Author: Trevor Main

Finally, director Zach Snyder and story writer Christopher Nolan cut all the corny traditions of Superman mythology that have embarrassed Superman fans for decades and put some real humanity into the man of steel. No Lex Luther “I’ll get you, Superman!” lines, no convenient kryptonite rocks, and no red underwear. Snyder reinvents Superman similar to the new Batman trilogy, based in a stronger sense of reality with a relatable hero riddled with inner conflict.

One can only imagine what it must have been like for Daniel when he served King Nebuchadnezzar. Did Daniel ever resent the Babylonian people? Exactly how much was he oppressed for his faith and heritage? How did he cope with serving the king of a nation who enslaved his entire people? Through the story of Cecil Gaines (Forest Whitaker), The Butler (directed by Lee Daniels) shares with us insight on how a White House butler, who served under eight presidents, lived in a nation bent on oppressing him and his people.

The history books tell of Honest Abe’s achievements, of ending the bloodiest American war and healing the nation. Some books may tell of his personality, that he was earnest, patient, guarded, generous, and firm, all of which may be interpreted as differently as the eye that reads about them. But with the movie Lincoln, we now have a tangible, indelible portrayal of the character of our 16th president.

Unconditional, directed by Arlington native Brent McCorkle, says many things about love, forgiveness, underprivileged children, and even a little on racism. Quite a lot to cover in less than two hours. Wind lifts the story of Samantha and her journey to find peace, but the film glides shakily under the weight of its many themes. With so much to teach this fallen world, the biggest mistake for Christian filmmaking is trying to say it all in one story.

On top of this Bane-sized disappointment, the story has more holes than a paper snowflake. Bane and his partner in crime Talia Al Ghul (Marion Cotillard) have no motive for blowing up Gotham other than because that’s what Daddy would have wanted.

From its posters and advertising, Brave, directed by Mark Andrews and Brenda Chapman, gives off a Joan of Arc impression in the way that the heroine must undergo physical, dark challenges and face her worst fears to achieve a certain goal. Even though the idea of physical struggle is a part of this story, if you go into the theater expecting this to be what the movie is really about, you’ll walk out confused and perhaps uninterested. But make no mistake, Brave has a message significant to every human being who’s ever lived.

In a fictional contest called The Hunger Games–where people either stab you in the back or stab you in the heart–most participants check their friendships at the door. But despite her enemies’ willingness to kill and be shaped by a desensitized society, a young female contestant named Katniss grieves for her tragic ally in the most brutal competition known to man in this futuristic sci-fi film. Though directionless and alone in the wild, Katniss refuses to let her circumstances harden her and instead mourns over the body of a fallen comrade. Her ability to feel deeply for an “enemy” stirs many of the watching audience, and they begin to rebel against the disgusting game.

I get excited whenever I see an indie film like Doonby, because I never know what to expect. Indie storytelling rarely follows the everyday Hollywood we’re used to, and it’s a great way to break out of the assembly line and enjoy something handmade. Though Doonby fell below par in some areas, having the guts to experiment can yield real treasures in moviemaking.

A touch of family drama. A dash of fight sequences. A pinch of fantasy. Mixing them all together would seem like mixing oil, water, and sand, but instead we get an aesthetic, personal approach to independent film that only Ink can bring. With excellent lighting, script, and acting, Ink dazzles the eye with dream-like cinematography, touches the heart with authentic characters, and provokes the soul with spiritual themes fashioned for an audience that appreciates film as art with a purpose.