Archive
THEATRICAL REVIEW – Rogue One: A Star Wars Story
Directed by: Gareth Edwards
Produced by: Kathleen Kennedy, Allison Sheamur, Simon Emanuel
Screenplay by: Chris Weitz, Tony Gilroy
Story by: John Knoll, Gary Whitta
Edited by: John Gilroy, Colin Goudie, Jabez Olssen
Cinematography by: Greig Fraser
Music by: Michael Giacchino
Starring: Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, Jiang Wen, Forest Whitaker, Genevieve O’Reilly, James Earl Jones, Valene Kane
Based on characters and concepts by George Lucas
Year: 2016
Disappointment. No, that’s not my reaction to Rogue One. Heck no! But it was the general consensus I gathered from people after they were told that the 2016 Star Wars film was not a follow-up to last year’s The Force Awakens but rather an ominously pre-A New Hope film that was mostly independent from the Skywalker family and friends’ saga. Most of that was just because they were eager to see that story continue, but, for some, there was also an added level of scorn for a film they seemed to consider… illegitimate. Which is unfortunate, as Rogue One, in both style and focus, is a much more important and bolder move forward for Disney and their still nascent new property, signaling a promising future for the franchise that isn’t beholden to repeating itself for the sake of nostalgia and familiarity. Read more…
REVIEW: The Passion of the Christ
Directed by: Mel Gibson
Produced by: Bruce Davey, Mel Gibson, Stephen McEveety, Enzo Sisti
Screenplay by: Mel Gibson, Benedict Fitzgerald, William Fulco (translation)
Edited by: John Wright
Cinematography by: Caleb Deschanel
Music by: John Debney
Starring: Jim Caviezel, Maia Morgenstern, Monica Bellucci, Hristo Zhivkov, Francesco De Vito, Luca Lionello, Hristo Shopov, Rosalinda Celentano, Claudia Gerini, Fabio Sartor, Luca De Dominicis, Mattia Sbragia, Chokri Ben Zagden, Toni Bertorelli, Jarreth Merz, Sergio Rubini, Sabrina Impacciatore
Year: 2004
It’s been 12 years since Mel Gibson’s adaptation of the gospels’ account of Jesus Christ’s crucifixion, which would go on to divide audiences over its theology, brutal violence, and even accusations of racism (which were later vindicated when the director’s own demons made their very public appearance soon after the film’s release). Each Easter since I’ve started this blog, I have thought about doing a review of this film, and each time I held back because I simply was not in the mood, nor did I think I had the stamina, to endure this film again. This year, I don’t really know what’s changed – perhaps it’s the political climate and the fact that so many people are willing to marry their faith to their political stances, and I’m feeling particularly opinionated, perhaps it’s the Tyler Perry modern day musical retelling on TV, or perhaps it’s simply to get this annual inner debate in my head over with already – but, yeah, I decided that now was time to review one of the most famous and infamous Christian-targeting films of all time. Read more…
REVIEW: Tokyo Godfathers
Directed by: Satoshi Kon, Shogo Furuya
Produced by: Masao Maruyama, Masao Takiyama, Shinichi Kobayashi, Taro Maki
Written by: Satoshi Kon, Keiko Nobumoto (screenplay); Satoshi Kon (story)
Edited by: Takeshi Seyama
Cinematography by: Katsutoshi Sugai
Music by: Keiichi Suzuki, Moonriders
Starring: Aya Okamoto, Toru Emori, Yoshiaki Umegaki, Satomi Korogi, Shozo Iizuka, Seizo Kato, Hiroyama Ishimaru, Ryuji Saikachi, Yusaku Yara, Kyoko Terase, Mamiko Noto, Rikiya Koyoama
Year: 2003
It’s funny how so many Christmas movies are about rich, good-looking people celebrating this time of giving together and learning life lessons and/or finding love together. You would think that more movies would focus on those who are most in need, right? I think the problem is that somewhere in the movie making system, someone thinks that nobody wants to watch a story that might potentially depress them during a time of year when a lot of people actually are struggling and suffering, and so instead we get tripe like The Family Stone, wherein a rich awful family emotionally tortures a rich career woman who is dating their golden boy son in the confines of their ideal home, and somehow we’re supposed to grow to like these snobs. (I thought of reviewing the film this year, but I gave out so many negative reviews, I couldn’t possibly bring myself to subject you and me to that, so let this be a little teaser, perhaps, for next year.) Read more…