With “A Hidden Life,” the writer and director Terrence Malick set himself a bold and perhaps impossible task: using all the visual resources of film to represent faith itself.

A Christie parody for Trump’s America, where the embodiment of chastising justice isn’t the detective but the scapegoat, is a strange, potentially powerful concept.

Healing teeth can be a first step in restoring hope and giving us a chance to tell a new story with our lives.

What is the point of horror movies if they end up as commencement speeches?

Pasolini called “Salò” his first film “about the modern world.”

Here are eight films in which Catholic horror speaks in less familiar accents, films I have never seen on other Catholic horror lists.

The event that takes place in “The Devil’s Doorway,” a horror film from the Irish director Aislinn Clarke, may or may not be a miracle—but it exposes a truth about who we are, we who crucified Christ.

“Us” treads some of the most trampled ground in contemporary horror: 1980s nostalgia; guilt and rage over inequality.

Where can someone who sincerely wants to repent and atone find guidance or models for apologizing well?

"The Song of Bernadette" follows a classic horror-film structure in order to make a theological point that could not be more urgent.