The Nun (Film Review)

One of the stark differences between the main Conjuring films and its spin-off titles (which, up until now, were solely Annabelle stories) is their approach towards the demonic and supernatural.  

Micro Reviews #25: Paul, Apostle of Christ & Peter Rabbit (Micro Reviews)

Paul, Apostle of Christ:

Micro Reviews #15: Midnight Return, The Shack & Song to Song (Micro Reviews)

Midnight Return: The Story of Billy Hayes and Turkey

Micro Reviews #5: Hacksaw Ridge & Why Him? (Micro Reviews)

Hacksaw Ridge:

The Conjuring 2 (Film Review)

Horror sequels are a dime a dozen in the movie industry, and have been since the dawn of cinema.  GOOD horror sequels, however, are a rarity: like trying to find a pearl within a sea of oysters.  Its practically tradition for a good horror film to have a bad sequel—just look at Halloween, The Exorcist, Poltergeist, The Omen, etc…  James Wan’s The Conjuring is a well-made film, taking heavy influence from 60s/70s horror while adding a modern spin with special effects.  Its prequel Annabelle is also a good, albeit less effective, scare flick (though I remain in the minority with such opinion).  Yet Annabelle is technically a prequel (loophole status), while The Conjuring 2 is its predecessor’s true sequel—but is it any good?  Against all odds and forewarning towards its failure (such as Wan’s previous blunder with Insidious: Chapter 2 sequel), The Conjuring 2 is indeed a good horror sequel, which in itself deserves praise.

Miracles from Heaven (Quick Review)

There’s no question I prefer softer Christian-faith films—with their lighter themes and more open minded ideals—over extremist, Kirk Cameron-faith propaganda (where their “themes” and Christian morals are dropped on the viewer like a two-ton anvil).  I praise 2014’s Heaven is for Real for its tolerant outlook on religious philosophy, in addition to its subtlety and actual touching/humorous scenes.  2016’s Miracles from Heaven is very similar in premise, yet while far from a bad film, it is a rather boring one.  Some may argue a boring film is worse than a bad film, since a bad film at least triggers emotional reactions from its viewers.  While an excellent point, I’d counter argue that, given the choice between sitting in a blank room for two hours versus sitting in a room while getting punched in the face for two hours, I’d prefer the former option (though neither would also be acceptable).

Risen (Quick Review)

Well crafted, Christian-faith films are a rarity to come by, but do happen every so often, as is the case with 2016’s Risen—an alternate take on The Greatest Story Ever Told (or, more accurately, its epilogue), shown from a Roman tribune's perspective.  The alternate perspective is a refreshing twist to a done to death story (though amusingly, the Coen Brother’s recent Hail Caesar! satirizes the idea as a film within their film), yet what successfully sells the film are three aspects: acting, subtlety, and cinematography.

Exodus: Gods and Kings (Film Review)

Exodus: Gods and Kings is the fourth major film production of the story of Moses (following 1925’s Ten Commandments, 1956’s Ten Commandments remake, and 1998’s Prince of Egypt), not counting miniseries, TV movies and low budget remakes; so there’ll expectedly be comparisons throughout the review.  As such, this review will be clearer if you've seen at least 1-2 of the previous films.

Heaven Is for Real (Film Review)

Heaven Is for Real possesses a feature rare to find in religious cinema; subtlety.  Perhaps not as subtle when comparing to your average movie, but certainly more so than the majority of religious films I've seen.  Another religious rarity found in the film is it’s open-mindedness towards others' beliefs.  I cannot stress enough how significant these two factors are when making a good religious film, yet how seldom they’re actually used.  Heaven Is for Real does however utilize both aspects; creating a surprisingly efficient film that both religious and non-religious viewers can enjoy.

Noah (Film Review)

If I’d seen Noah without any previous knowledge, and then been informed that Darren Aronofsky (director of such films as Requiem of a Dream, The Wrestler, Black Swan, etc…) directed it, I would find that statement very farfetched.  That’s not a criticism of the film (in fact Noah’s quite well made), it’s simply an observation.  From the very beginning Noah’s theme of epic biblical action (a phrase not often seen together) hardly resembles anything Aronofsky's made before; having little resemblance to his earlier films except in one major area, the torment of our main character. 

The Conjuring (Film Review)

Ed and Lorraine Warren are no ordinary married couple; they’re demonologists, paranormal investigators whose jobs are to research and help stop demonic hauntings and possessions.  Yet out of all their cases there was one so horrible that they refused to talk about it…until now.  This is the story of the Warren’s worst case; a case so frightening, so exciting, so extreme, that it ended up making a pretty effective horror film.  This is, The Conjuring.