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It’s a show that has touched my heart and proved that Americans still have an affinity for family values, morality and doing the right thing even when it’s hard.
You won’t see many shows or movies these days that tackle the realities of family life in the gritty, authentic way that “Parenthood” does. For the past six seasons, the Braverman family of “Parenthood” has faced a variety of hardships that require compromise, forgiveness and unconditional love.
R. C. Sproul, who drafted the original Chicago Statement of Biblical Inerrancy, once said, “When people ask me how old the earth is, I tell them I don’t know—because I don’t.”
Contrary to what is often implied or claimed by young-earth creationists, the Bible nowhere directly teaches the age of the earth.
Rather, it is a deduction from a combination of beliefs, such as (1) Genesis 1:1 is not the actual act of creation but rather a summary of or title over Genesis 1:2-2:3; (2) the creation week of Genesis 1:2-2:3 is referring to the act of creation itself; (3) each “day” (Heb. yom) of the creation week is referring to an 24-hour period of time (reinforced by the statement in Exodus 20:11); (4) an old-earth geology would necessarily entail macroevolution, hominids, and animal death before the Fall—each of which contradicts what Scripture tells us; and (5) the approximate age of the earth can be reconstructed backward from the genealogical time-markers in Genesis.
George Lucas offered a bleak assessment of the current state of the film business during a panel discussion with Robert Redford at the Sundance Film Festival on Thursday, saying that the movies are “more and more circus without any substance behind it.”
However, the “Star Wars” director hit back at critics who said his role in kicking off the blockbuster film business has watered down cinematic storytelling.
‘American Sniper’ exemplifies a new kind of war film: The professional proceduralThere’s no doubt that “American Sniper” is a big hit with the red-state constituencies from which Kyle and many of his fellow service members hail. But the movie — a well-acted, absorbing portrait of Kyle in action during the Iraq war and coping with trauma and dislocation when he returns home — has been a hit with viewers of all philosophical stripes. It may be the first — and last — movie to earn Twitter love from Sarah Palin and Jane Fonda.
Billy Joel is the closest thing Madison Square Garden has to a sure thing — certainly more than the Knicks or the Rangers or the Liberty. It’s been 21 years since Joel released a new pop album, yet he sold out the arena 12 times in 2014 alone, and he’ll play his second (also sold-out) show of 2015 tonight. He has established a standing residency there, like a guy who plays a monthly nightclub gig, except that the club happens to seat 18,000.
There’s something you missed.
I find it odd that one of the most pivotal and mysterious moments in the Star Wars saga is discussed infrequently, and when it is the case is closed. Some time between 2005 and now the greater part of people who’ve watched this movie have all come to the same conclusion, and all that is debated is if they like this course of events or not.
Of course, I’m talking about the end of Revenge of the Sith, one of my all-time favorite films. I haven’t been counting, but I’ve seen this movie 500 times, and I’m still finding new things to consider. The final hour of this movie is densely packed with information, but it doesn’t hold your hand. Where a lesser film would have wrapped thing up with an expositive voiceover, Revenge of the Sith demands that the viewer watches how things unfold, and then asks the viewer to put the pieces together themselves. Unfortunately, not everyone has put them together the proper way, and that leads to a lot of differing conclusions regarding the anticlimax of the movie.
For years I’ve pondered a cultural and social paradox that diminishes the vitality and diversity of the American arts. This cultural conundrum also reveals the intellectual retreat and creative inertia of American religious life. Stated simply, the paradox is that, although Roman Catholicism constitutes the largest religious and cultural group in the United States, Catholicism currently enjoys almost no positive presence in the American fine arts—not in literature, music, sculpture, or painting. This situation not only represents a demographic paradox. It also marks a major historical change—an impoverishment, indeed even a disfigurement—for Catholicism, which has for two millennia played a hugely formative and inspirational role in the arts.