My job that actually pays the bills is keeping me on the run these days, so posting has been light around these parts. Of course, if you follow my Facebook page or Twitter feed, then you know I’ve managed to review some movies for Aleteia and Scenes, from super-sized blockbusters like Kong: Skull Island to micro-budgeted efforts such as SavageLand. Still, it would be nice to get back into the swing of things here. Until then, though, there’s still plenty to read out there when it comes to movies and religion.
For instance, the National Catholic Register’s Fr. Harrison Ayre recently went off on an interesting Twitter rant explaining why he believes Joss Whedon undermines Western civilization. Quite aware of how such a theory might be received, the good father has subtitled his tweet-storm “How to get half of Catholic Twitter to hate you.”
Speaking of hate, or perhaps just intense disliking, atheist Jake Everett asks the burning question, “If God is both all-good and all-powerful, why did he allow the Star Wars prequels?” Undeterred by such skepticism, but equally unimpressed with the prequels, everybody’s favorite Bad Catholic, Marc Barnes, explains how Rogue One represents a return to reverence in the beloved movie series.
While we’re on the topic of opposing viewpoints, we may as well note that Disney’s live action Beauty and the Beast has finally hit the big screen. Thanks to the filmmakers plastering some choice comments all over Twitter, all the media attention seems to be focused on one brief ‘moment’ in the film. However, Disney uber-fan Jacob Popcak noticed a completely different moment during his viewing of the movie, one he considers exclusively Catholic. Oddly enough, the media is barely mentioning that one at all.
One thing everyone can agree on is that Val Lewton’s Cat People is an undisputed classic. If you don’t believe me, ask The Happy Catholic, who has a few brief words to say about it.
And finally, for what it’s worth, the Conjuring spinoff, The Nun, is now in pre-production. The sinister sister is due in theaters July 2018.
And with that, we’ll leave you to your reading. See you next time.