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  2. Ready Player One

    I suppose I had that one-liner coming.
  3. Ready Player One

    Based on what little I know of you, I expect you would probably hate it.
  4. Ready Player One

    Happy you liked it. I'm also a child of the 80s and had an Atari 2600.... and yet the trailer still underwhelmed me. I also have a fandango coupon for a (mostly) free ticket. And yet... that trailer still underwhelmed me, and my time is precious. On the fence.
  5. Mary Poppins Returns

    Well, move it. The search function of this board is ridiculous.
  6. Ready Player One

    teven Spielberg dropped by Austin last night to introduce the film, which was both pretty terrific and total fan service. Should make a gazillion dollars. My review.
  7. Top-grossing films by female directors

    Just a quick note to say that I updated the list above to include Pitch Perfect 3, which has grossed over $100 million in North America. Time will tell whether A Wrinkle in Time joins that list. It made an estimated $33.3 million this week, which is the 15th-biggest opening weekend (as far as I can tell) of any film (co-)directed by a woman, and the 10th-biggest opening weekend of any film directed *solely* by a woman, but appears to have been smaller than the studio had hoped. 2017 Wonder Woman (dir. Patty Jenkins) $103.3 million 2015 Fifty Shades of Grey (dir. Sam Taylor-Johnson) $85.2 million 2008 Twilight (dir. Catherine Hardwicke) $69.6 million 2012 Pitch Perfect 2 (dir. Elizabeth Banks) $69.2 million 2013 Frozen (co-directed) $67.4 million 2012 Brave (co-directed) $66.3 million 2009 Alvin & the Chipmunks 2 (dir. Betty Thomas) $48.9 million 2011 Kung Fu Panda 2 (dir. Jennifer Yuh Nelson) $47.7 million 2004 Shark Tale (co-directed) $47.4 million 2001 Shrek (co-directed) $42.3 million 2016 Kung Fu Panda 3 (co-directed) $41.3 million 1998 Deep Impact (dir. Mimi Leder) $41.2 million 2009 The Proposal (dir. Anne Fletcher) $33.6 million 2000 What Women Want (dir. Nancy Meyers) $33.6 million 2018 A Wrinkle in Time (dir. Ava DuVernay) $33.3 million 2014 Unbroken (dir. Angelina Jolie) $30.6 million 1998 Doctor Dolittle (dir. Betty Thomas) $29.0 million 2008 Mamma Mia! (dir. Phyllida Lloyd) $27.8 million
  8. Earlier
  9. Pixar: The studio, its history and process

    COMMENTARY: Why Did ‘Coco’ Producer Darla K. Anderson Ditch Pixar Just Days After Winning The Oscar? The timing of Anderson’s exit raises new questions about what is happening right now internally at Pixar. Even Brenda Chapman, who left Pixar following the release of Brave, waited for one month after her film’s theatrical release before exiting. So, it’s extremely telling that Anderson, a staunch Pixar loyalist who was known by people at the studio to be extremely protective of the company brand, had planned to leave immediately after the end of Oscar season. . . . While it’s unlikely that Anderson will speak anytime soon about why she chose to leave Pixar (she has also demurred on adequately addressing Lasseter’s actions), it would not be surprising to see other longtime Pixar upper brass follow the same path. That’s because one of the most damning revelations that has emerged out of the entire sordid Lasseter scandal is that his “missteps” were widely known to people who worked at the studio, and the studio’s management spent years protecting Lasseter at the expense of his victims. . . . Anderson’s Pixar career may or may not be collateral damage of the Lasseter scandal, but her decision to sever ties with the company at the first convenient moment, not to mention the ringing endorsements from Disney brass, suggest that there’s more to the story. Whatever her particular situation may be, other Pixar careers will almost certainly come undone before the Lasseter drama has ended. Cartoon Brew, March 9
  10. Back to High and Low: *spoiler alert* I was really intrigued by that final scene in a way that strongly pulls me back to revisit it. The superposing of the faces of the 2 men (Gondo and the criminal) is striking. It makes me think of what those 2 men may actually share even in spite of the dramatic class gulf between them. Of course we know that Gondo by this time is no longer in the rich, lofty social class that he once was. Perhaps a partial closing of this social class gap is suggested here. Even more fascinating to ponder, though, is the possibility that this shot suggests Gondo is not as far from the guilt and condemnation of the criminal as it may seem at first. We recall that, were Gondo to have not opted to pay a ransom for the boy's life, he may have spent a life of somehow sharing in (or at least condemning himself) the guilt of the boy's murder. 2 faces, superimposed on one another. Both human and both not far from the tormented, guilt-wracked cries of that final scene. Ah, for the grace of God to break in..
  11. Great idea! I'd be up for that or a similar category -film maybe, say, in April. I would try to join the discussion if you started a thread in a few weeks, Rob.
  12. Mary Poppins Returns

