Silence is in awe of the faithful and seeks a place among them.
Undergirding all this strange, science-fiction mayhem is a philosophy that would make Anonymous proud.
While the story line itself is enough to convince us that the Monster is right about Connor, it is the cinematography that makes us feel Connor’s existential impasse.
The film’s unique epilogue serves as a poignant reminder that neither Mia nor Sebastian achieved their dreams without significant sacrifices along the way.
Paterson is not spectacle. It is a poem. It has rhythm and repetition. It is an exercise in the practice of Selah.
Things to Come is a hopeful vision of true empathy, earned and not manufactured.
Performance art, on a stage or captured on film, is one of the most meaningful ways of observing human experience. We need more authentic expressions of real humanity, and Fences is one of a handful of great films to do that in 2016.
There isn’t a true villain in Sing, which forces the conflict in the film to be centralized around each animal’s inner struggle to perform to the best of their ability.
Passengers is WALL•E meets Groundhog Day.
Cameraperson is concerned with innocence and goodness and justice; with the terrible things that assail what is good; with the ways what is good persists in the presence of injustice. Cameraperson searches for what to call that persistence.