(REVIEW) “Just One More” has its heart in the right place. But it is held back by a preachy Christian filmmaking culture that leans on telling, not showing.
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(REVIEW) Steven Spielberg’s latest film “Disclosure Day” asks how people of faith would deal with finding out aliens are real. Sadly, one gets the distinct impression that Spielberg didn’t talk to any religious people when deciding his answer. Spielberg is responsible for some of the most iconic movies about aliens and faith ever made.
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(ANALYSIS) The Kane Parsons film “Backrooms” has captivated audiences since it hit theaters in May. The movie — a horror film about liminal spaces based on internet mythology — also taps into a series of religious ideas that have existed for centuries, particularly concepts such as purgatory, limbo and salvation.
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One of America’s greatest and fearless investigative journalists, Amy Goodman, seeks the truth and reports it. Religion Unplugged sat down with her to discuss how her Jewish upbringing and its influences on her career and reporting.
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(REVIEW) While the show’s theological justification is surprisingly in line with the pope’s new AI principles, the execution proves that — as always — the devil is in the details.
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Milan took center stage in new film “The Devil Wears Prada 2.” The movie showcases the city’s most iconic Catholic sites, such as the Duomo, the Pinacoteca di Brera and the church courtyard and convent of Santa Maria delle Grazie, which houses Leonardo Da Vinci’s mural painting “The Last Supper.”
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A low-budget movie, cheesy horror that is literally just “The Exorcist” meets “Speed” and whose theology is as thin as a communion wafer. In theory, this can be an opportunity for an actually really fun campy horror experience. Unfortunately, it’s far more interested in stale religious deconstruction than it is in classic scares.
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(REVIEW) “Is God Is” follows twin sisters on a quest to kill their father, who disfigured them as children. Unfortunately, the movie does more than simply offer fictional frontier-style justice to typically underrepresented audiences. It goes so far as to renounce the virtue of forgiveness altogether.
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(ANALYSIS) The way Hollywood portrays faith is changing because American culture is changing. The growing divide in these portrayals reflects the same growing divide in America. Next year may be when this clash gets its biggest arena — and we will all be watching, popcorn in hand.
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(REVIEW) A “Romeo and Juliet” style love story, “Cast Aside The Clouds” that protests how religious intolerance — such as the kind regularly levied against the Baháʼí people in Iran — threatens love by targeting innocent people for oppression.
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(ANALYSIS) While neither of the “Devil Wears Prada” movies revolve around Christianity, the invocation of the devil taps into an older moral rhetoric. For centuries, fashion was cast as the troublesome, if not villainous, enemy of a pure and spiritual Christianity — a symbol of putting material desires before holy ones. For example, 18th-century cleric and founder of Methodism John Wesley urged his followers to show their faith by dressing “plainly.”
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(REVIEW) Murdock is a real believing Catholic. It’s something the series takes seriously. This is particularly easy to see in the attention to detail toward Catholic teaching.
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The Israeli thriller “Unconditional” has sparked accusations of “hasbara” before release, but the series proves more complicated than simple propaganda. Following a young Israeli woman imprisoned in Russia, the show explores national image-making, Israeli behavior abroad, and the moral gray zones surrounding identity, war, and public perception.
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(ANALYSIS) The popularity of musical biopics across both Hollywood and faith-based industries reflects the deep connection between religion and music in the shaping modern culture. It also reveals two different frameworks for interpreting that influence. Ideally, audiences can engage both and think more deeply about what each suggests for their own lives.
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(REVIEW) Netflix’s new four-part docuseries “Trust Me: The False Prophet” gives viewers never-before-seen access to the inner workings of a high-control religion and cult. It’s a fascinating true story of danger, moral conviction, sacrifice, redemption and justice. Cult psychology expert and former mainstream Mormon, Christine Marie and her filmmaker husband, Tolga Katas, move to the area to support the FLDS community and document their lives.
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(REVIEW) The film is an example of how Hollywood uses Christian metaphysical assumptions when dealing with non-Christian faiths — all while denying Christianity and promoting these same pre-Christian religions. “Lee Cronin’s The Mummy” has nothing remotely to do with Egyptian mythology. But that doesn’t mean it has nothing to say about our modern relationship with faith.
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On this week’s show, Joseph Holmes interviewed Jon Gunn, “House of David” executive producer. The two talked through this balance of myth and reverence, the evolution of faith in film, the complications of portraying romance in a time when arranged marriage was the norm and much more.
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(REVIEW) “A Great Awakening” explores the friendship between Benjamin Franklin and George Whitefield, using their relationship to examine faith’s role in America’s founding. However, the film lacks the power and impact that it claims Whitfield had on his audiences.
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(REVIEW) What will the legendary filmmaker Martin Scorsese add to these depictions of Mary that we haven’t seen before? Frankly, not much.
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(REVIEW) “The House of David” Season Two improves on its strengths while refining its flaws, delivering a compelling biblical epic about power, faith and leadership. Despite some uneven pacing and character development, it offers a timely, countercultural vision of heroism grounded in moral responsibility.
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