughter in real life?)
  7. Peter T Chattaway

    The Nun

    Can't believe I didn''t link to my interview with the filmmakers.
  8. Peter T Chattaway

    The Happy Prince (2018)

    I liked some things about this film, but it didn't really click for me either. I agree that it would probably be a hard sell awards-traction-wise. The flashbacks were certainly striking, though -- the way they contrasted the peak of Wilde's popularity with the state of his life post-imprisonment.
  9. NBooth

    Dr. Who

    Turns out, "The Husbands of River Song" felt so much like a conclusion to the Moffat era that I just...forgot to watch the actual last season of Capaldi. I'm fixing that now, while I watch the new series as it comes out. And, um.... I like Whittaker as the Doctor. Not a lot, but she's good (which is to be expected). What I don't like is anything around her. The scripts are mostly rubbish, the emotional payoffs are undercut by bizarre plotting and pacing choices (there's an event late in the first episode that should have had me in tears and didn't because it occurred after it needed to, plot-wise). The direction is pretty flat and uninteresting. The companions are attractive and dull. It's basically as bad as I expected a Chibnall-run Who to be. This is particularly apparent since I immediately turned to the last Capaldi season and watched a few episodes of it. And, while it's not up to the really glorious heights of the second Smith year or the first and second Capaldi years, it's good. And interesting. And thematically more complicated than "working together is a good thing to do." And it's shot well. Basically, it's superior in almost every way to the current season. Almost. I won't say that Whittaker is superior to Capaldi, but she's different, and that's a good thing. This Doctor is (as Elizabeth Sandifer has noted) notably more emotionally aware and present than any previous Doctor. She's still the same character, insofar as any of the incarnations of the Doctor are the same character (she reminds me of Tennant, which coming from me isn't exactly a good thing--but it will be for most viewers). But she's also giving a notably more community-minded Doctor. (There's an obvious gender thing going on below the surface, as Sandifer points out). And I like it. So I'll stick it out for her (and for the hope that the non-Chibnall writers coming up have a better sense of how to tell a story than the showrunner does). Next week is Rosa Parks, btw.
  10. Jason Panella

    What board games have you been playing lately?

    Really thorough look at these games, Ken. Thanks. I'm interested in Betrayal Legacy. Betrayal at House on the Hill is a really flawed game, but it's still goofy fun. The Legacy version is, from what I've read, a soft reboot and refinement of the existing rules, which can only be a good thing.
  11. kenmorefield

    The Happy Prince (2018)

    "I am a ruined man." That's what Oscar Wilde says in Rupert Everett's grim biopic. I admired parts of the film, but I'm not sure it works as Oscar bait. The thing that stood out to me, weirdly, is that it had the courage to be an unhappy story. Ever since the documentary based on Vito Russo's The Celluloid Closet, I think gay-themed movies have this pressure to *not* be bleak. I get how representation matters, and there is a hunger for characters who are not self-loathing or self-destructive. I think because Wilde is known as a homosexual and because he was out in his life, there is (or may be) some casual assumptions that he was shielded from or impervious to his generation's harshest anti-gay sentiment. But by focusing on the period *after* his imprisonment, the film ends up focusing on the psychological scars that his imprisonment left. There seems to be an inter-generational message here, latent in how various of his companions respond to Wilde...older ones who get how back things are/were and younger ones who just want him to be his same old jolly, risk-taking self. It's a story worth telling, but I'm not sure there are any footholds for those not already emotionally invested in the subject matter. My wife said she wasn't sure what the take home was supposed to be, though she did admire the performances. A postscript revealing when Wilde was pardoned perhaps points to a larger theme that the gap between Victorian attitudes and current ones isn't as large as we would like to think. Any time you have Colin Firth and Emily Watson around, there is a potential for acting nominations, but even with a larger best picture field, I'm not sure this one would get traction...though who knows? The Academy does like biopics.
  12. Peter T Chattaway

    Boy Erased

    For what it's worth, I don't necessarily question that the character *did* have thoughts about men before the incident. The film just never *tells* us that before the incident. (I have Love, Simon at the back of my mind here, and the opening narration in which the protagonist says he began to suspect he was gay when he had dreams about Harry Potter's Daniel Radcliffe, or something along those lines. There was nothing like that in Boy Erased; if audience members didn't know the movie's premise, would they have known the character was gay *at all* during those opening scenes?)
  13. Peter T Chattaway

