Monthly Archives: November 2011

Armond White and Jack and Jill

Armond White, former critic of The New York Press and now editor and critic at City Arts, has long been accused of being the worst film critic on the planet, as well as a troll and contrarian.

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Into the Abyss Review

The captivating film takes us into the endless depths of the human soul as it explores life, death and everything between.

Read my full review @Paste.

In Time Review

With its clunky script and unsound message, In Time could be the work of an overambitious adolescent who just discovered a book on wordplay and the dystopian literature section in the library.

Read my full review @Paste.

The Two Natures of God in The Tree of Life

Terrence Malick’s The Tree of Life, in its broadest sense, transposes the gospel narrative. Through three stories that together cover creation, fall and redemption—specifically via Jesus Christ as a didactic church scene suggests—the film ultimately states that humankind can only find hope and life in a reconciled relationship with creator God. Continue reading

The Big Year Review

If you’ve seen the trailer for The Big Year, you’ve basically seen the movie. As the preview suggests, the new family comedy hinges on a limited supply of cheesy jokes and a stellar cast that couldn’t be any less stellar.

Read my full review @Christianity Today.

The Way Review

For a self-proclaimed spiritual film, Emilio Estevez’s The Way proves to be, well, not so spiritual.

Read my full review @Paste.

Moneyball Review

Beane’s character keeps Moneyball from ever becoming the big, moving film that it tries so hard to be.

Read my full review @Paste magazine.

Warrior Review

Despite some missteps, the film’s strong performances, sharp humor, and big heart—not to mention several compelling action sequences—make it no masterpiece but one of the most surprising movie feats of the year.

Read my full review @Christianity Today.

Contagion Review

The problem is, once all the thrills and chills finally wear off, we’re left empty—with nothing to contemplate and no emotion for the millions of people we’ve just seen killed on the screen. For that, Soderbergh’s film proves to be fine entertainment but terribly lifeless.

Read my full review @RELEVANT Magazine.

The Debt Review

It muddles the very message it seeks to unpack, trading moral value for entertainment value. And it’s that contradiction that keeps the film from creating the kind of vigor it longs for.

Read my full review @Paste magazine.

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