christian movie review the inventor

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• DVD & Streaming

The Inventor

• Action/Adventure , Animation , Biography/History , Comedy

Content Caution

In Theaters

• September 15, 2023
• Stephen Fry as Leonardo da Vinci; Daisy Ridley as Marguerite; Gauthier Battoue as Francis I of France; Angelino Sandri as Francesco Melzi; Matt Berry as Pope Leo X; Marion Cotillard as Louise de Savoy; Daniel Swan as King Henry the VIII; Max Baumgarten as Il Boccador and King Charles of Spain; Natalie Palamides as Pierre Nepveu and Antonio de Beatis; Jim Capobianco as Cardinal Louis d’Aragon

Home Release Date

• November 7, 2023
• Jim Capobianco, Pierre-Luc Granjon

Distributor

• Blue Fox Entertainment

Movie Review

In 1517, Martin Luther was busying writing and distributing his 95 Theses , a document which called for the Roman Catholic Church to reform itself from the growing corruption within it. The Augustinian monk’s teaching against indulgences and in favor of salvation by God’s grace through faith alone drew the ire of Pope Leo X, who branded Luther a heretic for teaching things Leo said were against God.

And wouldn’t you know it? Just one year before Luther’s famous publication, Pope Leo X is busy battling another iconoclastic thinker.

Now, no one can deny that Leonardo da Vinci is an intelligent man. But the Pope finds Leonardo’s latest research to be quite blasphemous. And what work is that? Well, Leonardo’s been busy carving up cadavers, hoping to discover where the human soul lies. But Leo X tells Leonardo that such matters are none of his concern. Furthermore, continuing to pursue them will only end in the Church roasting Leonardo on a heretic’s pyre.

“Some things are only answered by God and the Church,” the Pope says, commanding Leonardo to instead create something that will fascinate new French monarch Francis I: a mechanical lion, capable of walking and dropping flowers for the king. And impress him it does—so much so that Francis asks Leonardo to come live in France.

And well, the aging man does exactly that, hoping that Francis’ friendlier nature will allow Leonardo to continue his study for the soul in secrecy. Only, Francis keeps commissioning the artist to work on a bunch of other projects in order to boost his image in the eyes of rival kings Henry VIII and Charles V.

It’s all so frustrating for Leonardo, who just wants to continue his study of human anatomy to figure out where God has placed the soul. In fact, for Leonardo, it’s his most pressing work.

That’s because he can feel his time in this world is going to end soon. And he still hasn’t figured out what that means for his own soul.

Positive Elements

Leonardo da Vinci is as tenacious as he is inquisitive. And despite the threats against him, he’s determined to keep pursuing his understanding of where the soul resides. And several close friends of his encourage him in his studies.

Spiritual Elements

Leonardo makes many comments that indicate that he has a belief in God—including believing that the soul continues on after bodily death, for instance. He wants to study God’s creation in order to learn more about the things He has made. Indeed, plenty of Christian scientists, such as Robert Boyle, Ernest Walton and Johannes Kepler, have cited their belief in God as a primary influence for their study of His creation.

But Leonardo also realizes that not everyone can appreciate these things. He divides the world into three types of people: “Those who see, those who see when they are shown, and those who do not see.” He states that when this third group is in power—as, he notes, they often are—they fear those who are able to see the greater things of God’s creation. At one point, Leonardo judges someone to be in the third group, but when the person comes around to Leonardo’s way of thinking, he realizes that he may have judged the man too quickly.

Pope Leo X does not like Leonardo da Vinci very much. It’s mostly due to Leonardo’s tendency to dive into topics that the Pope believes should be left alone; and anyone who does study these topics should be deemed a heretic studying witchcraft. Instead, Leo X believes that Leonardo and all other Christians should be as satisfied as sheep tended by a shepherd, which, in his definition, means being ignorant and maintaining a blind faith.

But make no mistake: Leonardo doesn’t have anything against God or faith. He just dislikes believing in things blindly . He’d rather study the things that God created in order to understand Him and His creation better. This belief culminates in Leonardo’s search for the soul. Leonardo believes if he can find the soul, he’ll find the answer to life itself. He’s also interested in the soul because it lives on even after our bodies fail.

In this pursuit, he briefly ponders whether he can find the soul through the “mind’s eye,” since it is the “window to the soul.” He says that the soul must reside on a “seat of judgment” that is called common sense.

Ultimately, Leonardo discovers what he believes to be the soul’s purpose. It’s not something you find , he says; “the soul is something you give ” to others. He concludes that the secret of the soul is to share our passions with others. To that end, we see Leonardo give a glowing orb, his soul, to Francis I’s sister, Marguerite, since she’s been so open to his ideas throughout the film.

Leo X’s brother, Giuliano, reminds the Pope that everyone, including Leonardo, is made in the image of God. Leonardo suggests to the Pope that the best way to show God’s love is to aim for peace with France.