    Oscars 2019: Best Foreign Language Film

    The submitted films (with the ones I've seen in bold; bizarrely, I have never even heard of the Canadian film, and the only time it has ever been mentioned in my e-mail archives is in a press release that mentions an actor who happens to be in it): Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director; Algeria, “Until the End of Time,” Yasmine Chouikh, director; Argentina, “El Ángel,” Luis Ortega, director; Armenia, “Spitak,” Alexander Kott, director; Australia, “Jirga,” Benjamin Gilmour, director; Austria, “The Waldheim Waltz,” Ruth Beckermann, director; Bangladesh, “No Bed of Roses,” Mostofa Sarwar Farooki, director; Belarus, “Crystal Swan,” Darya Zhuk, director; Belgium, “Girl,” Lukas Dhont, director; Bolivia, “The Goalkeeper,” Rodrigo “Gory” Patiño, director; Bosnia and Herzegovina, “Never Leave Me,” Aida Begić, director; Brazil, “The Great Mystical Circus,” Carlos Diegues, director; Bulgaria, “Omnipresent,” Ilian Djevelekov, director; Cambodia, “Graves without a Name,” Rithy Panh, director; Canada, “Family First,” Sophie Dupuis, director; Chile, “…And Suddenly the Dawn,” Silvio Caiozzi, director; China, “Hidden Man,” Jiang Wen, director; Colombia, “Birds of Passage,” Cristina Gallego, Ciro Guerra, directors; Costa Rica, “Medea,” Alexandra Latishev, director; Croatia, “The Eighth Commissioner,” Ivan Salaj, director; Czech Republic, “Winter Flies,” Olmo Omerzu, director; Denmark, “The Guilty,” Gustav Möller, director; Dominican Republic, “Cocote,” Nelson Carlo De Los Santos Arias, director; Ecuador, “A Son of Man,” Jamaicanoproblem, director; Egypt, “Yomeddine,” A.B. Shawky, director; Estonia, “Take It or Leave It,” Liina Trishkina-Vanhatalo, director; Finland, “Euthanizer,” Teemu Nikki, director; France, “Memoir of War,” Emmanuel Finkiel, director; Georgia, “Namme,” Zaza Khalvashi, director; Germany, “Never Look Away,” Florian Henckel von Donnersmarck, director; Greece, “Polyxeni,” Dora Masklavanou, director; Hong Kong, “Operation Red Sea,” Dante Lam, director; Hungary, “Sunset,” László Nemes, director; Iceland, “Woman at War,” Benedikt Erlingsson, director; India, “Village Rockstars,” Rima Das, director; Indonesia, “Marlina the Murderer in Four Acts,” Mouly Surya, director; Iran, “No Date, No Signature,” Vahid Jalilvand, director; Iraq, “The Journey,” Mohamed Jabarah Al-Daradji, director; Israel, “The Cakemaker,” Ofir Raul Graizer, director; Italy, “Dogman,” Matteo Garrone, director; Japan, “Shoplifters,” Hirokazu Kore-eda, director; Kazakhstan, “Ayka,” Sergey Dvortsevoy, director; Kenya, “Supa Modo,” Likarion Wainaina, director; Kosovo, “The Marriage,” Blerta Zeqiri, director; Latvia, “To Be Continued,” Ivars Seleckis, director; Lebanon, “Capernaum,” Nadine Labaki, director; Lithuania, “Wonderful Losers: A Different World,” Arunas Matelis, director; Luxembourg, “Gutland,” Govinda Van Maele, director; Macedonia, “Secret Ingredient,” Gjorce Stavreski, director; Malawi, “The Road to Sunrise,” Shemu Joyah, director; Mexico, “Roma,” Alfonso Cuarón, director; Montenegro, “Iskra,” Gojko Berkuljan, director; Morocco, “Burnout,” Nour-Eddine Lakhmari, director; Nepal, “Panchayat,” Shivam Adhikari, director; Netherlands, “The Resistance Banker,” Joram Lürsen, director; New Zealand, “Yellow Is Forbidden,” Pietra Brettkelly, director; Niger, “The Wedding Ring,” Rahmatou Keïta, director; Norway, “What Will People Say,” Iram Haq, director; Pakistan, “Cake,” Asim Abbasi, director; Palestine, “Ghost Hunting,” Raed Andoni, director; Panama, “Ruben Blades Is Not My Name,” Abner Benaim, director; Paraguay, “The Heiresses,” Marcelo Martinessi, director; Peru, “Eternity,” Oscar Catacora, director; Philippines, “Signal Rock,” Chito S. Roño, director; Poland, “Cold War,” Pawel Pawlikowski, director; Portugal, “Pilgrimage,” João Botelho, director; Romania, “I Do Not Care If We Go Down in History as Barbarians,” Radu Jude, director; Russia, “Sobibor,” Konstantin Khabensky, director; Serbia, “Offenders,” Dejan Zecevic, director; Singapore, “Buffalo Boys,” Mike Wiluan, director; Slovakia, “The Interpreter,” Martin Šulík, director; Slovenia, “Ivan,” Janez Burger, director; South Africa, “Sew the Winter to My Skin,” Jahmil X.T. Qubeka, director; South Korea, “Burning,” Lee Chang-dong, director; Spain, “Champions,” Javier Fesser, director; Sweden, “Border,” Ali Abbasi, director; Switzerland, “Eldorado,” Markus Imhoof, director; Taiwan, “The Great Buddha+,” Hsin-Yao Huang, director; Thailand, “Malila The Farewell Flower,” Anucha Boonyawatana, director; Tunisia, “Beauty and the Dogs,” Kaouther Ben Hania, director; Turkey, “The Wild Pear Tree,” Nuri Bilge Ceylan, director; Ukraine, “Donbass,” Sergei Loznitsa, director; United Kingdom, “I Am Not a Witch,” Rungano Nyoni, director; Uruguay, “Twelve-Year Night,” Álvaro Brechner, director; Venezuela, “The Family,” Gustavo Rondón Córdova, director; Vietnam, “The Tailor,” Buu Loc Tran, Kay Nguyen, directors; Yemen, “10 Days before the Wedding,” Amr Gamal, director. The nominees will be announced January 22. There will probably be a shortlist before then.
  14. Earlier
  15. Buckeye Jones

