I don’t usually write about movies without theoligizing them in some way. But reading the exit surveys and instant reviews for Rian Johnson’s The Last Jedi sparked enough contemptible polarization, even among those I’m close to, that I felt compelled to speak into the middle of it all. My goal is not to convince you to like this latest addition to the Star Wars saga. I would say that wasn’t even Johnson’s point.
The more time that’s elapsed between me and going to the theater and watching Dunkirk, the more I appreciate it. I am grateful for what this film stands for and for what Nolan accomplished through it. Since 2005’s Batman Begins, I’ve been an ardent Christopher Nolan apologist, as it were, so my perspective on his films is probably a little biased (okay, maybe a lot biased).
Full disclosure, right out of the gate, I don't intend to turn this corner of the Internet into some pretentious commentary on modern cinema and its true or false gospel undertones. It just so happens that the last few films I've seen, including Rogue One, have impacted me greatly.
Chris Stuckmann warned me that upon watching Denis Villeneuve’s Arrival, it’d take weeks — at least — to formulate one’s opinions of the film. The wildly popular and divisive film from the director of Sicario seeks to bring the viewer to his knees through compelling storytelling and convincing emotion.
As an avid movie-goer, one of the ways Scripture comes alive for me is to picture the stories as if they were scenes and beats from a live-action movie. Visualizing the text of Scripture in this manner yields better apprehension.
If you know me in the least, then you know of my fondness for the 2010 film Inception. Christopher Nolan’s enigmatic opus is perpetually rewatchable and endlessly compelling. I still remember watching Inception in the theater. The entire experience was breathtaking.
If you are as ardent a fan of The Office as me, you’ll no doubt agree that the show took a serious downturn once acclaimed actor Steve Carrell said his goodbye after Season 7. The actor left to focus on feature-length films instead of the quirky “mockumentary” style of The Office.