We see some famous biblical works, including The Last Supper , Creation of Adam and a few paintings that depict naked baby angels fighting against demons. Leonardo has a few dreams in which he is chased by a shadowy figure that represents death. Marguerite envisions an “ideal city” that emphasizes God’s creation. A man crosses himself.

Francis I occasionally calls Leonardo a “wizard.”

Sexual Content

We see depictions of da Vinci’s Vitruvian Man drawing and Michelangelo’s Creation of Adam , both of which contain some artistic male nudity. We occasionally see baby cherubim with their rears visible.

A man and a woman share a kiss.

Violent Content

Pope Leo X threatens to burn Leonardo on a pyre if he continues to search for the soul via autopsy. And yes, we see some of the dead people Leonardo is cutting open—sickly colored corpses that Leonardo has a student of his steal from graves.

We normally just see the gray feet of such bodies sticking out from under a sheet, but on one occasion, we see the face of the corpse with its tongue hanging out. And while we do glimpse some of Leonardo’s sketches of the human body, we won’t ever see him actually cut into any bodies.

In one dream sequence, the shadow figure attacks Leonardo with an axe, and while we don’t see it hit him, we are made to understand that it connected. Leonardo has a stroke.

We also see the body of a man who passed away in his bed. We hear a song that recalls King Henry VIII’s tendency to decapitate people. We see an animation created by Leonardo in which he creates a powerful weapon for Pope Leo X to use against the French—it both explodes and chops the enemy into animated pieces, limb from limb.

All other violence onscreen is of the slapstick variety: a soldier’s head is extremely dented by a cannonball, but he gives a speech as if he’s completely fine. Henry VIII and Charles V frequently scuffle, resulting in a big cotton ball of dust to arise around them. Francis I is pelted off his mechanical horse by a giant bouncy ball.

Crude or Profane Language

There is one moment that sounds as if someone may be taking God’s name in vain, but the dialogue is a bit too muffled to tell for sure. Beyond that, a character yells, “Shoot!”

Drug and Alcohol Content

A character comments on the sickly state of someone else, noting that the person must’ve had too much wine.

Other Negative Elements

Leonardo and his pupils steal many bodies set to be buried in a graveyard.

Allegedly, just before his death, Leonardo da Vinci uttered a tragic quote: “I have offended God and mankind because my work didn’t reach the quality it should have.”

The man spent his days inventing fascinating things that made him both friends and enemies. Many of these things remained as concepts. Few of them reached a level that satisfied Leonardo.

Perhaps that’s what drives The Inventor ’s version of Leonardo, a man who is obsessed with finding the answer to the meaning of life through, literally, soul searching .

The film’s Leonardo does eventually discover his own philosophical meaning regarding the purpose of the soul—an understanding that seems completely disconnected from anything that really has to do with the soul, if I’m being honest.

And so while I wouldn’t call any of the content within The Inventor particularly noteworthy for its PG rating, its messages regarding the soul don’t reach the quality they should have.

Kennedy Unthank

Kennedy Unthank studied journalism at the University of Missouri. He knew he wanted to write for a living when he won a contest for “best fantasy story” while in the 4th grade. What he didn’t know at the time, however, was that he was the only person to submit a story. Regardless, the seed was planted. Kennedy collects and plays board games in his free time, and he loves to talk about biblical apologetics. He doesn’t think the ending of Lost was “that bad.”

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The inventor, common sense media reviewers.

Stop-motion da Vinci biopic has lots of information.

A Lot or a Little?

What you will—and won't—find in this movie.

Focuses on the imagination and inventions of Leona

Celebrates the power of ideas and imagination, as

Da Vinci uses his imagination and curiosity to cre

All characters are White Europeans. Da Vinci is in

Da Vinci's sketches of war machines move into acti

Parents need to know that The Inventor is an animated biopic that explores the final years of inventor/artist Leonardo da Vinci's life. The business-savvy genius (voiced by Stephen Fry) agrees to invent concepts for war machines for Pope Leo X (Matt Berry), and a sketch of a scythed chariot is imagined moving…

Educational Value

Focuses on the imagination and inventions of Leonardo da Vinci. Depicts the creativity of the Renaissance period and the circumstances leading into it from the Middle Ages. Introduces the Ideal City concept, tying together science and nature. Historical references that aren't over explained but might motivate curious kids to learn more include the Italian Wars, the Field of Cloth of Gold, and the influence of religion in the monarchy during the era.

Positive Messages

Celebrates the power of ideas and imagination, as well as curiosity. Da Vinci searches for the meaning of life and arrives at an answer.

Positive Role Models

Da Vinci uses his imagination and curiosity to create war machines, timeless works of art, an ideal city design that pairs science and nature, and a flying contraption. He's depicted as an artist, scientist, anatomist, philosopher, engineer, and architect. Princess Margureite is an intelligent, pragmatic woman who's ahead of her time, ushering in a movement of progressive ideas through diplomacy. The French king isn't always portrayed positively, but he's open-minded to innovation and has a strong eye for art.