  13. Thank you for sharing this Phlox as you passed through here. I had no idea this film was made or was being made. Both of them anyway. I will be on the look out for them. God bless.
  14. Rob, Thank you for this. thank you for sharing. I truly appreciate your insight and thoughts. What you shared is important. Sometimes things can be fluffy and sugar coated (not in a good way) where the preaching can be too much and take you out of the story. I firmly believe that it is important to allow the audience to ask the question what would I do? Would I survive that? Would I do that? For me films and movie (there is a difference) are still about escaping the reality of the world and going on an adventure, watching someone overcome obstacles and challenges (personal or physical) and in the end we are left with hope. Hope for better days to come. Many of the films you mentioned reflect this. And they are timeless. This is another aspect that is the art of making a film or movie. Making it timeless. The way to do this is by creating a relationship between the audience and the main character. Just like God has created us and each of us are in our own movie in someway being watched by those in Heaven above. Being witnesses to those around us here on Earth. God is the master of creating relationship. Isn't he? So cinema and art depicts life... doesn't it? Thanks again for your response.
  15. It looks like the latest biblical movie being released for this Easter season is not the Mary Magdalene biopic (not in the US anyway) but a new film on Paul -- http://www.paulmovie.com/site/ (I see Peter has a thread on this) Probably too much violence for me to watch, but would like to hear how Paul and Luke are portrayed, how their mission is interpreted, etc
  16. Mary Poppins Returns

    Opening Christmas 2018. First teaser-trailer is here.
  17. Oscars 2018: Best Director

    After Alfonso Cuarón and Alejandro G. Iñárritu won Best Director back to back in 2014 and 2015, I jokingly predicted that Del Toro, the third of the “Three Amigos” Mexican Hollywood directors, would win the following year for Crimson Peak. And after Emmanuel Lubezki won Best Cinemetography for both Gravity and Birdman, I predicted he’d win a third time in a row, which he did for The Revenant, which also won Iñárritu a second Best Director in a row. I though my joke was surprisingly accurate. I guess this seems like it will actually be Del Toro’s year.
  18. I know it’s been a while, but I thought I’d weigh in and respond to your questions, Bryce. I’d second all the films recommended in this thread so far (that I’ve seen) and also Overstreet’s book. I think that defining these terms and categories is both really important and highly fluid in that people mean different things by terms such as spirituality, religion, and faith. I’m not sure what you had in mind but I’ll give it a shot. Forgive me for being a little abstract here, but I’m hesitant to use more conventional language. These are not philosophical ideas I came up with myself.I understand the world—and the human person—as an integration of aspects of meaningfulness created by God and through which God upholds all existence and is revealed and by which we and everything else have knowledge and function in every way we do. That whole integration can be oriented toward God or away from God (toward something in the creation—idolatry), likewise specific actions focused in particular aspects of life. That wholeness and integration is what I think is most important in our relationship with God. Films that are actively wrestling with this are what interest me most, as a Christian and as a person. This is what I consider to be spiritual or religious. One of these universal “aspects” has to do with trust, with faith you might say, with that ultimate orientation of our personhood. And certain institutions and traditions (like churches and “religions”) have arisen to be authorities in this aspect of life to help orient us to God (or they fail to. And I don’t think that this is limited to Christianity. I believe other faiths do as well, although I do believe Christianity ultimately holds the true story of God and the world.) It’s inseparable from the other aspects, of course. And it’s also different from faith defined as belief in certain things being the case (like God’s existence). I think that kind of faith inherently decenters God and centers on the human will in idolatrous ways. And I find most faith based genre films to do that. You might be interested to hear the perspective of writer/director Paul Schrader from this talk at the 2017 Toronto film festival. He has a thing or two to say about faith based films. He talks about (and this is in part my take on Schrader) the HOW of film being more important as the WHAT regarding spirituality and the experience of the transcendent in film. And he finds that films that “lean away” from audiences through intentionally difficult and distance-producing techniques (including boredom) force the viewer to lean into the film’s world and find the mystery that is always there, usually just beneath the surface. This is basically what Overstreet said in this thread earlier. Other films (most all films, including faith based films) actively tell the viewer how to feel, how to think, how to believe. And in doing so any sense of mystery or spiritual depth focus gets lost or is actively ignored. The final response in the Q&A also gets at this. I am not as cynical as Schrader about religion itself, but I think what he says about religion in general does apply to faith based films. C.S. Lewis talks about being willing to surrender yourself to the world of an artwork, and only after you’ve done that to be able to critique the work. I find that when I surrender myself to the world of faith based films, I find them to be utterly fraudulent depictions of reality—human, divine, and otherwise. Most of the films on the A&F Top 100, though, I find to draw me more deeply into reality, including the presence of the Spirit. Of course there are films on the list that I ultimately find to be at odds with my faith, but are such astute observers of human nature or articulate what is wrong so well, that I find them helpful nonetheless. Films whose vision of the world I find that I can submit myself to and emerge with my spirituality or my connection to God via the world strengthened are the kind of films I like. And these are more often the kinds of films that employ the distancing “transcendental style” Schrader describes. But not always. I find several films that are fairly conventional but have religious themes to have strengthened my faith as well (Chariots of Fire, The Mission, Sophie Scholl, A Man for All Seasons, others on the Top 100). Might these be the faith themed films of which you speak? They aren’t "faith based" but they strongly engage (and affirm) issues of faith. A film near the top of the Top 100 list that profoundly affected me and even impacted my faith positively, and did so by drawing me into its world (by formally receding from my expectations), is Ordet. It’s faith themed but also engages with that full integration of humanity I was talking about earlier. But another film, actually the most recent film I’ve finished so it’s fresh with me, that has little to do with “religion” on the list is the Japanese film Eureka. It’s achingly slow but also achingly beautiful, and portrays the deep, deep ache of human brokenness. This film taught me something about being made in the image of God and the fact that that image can be and is hugely distorted, but is also capable of healing. Those are Christian truths, and this film spoke those truths in the language of film (rather than the language of “faith”). (By the way, I’ve seen most of the films on the Top 100 by now, and Eureka is one I’d recommend but not eagerly or to most casual film-watchers. It’s difficult on many levels.)
  19. Mary Magdalene biopic