    A&F Site News -- Please Read

    Whoa. Cool.
  16. kenmorefield

    Screener Interest List

    Hello everyone, I am interested in putting together a screener interest mailing list for people who would be willing to start (or continue) a film thread if they get an online or DVD screener. I get a lot of these (especially in fall) and there is no way for me to watch/review them all. I'm slowly reaching out to publicists to find which of them (who send me screeners) would be okay with comments being posted at Arts & Faith rather than my own film blog and which, if any would be okay with me directing interested writers to reach out to them or forwarding the e-screeners they send to a site-specific writer. These are mostly small, indie films, documentaries, world cinema, "Christian" films, but occasionally there are some notable ones. (Don't expect you are going to get an online copy of Star Wars, is what I'm saying.) If that's something that interests you, please send me a PM or e-mail. Ken
  17. Nick Alexander

    The Ninth Configuration (1980)

    Good review!
  18. kenmorefield

    Boy Erased

    The film offered some stats at the end about how widespread/common this is, but I did not write them down. Certainly, there could be some people that are, in principle, opposed but do little to stop or interfere with it, or who whose opinions are more or less informed based on what they know about it from second-hand. Those statistics would be complicated, I would think, by the inability to monitor(and thus accurately count) and the fact that it appears as though gay-conversion can be a catch all term that would cover a range of different practices. I thought the film was clearer than you apparently thought about
  19. Joel Mayward

    Recommended Books on Film (Any Topic?)

    It's been a few years since anyone posted recommendations here, and as I've been reading/skimming lots of film theory, film-philosophy, and film-theology books for my PhD research, I thought I'd post a few recommendations of more recent film-related books I've found beneficial or enjoyable. Cinematic Ethics: Exploring Ethical Experience Through Film, by Robert Sinnerbrink: Very interesting and well-researched book on cinema-as-ethics, uniting a variety of film theory approaches (Cavell, Deleuze, cognitivism, phenomenological) in suggesting that film aesthetically can do ethics, as well as provoke ethical change/transformation. The Soul of Film Theory, by Sarah Cooper: Cooper is presently the head of film studies dept. at King's College in London. She traces the notion of "soul" or "spirit" throughout the history of film theory, including both religious and non-religious film theorists. Filmish: A Graphic Journey through Film, by Edward Ross. It's basically Film Theory and History 101 in a graphic novel format, which makes it a perfect introduction to film theory for those interested in an overview, while also being able to look at Ross's illustrations of classic films. Film Worlds: A Philosophical Aesthetics of Cinema, by Daniel Yacavone. Lots of interesting phenomenological stuff here about how film creates and invites us into "worlds" which are both real and imagined, true illusions on screen. Dreams, Doubt, and Dread: The Spiritual on Film, edited by Zachary Settle and Taylor Worley. With a chapter by our very own M. Leary, this is the only recent film-theology book I've read which takes a full-on phenomenological approach. I like how it utilizes a "roundtable" discussion at the end of each section to have various authors discuss the themes. Really outstanding stuff overall. Any other film-related books people have been reading lately?
  20. BethR