Diverse Representations

All characters are White Europeans. Da Vinci is in his 60s here, so the movie is recognizing seniors' ability to make significant contributions, even in the face of obstacles. Princess Marguerite is a well-educated, independent thinker who's shown to have the skills to lead and might have been a better ruler than her brother, had the era's social norms been more supportive of women. At the same time, she's shown as a hands-on mother; her four daughters are always in tow, and she shares her knowledge with them.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Da Vinci's sketches of war machines move into action, including a tank with guns and a scythed chariot that slices and chops attacking soldiers. The Reaper is depicted as an enormous, looming, hooded scary figure. Dead bodies are carried and lay on tables, with references that they'll be used for medical research. Comical fighting/wrestling between kings, with laughing afterward.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Inventor is an animated biopic that explores the final years of inventor/artist Leonardo da Vinci 's life. The business-savvy genius (voiced by Stephen Fry ) agrees to invent concepts for war machines for Pope Leo X ( Matt Berry ), and a sketch of a scythed chariot is imagined moving into action and chopping attackers in half (there's a tank with guns, too). But kids also see how da Vinci cleverly convinces the pope not to actually build the weapons. Death, illustrated as a somewhat scary, hooded executioner with an axe, looms over da Vinci on a few occasions. At one point, Death swings the weapon, leaving the artist collapsed on the floor to represent a stroke. And although no slicing or dicing is shown, quite a bit of attention is given to da Vinci's passion for stealing and dissecting cadavers in the interests of medical research. Historical figures and events have a presence, which may inspire some kids to learn more. One who's particularly highlighted as a hero is Princess Marguerite de Navarre ( Daisy Ridley ), who helps usher in the Renaissance by supporting da Vinci's creation of the Ideal City. The movie celebrates curiosity and the power of ideas and imagination, but the sheer amount of information in the movie (and the mix of different animation styles) may make it hard for younger viewers to fully engage. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (1)
• Kids say (1)

Based on 1 parent review

I like their music

What's the story.

In THE INVENTOR, artist Leonardo da Vinci (voiced by Stephen Fry ) is entrusted with creating weapons to keep Italy safe in times of war. But as his ideas begin to create friction with Pope Leo X ( Matt Berry ), da Vinci moves to the more welcoming French court, where he finds an intellectual ally in Princess Marguerite de Navarre ( Daisy Ridley ).

Is It Any Good?

This animated biopic tries hard to be simple but is really quite complex. With The Inventor , writer-director-animator Jim Capobianco offers a memorable animation style -- weaving together stop-motion puppets and hand-drawn animation -- but he jams in so much information that young viewers may be a bit overwhelmed. Da Vinci's genius is inspiring, and his contraptions and inventions are definitely the kind of stuff that's likely to spark kids' interest and imagination. But the geopolitical issues can be a bit hard to follow, such as why the pope is essentially a king.

And while kids often spark to "gross," "grisly" is a different matter -- so the film's emphasis on da Vinci stealing cadavers in the dead of night feels somewhat out of place. Tweens may understand that it's part of his pioneering work in identifying anatomical functions, but it could be too much for some kids. Da Vinci's goal of identifying "the whereabouts of the human soul" and the meaning of life is also quite lofty. As the screenwriter of Ratatouille , Capobianco succeeded in making an unbelievable scenario -- a rat becoming a master chef -- wondrous. But his take on the story of one of history's most impressive minds, told in a throwback mix of Rankin-Bass -like stop-motion animation and hand-drawn images, may ultimately appeal more to adults than kids. But The Inventor succeeds in showing how da Vinci's imagination fueled innovation on many fronts and in inspiring viewers to dream big.

Talk to Your Kids About ...

Families can talk about whether they consider The Inventor 's version of da Vinci a role model. How does he use curiosity and diplomacy to guide and fund his efforts? Why are these important life skills?

How is Princess Marguerite depicted? How does she demonstrate integrity and leadership from a position where she's expected to be subservient? Compare the attitudes toward women in the early 1600s versus now.

What is a polymath? What other current or historical figures demonstrate talents in a variety of areas? What are the pros and cons of putting your efforts into innovating in different areas versus focusing your energy in one field?

What do you know about the Renaissance? What makes it different from today? What does it mean when someone is called "a Renaissance man"?

If someone asked you what the meaning of life was, how would you answer?

Movie Details

• In theaters : August 25, 2023
• On DVD or streaming : January 30, 2024
• Cast : Stephen Fry , Marion Cotillard , Daisy Ridley
• Directors : Jim Capobianco , Pierre-Luc Granjon
• Inclusion Information : Female actors
• Studio : Blue Fox Entertainment
• Genre : Family and Kids
• Topics : Arts and Dance , Great Boy Role Models , Great Girl Role Models , History , Music and Sing-Along , Science and Nature
• Character Strengths : Curiosity
• Run time : 92 minutes
• MPAA rating : PG
• MPAA explanation : some thematic elements and nude art images
• Last updated : February 8, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The Inventor

By Alex Saveliev | September 15, 2023

NOW IN THEATERS! 2023 has been crammed with subpar animation efforts. Disney/Pixar’s fare may  look  fantastic, but the dearth of originality (read: desperate attempts at being woke) quickly becomes evident and increasingly annoying. Despite lacking the visual grandeur of its big-budget counterparts, Jim Capobianco’s stop-motion tale  The Inventor  proves superior in every other way, even down to its DIY little puppets. Perhaps we are as sick of pixels as we are of superheroes, slickness be damned. This tale, steeped in fascinating real history and boundless imagination, is sure to charm kids and adults – although it may also alienate those used to bombast and perpetual eye candy.

