“One of the things I really see happening is as Christians in America, evangelicals are losing their cultural dominance, and I see a lot of fear associated with that. I see a lot of anger. I guess that’s almost like a god of dominance,” Midgett said. “And that’s in contrast to the god of suffering, the god who comes as a servant to die for us. Those two things are really two completely different paradigms.”
Taken purely as entertainment, Jeff Nichols’ film Midnight Special is a smart, tersely constructed sci-fi adventure in the vein of classics such as E.T. and Close Encounters of the Third Kind. That it aspires to those heights alone (and it comes very close) makes it worth seeing. But what makes Midnight Special great is that it’s also a film about belief, or the desire to believe — one that advocates for sacrificial love over fear and control, and is content with asking more questions than it answers.
Isn’t it time we stopped assuming every security guard, every pilot, and every lawyer on a screen should be a man? What if Hispanic women got parts other than being someone’s nanny or housekeeper? What if black women won Oscars for playing substantial characters, rather than for playing slaves, maids, or poor urban mothers?
Coming to a theater near you: the Vicar of Christ. The charismatic Bishop of Rome is set to play himself in the movie Beyond the Sun, reports Variety. This will be Pope Francis’ first time acting — not to mention the first time a pope has ever appeared in a feature film.
In marketing the film, Bay and the real-life men he portrays have stated that 13 Hours is not a political film. The goal, they say, is simply to show what happened, as it happened, and to recognize the courage and sacrifice of the people on the ground that day.
But it takes a more nuanced filmmaker than Bay (the creator of Bad Boys, Armageddon, and the Transformers films) to take an inherently political story like this one and truly make it free from bias. While 13 Hours doesn’t specifically call anyone out, or criticize (or endorse) the decisions of any particular leader or party, Bay and screenwriter Chuck Hogan mistake those qualities as the only ones required to make the film “non-political.”
For the second year in a row, every Academy nominee in an acting category is white.
Forget Idris Elba in Beasts of No Nation. Or Michael B. Jordan in Creed. Or Bernicio Del Toro in Sicario. Or Will Smith in Concussion.
The 93% White, 76% Male Academy wasn't interested.
Straight Outta' Compton was also lauded as a potential best picture nominee, but was only nominated for Best Original Screenplay, which was written by two white writers. Similarly, only Sylvester Stallone was nominated for Creed, a film with a black lead actor and a black director.
Director Haynes and writer Phyllis Nagy (working from Patricia Highsmith’s novel The Price of Salt) understand that cinema, just like all forms of storytelling, is a window into someone else’s personal life. They tell the story of Therese and Carol’s relationship in such exquisitely realized detail, down even to the smallest carpet-fiber, that you almost feel as if you’re there yourself. When the world the characters inhabit feels so real, their experiences and emotions feel real, too — helped in large part by perfectly-pitched performances by Blanchett and Mara.