Karen Kilby, Luke Timothy Johnson, and Bernard G. Prusak reassess Terrence Malick's 'The Tree of Life.'
Our problems with 'The Tree of Life' are likewise problems with Malick’s peculiar cinematic language.
There is no mistaking Malick’s theological intentions, nor for that matter the academic credentials he possesses to make such an effort.
One way of understanding Malick's film is as an attempt to present a vision of, precisely, everything.
'Captain Phillips' is thoughtful and electrifyingly exciting; 'All Is Lost' is Sisyphean hopelessness but also a Sisyphean defiance.
In this film slavery creates a hell in which everyone burns—blacks and whites, men and women, victims and victimizers, the well-intentioned and the malevolent.
As tearjerker banalities and bromides play out, on the visual side 'Gravity' compensates with a display of nearly overwhelming beauty and power.
'Prisoners' is a very good movie -- but not the minor masterpiece it should have been.
John Ponsoldt avoids triteness and makes you care; Cate Blanchett's operatic and annihilating performance makes Woody Allen's newest film a keeper.
Among the virtues of Ryan Coogler's film "Fruitvale Station" is the way he shows how numerous definitions of the word "tragedy" may apply.