Based on events in the life of the great inventor and painter Leonardo da Vinci (Stephen Fry), the story starts off in Rome, Italy, at the dawn of the 16th Century. An aging, endlessly curious da Vinci, Mona Lisa in tow, is investigating, among a plethora of things, mysteries of the cosmos and the human body. He boldly claims that we are not the center of the universe and tries to define a “soul.” His desire to know everything “might be dangerous with the Pope” (Matt Berry), who has other concerns, like waging war with the French. When the Pope tells da Vinci to be “a good little artist,” he follows up with, “Even Michelangelo agrees, isn’t that right?” and Michelangelo sticks out his tongue at our hero. The Pope utilizes da Vinci to make war machines, but the genius demonstrates that peace may be the answer. A truce between the two countries is announced.

“… join the professor in his quest to build a new city and get to the root of some existential issues …”

Soon enough, our hero moves to France and meets the shallow and self-absorbed Francis I (Gauthier Battoue), as well as his sister, the lovely Marguerite (Daisy Ridley). Marguerite believes in da Vinci’s genius and, by extension, in progress and development. “It will be a new Rome,” she tells her skeptical royal sibling. She and her mom, Louise de Savoy (Marion Cotillard), join the professor in his quest to build a new city and get to the root of some existential issues: Why are we here? What is our purpose? What is the meaning of life? Of course, they also have to impress Francis I, who in turn has to impress his competitors, which leads to an entertaining final pseudo-showdown.

The Inventor  is many things: a musical, a slapstick comedy, a piece of history visualized, a look into the mind of arguably the most famous and influential man who’s ever lived, and a reminder to focus on progress and the wonder of our universe. It’s about thinking big and outside the box, challenging the established norm, and continuously pursuing knowledge. Legendary composer Alex Mandel creates musical interludes out of, say, raindrops, clock chimes, and guitar strumming. In one of these interludes, da Vinci encounters all five human senses, personified. The tangent of our hero falling ill is handled gracefully. The fact that writer-director Capobianco juggles all these balls in the air and makes it all work is a testament to his skill (he wrote one of Pixar’s best features,  Ratatouille ).

The stop-motion may be far from Pixar’s standards of animation. It’s charming in its own modest way (it ain’t Laika), but the simplistic character design is made up for with energy and creativity. Whether all the cadavers, complex inventions, existential musings, themes of progress and censorship, and politics will alienate the wee ones remains to be seen. But, again, at least the film is not pandering.  The Inventor  is charming and modest but also honest and true, a rarity these days. Hurry up and check it out before Gen Z cancels Leonardo da Vinci for being a misogynist.

The Inventor (2023)

Directed and Written: Jim Capobianco

Starring: Stephen Fry, Daisy Ridley, Matt Berry, Marion Cotillard, etc.

Movie score: 7/10

"…charming in its own modest way..."

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Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – The Inventor (2023)

September 12, 2023 by Robert Kojder

The Inventor , 2023.

Directed by Jim Capobianco and Pierre-Luc Granjon. Featuring the voice talents of Stephen Fry, Daisy Ridley, Marion Cotillard, Matt Berry, Gauthier Battoue, Natalie Palamides, Ben Stranahan, Max Baumgarten, John Gilkey, Jane Osborn, Daniel Swan, Jim Capobianco, and Angelino Sandri.

Inventing flying contraptions, war machines, and studying cadavers, Leonardo da Vinci tackles the meaning of life itself with the help of French princess Marguerite de Nevarre.

This piece was written during the 2023 WGA and SAG-AFTRA strike. Without the labor of the writers and actors currently on strike, The Inventor wouldn’t exist.

A blending of stop-motion and 2D animation exploring the life, mind, and inventions of Leonardo da Vinci (voiced by Stephen Fry) shouldn’t feel this flat and overly educational. Unfortunately, that’s the kind of film director Jim Capobianco (with Pierre-Luc Granjon serving as co-director) has created with The Inventor . It’s an animated feature that is far too dry and slow-moving to hold the attention of younger viewers and far too didactic and simplistic to stimulate the minds of adults.

Some of this would be forgivable if the two animation styles elicited a sense of wonder and beauty, but it’s mostly uninteresting and static beyond featuring an admittedly pleasant color palette. Whether it’s using 2D animation to dive into the headspace of Leonardo da Vinci or songs to capture the themes present in the story, there’s nothing memorable or noteworthy here. As these animation styles are forgotten and deserve a comeback, The Inventor is also a reminder that good intentions and noble effort aren’t always enough to craft something special using those tools.