    The North American distribution is up in the air because of all the Weinstein Company problems, but the UK distribution is being handled by Universal, and the film is set for release there on March 16. You should be able to see it.
  20. I Can Only Imagine

    Front page article from the North Carolina Baptist paper, the Biblical Recorder (which I receive as a courtesy as a faculty member at a sort of Baptist university): So, somebody wants to see this movie.
  21. Mary Magdalene biopic

    I do plan on seeing this if it plays near me in Scotland. But who knows? Sounds like its distribution has been up in the air for awhile now.
  22. Good point. Here's Part 2. Read the write-ups at Image; our list and jury members' honorable mentions are listed below: The Top 10: 1) The Unknown Girl 2) The Salesman 3) The Florida Project =4) Personal Shopper =4) The Lost City of Z 6) Graduation 7) A Quiet Passion 8) Mudbound 9) Columbus 10) mother! Honorable Mentions: Anders Bergstrom (3 Brothers Film)—Blade Runner 2049 Josh Cabrita (MUBI Notebook / Cinema Scope)—First Reformed Peter Chattaway (FilmChat)—Marjorie Prime Evan Cogswell (Catholic Cinephile)—Lady Bird Steven D. Greydanus (National Catholic Register)—My Happy Family Christian Hamaker (Crosswalk)—Only the Brave Josh Hamm (Freelance)—Song to Song Gareth Higgins (The Porch / Movies & Meaning)—Endless Poetry M. Leary (Filmwell)—Last Flag Flying Noel T. Manning (Cinemascene)—Logan Joel Mayward (Cinemayward)—Dunkirk Kenneth R. Morefield (1More Film Blog)—The Work Jeffrey Overstreet (Looking Closer)—The Breadwinner Kevin Sampson (Picture Lock)—Get Out Melissa Tamminga (Seattle Screen Scene)—24 Frames
  23. My Brother's Wedding

    Link to the duplicate thread.
  24. I Can Only Imagine

    I listened to the song for the first time a couple months ago, and found myself wondering why it was evidently such a big deal. (The song came out after I stopped listening to CCM, but my evangelical and ex-evangelical friends who are a decade or two younger than me say it was impossible to get away from this song when they were growing up.) To my ears it sounds like generic CCM... though I admit it lingered in my head for a few days afterwards.
  25. Mary Magdalene biopic

    My sister rolled her eyes when I showed her the trailer and it ended with Rooney Mara saying "I will be heard" in such a faint, breathy voice that you could barely hear it. The reviews seem to indicate that the whole film is kind of like that, which is a shame.
  26. The Miseducation of Cameron Post

    Rob Z wrote: : I know the word “struggle,” when used by Christians, can signal to many people a certain stance on all this that might not be intended. I don’t mean to minimize the struggle many people have with their sexuality, including with to whom they are attracted. But I’ve also read books by gay Christians (such as Tim Otto and Eve Tushnet, both of whom are celibate—if that’s even relevant) who experience same-sex attraction much more structurally—not as a struggle but as neutral or just a part of them, a gift even--and struggle more with things that are imposed on them by those who are well-meaning but misguided (not to mention those who intend to put them down, for that matter). Oh, I was totally prescinding from making any assumptions about the *kind* of "sexual-spiritual struggle" that people might be going through. (Some people might be struggling more with the sexuality, others more with the spirituality, etc.) But no one invokes a concept like "praying away the gay" unless they are engaged in *some* sort of struggle -- though I suspect those who *are* engaged in that sort of struggle would use less-glib terminology to describe their struggle. (Just to bring this full circle!) Anyway, yes, quote marks can mean all sorts of things. The phrase might appear in the film, in which case we'd need to know how it is used before we could make any sort of comment on it. Or the phrase might have been used by the critic only, and the fact that he put it in quotes signifies that he's using an expression without necessarily endorsing it. It's just been my experience that the expression is only used by people who put the expression in quotes, if I can put it that way, and I'm curious to know if any of the characters within the film use that phrase -- and, if so, whether they put it in quotes too, so to speak.
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