    The Good Place

    Because everything connects to medieval studies if you look at it the right way (linked article contains SPOILERS for seasons 1-3 of The Good Place): The (Medieval) Saints and Sinners of NBC's The Good Place, by Matthew Gabriele
  21. Joel


    https://www.youtube.com/watch?v=bagwg_tXlhc I watched the whole thing. At first I thought it was funny, then I thought it was a really thoughtful and interesting meditation on or metaphor for marriage, then I thought it was an overwrought, badly written mess, and now I'm not sure what I think.
  22. kenmorefield

    What board games have you been playing lately?

    Just finished April of Season 2, so I'm about a 1/3 of the way through. It is a totally different game. Right now I don't like it as much as Season 1. The former had the advantage that, if you had played Pandemic, there were new wrinkles, but the objectives and mechanics were familiar enough to make you at least feel like you could make intelligent decision. Because Season 2 has an new premise (you are trying to supply existing cities while exploring the map) and connecting new citeis to the "the grid," I don't have a sense of which actions (or upgrades) are meaningful. To cite two examples, there are several "produce supplies" cards. (Think of those as like the Vaccine Factories in Season 1). You can discard a card to produce supplies at the supply center you are in or use the card to produce supplies in *every* supply center. But the latter can be used only a limited number of times and then you have to tear up the card. Will these cards become more or less important as the game goes on? Do they need to be saved and hoarded or do they just keep you from getting city cards which help you meet objectives? Ditto the randomness of "exposure." Instead of always getting a scar (and the third star kills you), each character has a bunch of boxes and if you are exposed, you rub off a box. The effect can be nothing, or it can be death. So how hard should you work to avoid exposure? (In S1, you always had the option of taking a non-rotational character and scarring him/her up with Self-Sacrifice.) Season 2, to this point is much, much harder. I've played through S1 two or three times, and I've always been close to the highest rating, usually around 11-3 or 12-2. Something like that. We're like 2-4 so far in this campaign. I've read non-spoiler threads at BGG that suggest this is much harder, though a small but vocal minority say it is harder to start and then "something" happens and it gets a lot easier. There's less pleasure involved, though, if you lose two months in a row and the Legacy deck just says "go ahead and open box so and so if you haven't already." In sum, I adore S1, but I just like S2 okay so far. Though I love the ideas of Legacy games. My friend is trying to write up rules for a campaign/legacy wrinkle to Marvel Legendary. Lot of kinds to be worked out, but I definitely dig the carry over from game to game. Since I've heard mixed things about Charterstone and mostly negative stuff about Seafall, Pandemic Season 1 is really the best bet for Legacy play.
  23. Jason Panella

    What board games have you been playing lately?

    Which season are you playing? I played season 1 on its release—it wasn't my favorite game, but it was hands down the best board gaming experience of my life. I've heard raves about season 2, but don't have a consistent enough gaming group to play it just yet.
  24. Peter T Chattaway


  25. Anders

    The Ninth Configuration (1980)

    I finally saw this film this past spring (during Lent) and immediately fell in love with it. So, despite have seen the first couple seasons of The Walking Dead, it was The Ninth Configuration that I first thought of when I heard of Scott Wilson's passing. I want to revisit this film now (I saw it on the streaming service MUBI, so I don't have a Blu-ray/DVD copy of my own). It really is wonderful. I had this to say about it when I watched it in the spring. https://3brothersfilm.com/blog/2018/3/30/review-the-ninth-configuration-1980
  26. Anders

    2018 Arts & Faith Ecumenical Jury

    I'm happy to join in again.
  27. Buckeye Jones

    The Good Place

    This show is really good. Perfectly cast. Like Lost, though, it needs to ensure it’s working to an end.
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