The narrative is primarily a crash course through some of Leonardo da Vinci’s most important days and discoveries, such as a scientific quest to unearth what exactly is a human soul, much to the chagrin of Pope Leo XI Voice (voiced by Matt Berry.) The Pope would rather have Leonardo da Vinci fostering peace between Italy and France, which he is successful doing while also coming into the services of The King of France (voiced by Gauthier Battoue), who initially offers creative freedom for his inventions, but really wants blueprints to a perfect city meant to honor his ego with oversized statues and more.

Disillusioned and feeling defeated that The King’s mother, Louise de Savoy (voiced by Marion Cotillard), supports this nonsense, Leonardo da Vinci does find a sliver of hope in Princess Marguerite (voiced by Daisy Ridley), who encourages his wishes to draft an ideal city first and foremost for the people. Meanwhile, asides offer insight into some of Leonardo da Vinci’s other inventions (such as mechanical animals and flying contraptions) and ponderings on the meaning of life and the purpose of a soul.

Far more intriguing is that the filmmakers are fairly comfortable punching down at the Pope while portraying leaders as greedy, power-hungry, bumbling fools with little to no intentions of doing what’s best for the people. Of course, this is done family-friendly, but it’s still there and shows that the filmmakers have their minds in the right place, even if they don’t necessarily know how to tell this story compellingly for any demographic.

This is all made worse by how wooden and disinterested the voice acting ensemble comes across, save for Stephen Fry, who makes a small emotional imprint during the film’s closing moments. The Inventor has endlessly fascinating material at its fingertips, destroying most of it rather than creating a magical animated feature. There is effort here in both animation styles, but the well-intentioned narrative lacks a soul, so Leonardo da Vinci should look for that elsewhere.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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The Inventor

2023, Kids & family/Adventure, 1h 32m

What to know

Critics Consensus

A beautifully animated history lesson, The Inventor seems somewhat uncertain as to which audience it's trying to reach, but it remains amusing and often engaging. Read critic reviews

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Where to watch the inventor.

Rent The Inventor on Apple TV, Prime Video, Vudu, or buy it on Apple TV, Prime Video, Vudu.

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The inventor videos, the inventor   photos.

"The Inventor" follows famed inventor and artist Leonardo da Vinci after he leaves Italy for France. In his new country, da Vinci joins the French court where he experiments with flying contraptions, invents machines and studies the human body, all in an effort to answer the question: "What is the meaning of life?"

Rating: PG (Some Thematic Elements|Nude Art Images)

Genre: Kids & family, Adventure, Comedy, Animation

Original Language: English

Director: Jim Capobianco , Pierre-Luc Granjon

Producer: Ellen Byrne , Vincent Mc Carthy , Robert Rippberger , Ilan Urroz , Jim Capobianco , Martin Metz , Adrian Politowski

Writer: Jim Capobianco

Release Date (Theaters): Sep 15, 2023  limited

Release Date (Streaming): Nov 7, 2023

Box Office (Gross USA): $190.0K

Runtime: 1h 32m

Distributor: Blue Fox Entertainment

Production Co: SIE Films, Leveller Media, Foliascope, Align, Curiosity Rights, Moo Studios, Leo and King, Tip-Top Productions, Carte Blanche Film, Curiosity Studio, Aerial Contrivance Workshop, Slated, Former Prodigy Media, Gaia Entertainment

Cast & Crew

Stephen Fry

Leonardo da Vinci Voice

Daisy Ridley

Marguerite Voice

Marion Cotillard

Louise de Savoy Voice

Pope Leo XI Voice

Natalie Palamides

Pierre Nepveu and Antonio de Beatis Voice

Max Baumgarten

Il Boccador and King Charles of Spain Voice

Ben Stranahan

Jim Capobianco

Cardinal of Aragon Voice

John Gilkey

Gravedigger John and Giuliano Voice

Jane Osborn

Gravedigger Jane Voice

Pierre-Luc Granjon

Screenwriter

Ellen Byrne

Vincent Mc Carthy

Robert Rippberger

Martin Metz

Adrian Politowski

Kat Alioshin

Executive Producer

Olivier Barbier

Jay Burnley

Chris Capobianco

Marijke Van Kets

Cinematographer

Nicolas Flory

Film Editing

Alex Mandel

Original Music

Samuel Ribeyron

Production Design

Art Director

Pauline Valls

Costume Design

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‘the inventor’ review: stephen fry, marion cotillard and daisy ridley help bring leonardo da vinci to charming animated life.

Jim Capobianco and Pierre-Luc Grandjon's playful animated feature concerns the later years of the artist.

By Frank Scheck

Frank Scheck

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It’s rare that animated films set out to be educational. But that is exactly the purpose of The Inventor , about the later years of Leonardo da Vinci, which also manages to be terrifically entertaining. The film is clearly a labor of love for co-director and screenwriter Jim Capobianco (a Pixar veteran, Oscar-nominated for the screenplay of Ratatouille ) who here expands upon his 2009 animated short Leonardo .

