DC Talk's “Jesus Freak” articulated the way the evangelical church thought of itself: scorned by mainstream culture and the victim of violence rather than its agent.
Visit art galleries and museums and one thing is obvious: There's no subject not being tackled by one or more artists. Well, maybe one subject: religion
Watching Michael Keaton in “The Founder,” you might not like him, but you “get” him. Meanwhile, the remarkable women depicted in “Hidden Figures” deserve better.
'Manchester' captures the drift and flow of daily life and conveys its pungent poetry. Denzel Washington brings August Wilson’s 'Fences' to the screen with skill.
Cinematic in style, leisurely in pace, and preposterously farfetched in narrative premise, "The Young Pope" is by its creator's description also about solitude.
"La La Land" pays tribute to, and revives, the glittery, glamoury musicals of the 1940s; "Silence" is a kind of breakthrough for Martin Scorsese: a new quiet.
"Loving" avoids the impersonal feel of most docudramas; it is a movie of soft voices in homely settings. History is made without cinematic exclamation points.
If you were to judge plein-air painting by the societies that specialize in, and set rules for, painting outdoors, you might think it a highly fussy field of art.
Martin Scorsese talks about apostasy and faith, and how some of the films he's made (and some he's influenced by) have taken up these ideas in different ways.
Martin Scorsese talks about the challenges of filing a story set four hundred years ago, the similarities between Endo and Graham Greene, and the idea of vocation.
The director talks about growing up on the Lower East Side, his early dream of making a film about Jesus in New York City, and what led him to Endo's "Silence."
The rewards for close attention to every scene and shot in "Moonlight" are the same as those for any patient reading of Henry James serpentine sentences.
"Denial" comes off as preachy, obvious, and severely limited; it gets the basics of the story told, but little more. Even the stronger moments fall strangely flat.
As a Catholic, O’Connor believed that the physical, perceptible, photo-graphable world is always pointing toward a larger and more enduring metaphysical reality.
Twice on this trip home to Virginia, Douglas had drifted toward a wrong exit and now she had the wheel. She suspected he was more hung over than he admitted.
Sixty-five works on display in a recent exhibit reveal the Le Nains’ excellence in religious work and genre scenes, mythological allegory, and portraits.
In an oval world where / points of view are eye-shaped, / out of a round world, helpless, / where even the hamburger has/ an accredited helper, dirt cheap...
