“Wildcat,” the new film by Ethan Hawke about the life of Flannery O’Connor, is not your typical biopic, a fact that seems entirely appropriate since O’Connor is not your typical writer.
Film
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Review: With ‘Killers of the Flower Moon,’ Martin Scorsese won’t absolve America of its original sins
“Killers of the Flower Moon” makes a case that 80 is the new 30: Martin Scorsese, the most prominent of American auteurs and champion of film history, continues as an octogenarian to explore and expand the possibilities of the medium and scour his own soul.
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You won’t have any clue what Catholic exorcists do after suffering through ‘The Exorcist: Believer’
Why can’t Hollywood reinvent ‘The Exorcist’? Money, lots of it, can be the only reason why any studio would invest in this franchise.
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A new horror film that understands evil better than ‘The Exorcist’
‘The Exorcist’ has popularized a trivial, superficial picture of the Christian understanding of evil.
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‘Barbie’ and ‘Oppenheimer’ have more in common than memes. They’re both about forgiveness.
Neither Barbie nor Oppenheimer directly apologizes or asks for forgiveness, and neither can truly dismantle the damage they have done.
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Review: ‘Barbie’ is a film by women, about women, for women.
Greta Gerwig has made a movie as layered and paradoxical as the reputation of Barbie itself.
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‘Oppenheimer’ is a pitch-dark American nightmare. We cannot look away.
“Oppenheimer” is both a startling re-examination of American history and a bleak warning about the nuclear age.
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Review: ‘The Miracle Club’ takes a very Irish tour of Lourdes
In ‘The Miracle Club,’ Maggie Smith and Kathy Bates do not expect quick cures at Lourdes, and viewers should not expect a perfect film. But there are some surprises among the clichés.
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Why isn’t Indiana Jones going to daily Mass?
This man has seen the Ark of the Covenant melt faces and the Holy Grail grant eternal life. Wouldn’t that convert even the most ardent atheist?
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Interview: ‘Miracle Club’ director on Lourdes, Irish guilt and the power of reconciliation
In ‘The Miracle Club,’ Thaddeus O’Sullivan is unafraid to explore more serious topics, such as abortion and suicide, and to reckon with the lingering effects of communal grief.