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Employing a combination of Rankin/Bass-style stop-motion and hand-drawn animation, the film is set in 1516, when the elderly Leonardo ( Stephen Fry , whose British accent doesn’t exactly cry “Italian”) has run afoul of the Catholic Church in the form of Pope Leo X (a very funny Matt Berry, of What We Do in the Shadows ), who accuses him of heresy because of his passion for studying the human body via the use of cadavers.

Instead, he would prefer that Leonardo prove himself useful by creating instruments of war to be used against the French. Leonardo dutifully complies, but cannily creates a scenario demonstrating the futility and self-destructiveness of armed conflict. Seeking a more encouraging creative environment, he flees to France and joins the court of Francis I (Gauthier Battoue), endearing himself to the monarch by pointing out that the new palace he plans on building will quickly collapse due to its too-soft foundation.

At first, Leonardo thrives in his new environment, free to explore the meaning of life and, encouraged by the king’s scientifically curious sister Princess Marguerite ( Daisy Ridley ), to fulfill his dream of creating an “Ideal City” where mankind could live in harmony with nature. But once again he finds himself having to deal with pressure to use his talents for military and nationalistic purposes, exerted by Francis and his ever-present adviser mother Louise de Savoy ( Marion Cotillard , providing some welcome Gallic flavor).

Despite its heavy-duty subject matter, the film co-directed by Capobianco and Pierre-Luc Granjon is filled with welcome humor of both the visual and verbal varieties. The animation features many amusing touches and there are some wonderfully sly jokes, such as the Mona Lisa being exhibited to crowds that immediately swell to the point where no one can see it. When a royal figure tells Leonardo his plan to inspire a renaissance, the elderly artist muses, “A Renaissance? Hum, I like the sound of that!” There are also several lively musical numbers (perhaps too many), composed by Alex Mandel, that provide diverting respites from the talky proceedings.

As a bonus, the end credits feature behind-the-scenes drawings, photos and videos illustrating the detailed process involved in the film’s making. After seeing The Inventor , younger viewers may have difficulty deciding among being budding scientists, artists or animators.

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‘The First Omen’ Review: Damien’s New Origin Story Conceives of a Majestically Messy Franchise Future

Alison foreman.

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What to expect when you’re expecting … the Antichrist?

Filmmaker Arkasha Stevenson delivers her gleefully gruesome answer to that increasingly popular question in 20 th Century’s terrifying and triumphant “The First Omen.” It’s a nominally named soft franchise reboot and the vastly superior (if accidental) answer to Neon’s “Immaculate” with Sydney Sweeney , also in theaters now.

In “ The First Omen ,” Nell Tiger Free stars as Margaret, an American nun in training come to teach at an ill-fated orphanage in Rome. Serving under a strict mother superior (Sônia Braga), Margaret was called to the school by a cardinal she’s known since childhood (Bill Nighy) and soon runs into a troubled girl (Nicole Sorace) who oddly reminds her of herself. Paradigm-shifting for Margaret and “The Omen” franchise, it’s this relationship that makes up the meat of the movie; if you can watch these two talk on a bench, you’ll follow the plot just fine. Related Stories Scarlett Johansson Reunites with Jonathan Glazer for Meta Shakespearean Prada Ad — Watch Nicholas Galitzine Recalls Botched ‘Dunkirk’ Audition: ‘Royally Screwed Up by My Team’

Still, for the unindoctrinated, it’s worth knowing the basics. Stevenson’s giallo-inspired (*) prequel takes place just a few months before the start of Richard Donner’s 1976 masterwork. Those classic horror beats — grayer and distinctly more British in pallor — center on a U.S. ambassador, his unlucky wife, and a still pint-sized Son of Satan residing in London.

(*There comes a time in most Rome-set horror movies when you have to ask yourself: Is this supposed to look like a giallo — or is that actress just well-lit and Italian? One such moment arrives about a third of the way into “The First Omen.” As Margaret’s stunning roommate and fellow wannabe nun Luz, played by Maria Caballeler, lounges on her bed, she’s covered in a prismatic pool and it’s definitely giallo.)

Freak accidents, animal attacks, recreational sports injuries, and the occasional aneurysm have punctuated “The Omen” screenwriter David Seltzer’s nostalgic but sometimes fallible and forgettable universe. As radical as the Emmy-winning “Prey” with as many of its own sequel possibilities as the smash hit series midquel “Saw X,” “The First Omen” ticks all the boxes of a justified IP revisitation that arguably should get more chapters becausse it improves what came before it.

From a screenplay co-written by Stevenson, Tim Smith, and Keith Thomas with a story by Ben Jacoby, the unholy conception of Damien Thorn for “The First Omen” doubles as the basis for Stevenson’s feature directorial debut — releasing intense scares at a contraction-like pace, before giving birth to a last act no one could forget. It’s also the rare prequel (sequel, requel, what have you) that fits seamlessly inside the existing franchise and makes tracks toward a chilling new future. In short, it births something new and genuinely scary. Remember when that wasn’t so rare?

