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One might expect Spotlight to be fascinating because of the victims' stories. But it's the focus on clerical and legal institutions that grabs the viewer.
Rectify is unlike any series I've watched. Its slow burn reveals the viewer as well as the characters in the story.
"What was the point of that movie?" my son asked, without hostility. He knew that what he'd seen was about more than what he'd seen.
Gortimer Gibbon's Life on Normal Street uses a combination of magic and realism that depicts real life far better than any other family television show I've seen.
The documentary Chaplains raises a fundamental issue for Christian chaplaincy: what is its relationship to the church?
It could have been any academic conference—except that Catwoman was on my left and a fully dressed hobbit was on my right.
I just got back from Disney World with my kids. The trip set me thinking about how stories get told and passed on.
NASA is, to say the least, enthusiastic about The Martian. The film is a really, really good commercial for a future budgetary request.
It's hard to watch Straight Outta Compton and not think of #BlackLivesMatter. But this is not explicitly a movie about politics or race.
Why would a brand see theological language as rich ground for advertising? Perhaps because theology and advertising share the same root.
A screen in a sanctuary used to be a signal that a congregation had taken a side in the worship wars. Now it's just a sign that a church is open and functioning.
Religious satire was once an edgy form of humor celebrated by rebellious teens. Now it’s attracting adults who buy theater tickets.
Beth Felker Jones teaches at Wheaton College in Illinois. She is the author of Faithful: A Theology of Sex.
Jason Byassee teaches homiletics at Vancouver School of Theology.
Kathryn Reklis teaches theology at Fordham University and is codirector of the Institute for Art, Religion and Social Justice.
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