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Showing posts from December, 2021

Erroneous 'Catholicism' in the River of Darkness

  Screenwriter: Bruce Koehler Director: Bruce Koehler Rating: 👎 If you are Catholic, do not waste yourself watching this film. The Review The 2011 independent film tells of a ‘rural’ (not ‘urban’) legend involving an avenging ghost who was murdered several years ago for a crime they did not commit but the townspeople levied against them. The plot is built on the foundation of scapegoating. The plot is complicated by the local townspeople's conspiracy, local law enforcement politics, and the presence of city-based paranormal researchers who are oblivious to the real danger they have inserted themselves out of curiosity. It is not known how Catholic the townspeople are. However, they have a church and do believe in evil spirits, including the storyline’s superstition of evil spirits reappearing for revenge and capable of killing flesh-and-blood human beings. Unmistakably, the plot is the stuff of rural legend. The Catholic understanding of demonology does not agree with the concept

Catholic Values in A Walk in the Clouds

  Screenwriters: Robert Mark Kamen & Mark Miller Director: Alfonso Arau Rating: 👍(10 of 10) Watch for the fascinating sense of humor and depth of Catholic values in the film. The Review The film is inevitably Catholic for its theme of chaste love and traditional contexts without saying anything about Catholicism. Moreover, the plot makes the story tasteful, glorious, and passionate, as Chicago Sun-Times film critique Robert Ebert noted: “ A Walk in the Clouds is a glorious romantic fantasy, aflame with passion and bittersweet longing. One needs perhaps to have a little of these qualities in one’s soul to respond fully to the film, which to a jaundiced eye might look like overworked melodrama, but that to me sang with innocence and trust.” [1] The great things about the film do not end with its Catholic theme and plot. The great musical score from Maurice Jarre successfully set the beautiful tone of the movie even from the opening credits. The score, with the percussion removed an