Where Was God? (Palmer, 2014)
We call natural disasters "Acts of God," but we struggle to square them with our providential worldview.
Category: Disclosure
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Misery Loves Comedy (Pollak, 2015)
The relationship between suffering and comedy is hardly an unexamined one. Think for a moment: what do we mean by comic "relief"? Relief from what?
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Mad Max: Fury Road (Miller, 2015)
Fury Road has set a high bar for action films: fully realized world, fully fleshed out characters, fantastic performances, and breathtaking visuals, all going full steam ahead without wearing the audience out
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Noble (Bradley, 2014)
The problem is that Noble is so respectful of Christina Noble that its respect veers into awe. That's not an emotion productive of great works of art.
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Eat With Me (Au, 2014)
Mom moves in with gay son and they cook dumplings.
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Homeless (Hassler, 2015)
If the quickest metric of a directorial debut is to which films it invites comparison, the news about Clay Hassler's Homeless is very, very good.
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Because I Was a Painter (Cognet, 2014)
In contemplating art by concentration camp survivors, this austere yet affecting documentary offers a novel contribution to our understanding of the Holocaust.
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24 Days (Arcady, 2014)
A terrifying kidnapping for ransom raises fears about renewed anti-Semitism.
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In Country (Attie and O’Hara, 2014)
War reenactment…huh…yeah…what is it good for? “Possibly something,” is the reply emanating from this documentary tracking a group of Vietnam War reenactors in Oregon.
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(Dis)honesty: The Truth About Lies (Melamede, 2015)
A famous G. K. Chesterton quote states, "Men do not differ much about what things they will call evils; they differ enormously about what evils they will call excusable."