There exist no great books about grief and mourning. Good books, yes, but even that class is small. Something about the loss of a loved one resists language, resists narration, resists plot. Something about death resists writing.
The cinematic qualities of Fighting With My Family, a biopic about WWE Diva Paige’s rise to the top of the professional wrestling world, aren’t really what interests me about the picture: It’s funny and sweet and pretty basic, a standard underdog-triumphs-in-sports (entertainment) story along the lines of Rudy. Director Stephen Merchant, perhaps best known as Ricky Gervais’s better half …
In a shocking development, it appears that there aren’t racist Trump supporters who wander around Chicago in the bitter cold with bleach and a noose, believe that Chicago is “MAGA country,” and recognize actors from the television show Empire. Major national outlets have now confirmed local reports that Chicago PD now believe that Jussie Smollett …
The Washington Free Beacon staff wishes its readers a wonderful Presidents’ Day.
A conversion to Catholicism is invariably a romance with the Eucharist through the holy sacrifice of the Mass—and in this sense, New York Post op-ed editor Sohrab Ahmari’s memoir From Fire By Water is a typical conversion story. But it’s also deeply personal: For Catholics, the Mass is the wellspring of a relationship with God, and Ahmari’s story speaks to the humbling power of the sacrament.
Alita: Battle Angel may not be the best movie of the year. Heck, it may not even be director Robert Rodriguez’s best adaptation of a comic book. But it will almost certainly be the best big-budget comic book movie released in the first half of 2019 about a super-powered young woman who feels compelled to protect the innocent and is having trouble remembering her past.
On his show Wednesday evening, Chris Matthews attempted to mock Fox News hosts Hannity and Laura Ingraham by denigrating the size of their audiences.
The failure of American colleges to promote free speech and intellectual diversity is like an open wound. It stains the imagination, obscuring paths of investigation with a sick puss. It drains the vitality of thought, leaving the mind weakened. And it strains intellectual discourse—the Socratic ideal of conversation—by making us fearful, anxious, and self-censoring.
Arctic seems at first to be the latest in a long line of films about one man, alone, attempting to survive in a pitiless environment. Unlike All is Lost (2013), which pitted Robert Redford against the ocean, or Cast Away (2000), which pitted Tom Hanks against a desert island, Arctic pits Mads Mikkelsen against the frozen wastes.