Distributed by 20th Century Studios, “The First Omen” is in theaters on Friday, April 5 .

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The Inventor review – Leonardo da Vinci animation explores the great artist’s later life

Stephen Fry donnishly voices the Italian genius in this somewhat storyless family film about his life and explorations

‘E xcommunication is too good for him! I should boil him in his own drawing ink!” Pope Leo X (voiced by Toast of London’s Matt Berry) is very cross indeed with Leonardo da Vinci for dissecting cadavers. “It makes my stomach all queasy-weasy!” Berry’s papal peevishness is a spark of joy in an otherwise drab kids movie about Leonardo in his later years, made using a mix of stop-motion and hand-illustrated animation. It’s a bit of a bore and a chore, and feels like the kind of “educational” film that will be foisted on kids in class during wet playtime on rainy days.

The man himself is voiced by Stephen Fry (not bothering with an Italian accent; the script drops in the odd per favore and grazie to compensate). The film opens in Rome, 1516, and Leonardo’s scientific explorations have put him in hot water with the pope. Why can’t the old boy stick to painting “pretty pictures”, mumbles Leo X. So Leonardo accepts an offer from King Francis I of France to join his court.

There really isn’t much of a story after this in co-director Jim Capobianco’s script (he was Oscar-nominated for the screenplay of Pixar’s Ratatouille). In France, Leonardo soon discovers the young king is just another puffed-up preening monarch – Francis greenlights his plans for an “ideal city”, but only on the condition that there is a humongous statue of himself pride of place. In truth, Francis doesn’t give two hoots about science or progress.

That gives Leonardo plenty of time to poke about with dead bodies and ponder life’s biggies: why are we here? What is our purpose? Usually, these are the kinds of questions that kids love to chew on – but in places the film feels as lively as one of the corpses. The whizzing, whirring wonder of Leonardo’s mind never comes to life; maybe it’s the lacklustre script, or Fry’s donnish, dodderish performance. It doesn’t help that he looks more Father Christmas than Renaissance man.

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• Stephen Fry

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In Theaters: Reviews

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MOVIE REVIEW

The invention of lying, movieguide magazine.

CBN.com - The Invention of Lying is a disappointing, lackluster comedy about an ordinary fellow living in a world where people only tell the truth, who discovers how to lie and ends up using it to make his life and the world a better place. Mark Bellison (played by Ricky Gervais) is a rather unremarkable, so-called loser. He lives in an alternate reality in which lying – even the concept of a lie – does not exist. Everyone speaks the truth blatantly with no thought or consideration for others. Having been fired from his job, Mark finds himself short on cash with his rent due and decides to lie to the bank teller about the amount of money in his account. Well, in a world where every word is assumed to be absolute truth, Mark easily gets the money he needs and realizes that his newfound ability will help him rise to fame and fortune, and possibly help him win the girl of his dreams, Anna, played by Jennifer Garner. He even discovers that telling lies can make the people around him happier and more at peace. As his sick mother lays dying in the hospital fearing the empty nothingness waiting for her, Mark tells her that she will go to a place where there is eternal love and happiness, and that there will be mansion waiting for her there. Hospital employees who believe he is telling the truth overhear his lies about the afterlife. This propels Mark to the center of the world’s attention, as people are desperate to know what happens to them when they die. Not wanting to admit his guilt, Mark soon finds himself inventing the biggest lie of all – that there is a “man in the sky” who controls everything. Mark perpetuates his lie by writing ten “rules” about the “man in the sky” and the afterlife on two pizza box “tablets” – rules like everyone will get free ice cream when they die, if you do bad things you will go to a bad place, the “man in the sky” decides who lives and who dies as well as who goes to the good place and who goes to the bad place, the “man in the sky” is responsible for all the good things and bad things that happen in the world, and, even if the “man in the sky” does bad stuff to you, he will make up for it by giving you lots of good stuff when you die, and on and on. As the story continues, Mark wholeheartedly pursues Anna with hopes of finally having a romantic relationship with her, if only she could overcome her superficial desire to marry a handsome man with a perfect genetic makeup – something Mark doesn’t have. Suffice it to say that by the end of the movie Mark gets what he wants without any earthly consequences for all of his lies. The Invention of Lying , though containing some unique ideas, original humor, and some interesting insight into what constitutes truth and what constitutes a lie, is ultimately unconvincing and abhorrently irreverent. The acting is nothing remarkable as Ricky Gervais plays the same type of character as he does in every movie and Jennifer Garner completely overacts, making her role unbelievable and unlikable. For the most part, the movie relies on its sexual content as the source of humor and the line between truth and lies is left to be morally ambiguous, especially considering that there are no consequences shown for Mark’s lies and he continues to be rewarded for his behavior. Also, although the movie is a satire, when it compares the effect of telling the truth on people to telling lies, it is greatly disproportionate, with the end result that lying can be a good thing because it makes people happy and peaceful. The movie seems to inaccurately portray what telling the truth looks like – the writers’ and directors’ idea of truth is more like people acting without inhibitions or wisdom by always saying the first thing that pops into their heads. The message seems to be that people who always tell the truth don’t have love and consideration for others. The biggest concern is that, during Mark’s parody on Moses, his ultimate lie is about God (“the man in the sky”) and Heaven (the “good place”). The whole biblical concept of God is painted as one big, fat lie. Of course, this is all done for the purpose of humor, but the movie’s intent is clear: to make a blatant attack on Christianity, biblical truth, religion, and morality. The Invention of Lying could have been very clever and even uplifting. Instead, it is an abhorrent humanist movie that mocks God, faith, Jesus Christ, Moses, and morality. It also contains crude sexual content and a message that lying can be a good thing.

