As a young Bob Dylan in “A Complete Unknown,” Timothee Chalamet captures some of the iconic singer’s enigmatic yet magnetic personality.
Film
Posted inArts & Culture, Catholic Movie Club
‘The Muppet Christmas Carol’ and the importance of keeping Christmas throughout the year
That idea of “keeping Christmas” is an invitation and a challenge to consider what Christmas really means to us.
Posted inFaith, The Good Word
You can’t make Christmas magic. It’s all grace.
No one can manufacture Christmas, make Christmas magic. Christmas is not compelled by effort or technique. No, there is only Christmas grace.
Posted inFaith, Podcasts
Could the plot twist in ‘Conclave’ actually happen?
On “Jesuitical” this week, Zac and Ashley chat with Colleen Dulle, co-host of the “Inside the Vatican” podcast, about how realistically the new film “Conclave” portrays the process of selecting a new pope.
Posted inArts & Culture, Film
Review: In ‘The Brutalist,’ a Holocaust survivor encounters the (very) dark side of the American Dream
“The Brutalist” harkens back to a golden age of bravura filmmaking while pushing forward toward new cinematic possibilities through provocative storytelling.
Posted inArts & Culture, Catholic Movie Club
Faith on film: ‘Miracle on 34th Street’ is about believing without proof
We have all heard that “blessed are those who have not seen and have believed.” “Miracle on 34th Street” suggests that we must believe in order to see.
Posted inArts & Culture, Your Take
Your Take: Is ‘Conclave’ worth seeing for Catholics?
Readers react to a papal election on the big screen.
Posted inArts & Culture, Film
Review: ‘Mary’ on Netflix presents the Virgin mother with an edge
“You may think you know my story,” says Mary, having galloped into the movie on horseback. “Trust me. You don’t.”
Posted inArts & Culture, Explainer
‘Conclave’ explainer: Could that twist ending really happen?
How realistic is “Conclave”? A canon lawyer weighs in.
Posted inArts & Culture, Film
In ‘Gladiator II,’ spectacle comes first
The pacing of “Gladiator II” says a lot about what Ridley Scott’s priorities were for this film: spectacle, immersion, pure feeling.