Interview: Steven Lipscomb (Battle for the Minds, 1996)

Date: October 8, 1996Place: Hotel Vancouver, Vancouver International Film Festival Peter T. Chattaway: You seem to have a great sense of humour, and there is precious little of it in the film. Would you say the film [Battle for the Minds] is characteristic of you in some way? Steven Lipscomb: It’s really funny that you say that, because I think there’s actually humour all the way through this film. It’s very subtle, because of the nature of the material we’re… Read more

Hollywood may be unfair, but look at big picture

“I think all minority audiences watch movies with hope. They hope they will see what they want to see. That’s why nobody really sees the same movie.” — screenwriter Arthur Laurents As a Christian and a film critic, I am often frustrated by the misunderstanding that exists between filmmakers and Christian watchdog organizations such as Movieguide. Yes, it is true that Christians often don’t get a fair shake in the mass media. But Christians have not done a particularly good… Read more

Review: The Bible Collection (dir. various, 1993-1995)

• Abraham, Warner Alliance, 1993, dir. Joseph Sargent. • Jacob, Warner Alliance, 1994, dir. Peter Hall. • Joseph, Warner Alliance, 1995, dir. Roger Young. BIBLE MOVIES refer so often to “the God of our fathers” it’s surprising at first to discover just how little attention films have paid to the patriarchs. There are several reasons for this. Most biblical life stories are made up of disconnected episodes that do not easily conform to the structure of a two- or three-hour… Read more

Interview: Mike Scott (Bring ’Em All In, 1995)

PTC: Just so you know, I write for both the UBC student paper and a Christian paper as well, so I’m something of a journalistic double agent. MS: Oh good! The more the merrier! PTC: I saw you perform at Greenbelt in 1994. How did you find the experience? MS: I enjoyed it. I played there because I know a guy named Martin Wroe, he’s one of the organizers. He and I are both lovers of the island Iona, and… Read more

The Late Great Planet Earth as a document of its own time and of events that have not yet happened

FILM 432 February 27, 1996 Robert Amram’s film Read more

Review: Four Rooms (dir. various, 1995)

On paper, it looked like such a good idea. Back when they were still unknown, four independent directors — Quentin Tarantino, Robert Rodriguez (El Mariachi), Allison Anders (Gas Food Lodging) and Alexandre Rockwell (In the Soup) — agreed to tell four different stories set in a hotel on New Year’s Eve, with a bellboy (Tim Roth) as their only link. With the one-two punch success of Reservoir Dogs and Pulp Fiction, Four Rooms became an opportunity for the others to… Read more

Review: From Dusk Till Dawn (dir. Robert Rodriguez, 1996)

At first From Dusk Till Dawn looks like it might strike a balance between Quentin Tarantino’s savvy scriptwriting and the kinetic camerawork and adrenaline editing that are Robert Rodriguez’s forte. Indeed, the opening shoot-out, which segues smoothly from snappy dialogue to airborne hemoglobin, is a masterful fusion of talents. But after that, their styles prove to be as insoluble as oil and water. This is not one movie but two half-movies; one might call it Two Rooms. The defining moment… Read more

Review: Priest (dir. Antonia Bird, 1994)

THE MAKERS of Priest claim that their film is meant to be a catalyst for change within the Catholic church, but their confrontational approach does more harm than good to their cause. Worse, they have mounted the assault on too many fronts at once. In the space of 100 minutes, Priest tries to address issues as diverse as homosexuality, celibacy, the secrecy of the confessional, child abuse, liberation theology, the problem of evil … even a pinch of animal rights…. Read more

Review: Star Trek: Generations (dir. David Carson, 1994)

My ex-roommates and I used to have a little ritual. Every Sunday night, we would gather around a TV set with as many friends as possible to watch the latest episode of Star Trek: The Next Generation and, time permitting, Deep Space Nine. The liturgy of our humble adoration was punctuated by commercial breaks that enabled us to dissect each act of each teleplay with the loving care that one normally reserves for picking at watermelon seeds. Critical ejaculations –… Read more

Review: The Shawshank Redemption (dir. Frank Darabont, 1994)

Prison films are a tricky genre. The prisons themselves become metaphors for the shackles of authority, society, or psychological inhibitions that prevent people from being completely free human beings. We empathize with the prisoners, and never the warden (unless, as in Brubaker, he fights for the prisoners’ rights), because they are supposed to represent that nebulous quality known as “the human spirit”. (more…) Read more

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