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Author: kenmorefield
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Manuscripts Don’t Burn (Rasoulof, 2013)
The setting of Manuscripts Don't Burn may be painstakingly specific, but its themes are broad, perhaps even universal. How much are we willing to risk, to sacrifice, for freedom of speech? Why does one act of violence seemingly begin a never ending chain?
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22 Jump Street (Lord & Miller, 2014)
For now, I'll will just say that my defense of 22 Jump Street is nearly identical to my defense of Moms' Night Out. You can make a list as long as my arm of things wrong with the movie, and I won't disagree. But I laughed.
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Jack Ryan: Shadow Recruit — Now Available on DVD
The new Jack Ryan doesn't so much have greatness thrust upon him as shoved down his—and our—throat.
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Kids’ Rights: The Business of Adoption (Dudko and Rudnieva, 2014)
A new documentary claims that there are over 132 million orphans in state custody. In a given year, less than 1 in 500 of them will be adopted. Are restrictions against perspective parents too rigorous? Why are those willing to parent being turned away?
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What does the motto “Inconspicuously Christian” mean?
By choosing “Inconspicuously Christian” as a motto for this film blog, I hope to signal two things...
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Hello — Is it me you’re looking for?
Blogs and bloggers come and go. According to one source, even by 2006, Technorati’s Top 100 blogs had an average age of 33.8 months. The implication is clear. Longevity and… Continue reading "Hello — Is it me you’re looking for?"
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Sleeping Beauty (Geronimi, 1959)
In my memory, I have always falsely grouped Sleeping Beauty with Disney's animated features from the 1940s: Pinnochio, Fantasia, Dumbo, and Bambi.
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No God, No Master (Green, 2012)
Nobody in No God, No Master actually utters the phrase "those who forget the past are condemned to repeat it," but that sentiment is the subtext of nearly line of dialogue in this historical drama about the Palmer Raids.
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Locke (Knight, 2014)
It is a good movie, certainly, and it is not writer/director Steven Knight's fault that we live in an age that appears only to recognize two critical verdicts: awesome or awful. There is less room in the conversation for the good, modest movie.