Address Comments to: Jeffrey L. Bewkes, CEO, Time Warner Barry M. Meyer, Chairman/CEO Alan Horn, President/COO Warner Bros. Entertainment Inc. (New Line Cinema) 4000 Warner Blvd. Burbank, CA 91522-0001 Phone: (818) 954-6000 Web site: www.movies.warnerbros.com

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PG-13 for language including some sexual material and a drug reference.

October 1, 2009

Ricky Gervais, Jennifer Garner, Rob Lowe, Jonah Hill, Louis C.K. Jeffrey Tambor, Fionnula Flanagan, and Tina Fey, with cameos by Jason Bateman, Christopher Guest, Philip Seymour Hoffman, and Edward Norton

Ricky Gervais and Matthew Robinson

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The Invention of Lying : Official Movie Web site

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Stream It Or Skip It: ‘The Zone of Interest’ on Max, an Unblinking Stare at the Banality of Evil

Where to stream:.

• The Zone of Interest
• Jonathan Glazer

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Jonathan Glazer doesn’t make feature films very often, but when he does, we get an unforgettable work like The Zone of Interest ( now streaming on Max , in addition to VOD services like Amazon Prime Video ). The acclaimed director of Sexy Beast , Birth and Under the Skin spent years researching and preparing to make this banality-of-evil story about Rudolf Hoss, the Nazi commandant who was not only in charge of the Auschwitz concentration camp, but also lived immediately next door to it. Seeking to remove as much of the “artifice of filmmaking” as possible, Glazer set up multiple static cameras inside a detailed replica of Hoss’ home – built very close to the real thing, which still stands – and let his cast simply “exist” in the set, the Hoss family going about its suburban routine while the sounds of genocide creep over a fence and into their idyllic garden. The film is up for five Oscars, including Best Picture and Director, and stands, like so many Holocaust films before it, as one those movies you’ll appreciate on many levels, and be glad that you’ve seen, but probably will never want to see again.

THE ZONE OF INTEREST : STREAM IT OR SKIP IT?

The Gist: Location, location, location. Rudolf (Christian Friedel) and Hedwig (Sandra Huller, Oscar nominee for Anatomy of a Fall ) Hoss don’t live in an extravagant home, but it’s still beautiful. Their daughters’ room is cozy and bright, Rudolf’s office is stately and the dining room is grand. The piece de resistance, though, is the garden, which is Hedwig’s pride – it stretches across a few parcels, and includes a pool for the children to play in, a broad diversity of flowering plants (including towering rows of sunflowers) and a sprawling greenhouse. We first meet the Hoss family as they look excessively pale in the sunlight along the bank of a lake. It’s a gorgeous day. They’ve taken their two sons, two daughters and baby for a swim and picnic. By the time they get home, the crickets are chirping in the twilight, the soothing warble blending in with the not-quite-distant sounds of gunshots, screaming, diesel engines and other sounds of the industry of systematic genocide.

It’s Rudolf’s birthday. The children are thrilled to gift him a three-person kayak, so new, the paint’s still fresh. He puts the baby in it and laughs that she’ll have a green bottom. All the officers from the Auschwitz camp gather outside Rudolf’s back door to wish him a happy birthday; higher-ups will meet inside his home office later to go over the blueprints for their new highly efficient mass-cremation system. When he has a rare day off, he takes two of the kids to the nearby Soln for a spin in the kayak. As they swim and he wades into the river with his fishing rod, he steps on something. It’s a human jawbone. He dashes from the water and rushes the children home, where the nanny and housekeeper scrub them in the bathtub, cleaning off any remnants of ash. At nighttime, Rudolf makes the rounds, turning off lights and locking doors. In one bedroom, he and Hedwig giggle and laugh quietly in their twin-sized beds, separated by a nightstand; in another, their elder son lays in bed with a flashlight, sifting through a box of gold teeth.

Hedwig’s mother arrives for a visit, her first at the Auschwitz house. Hedwig gives her a guided tour of the garden – a “paradise garden,” her mother labels it – and they sit near a lovely pergola, not hearing, or pretending not to hear, the grinding sounds of the industry of death churning mere yards away, on the other side of a tall privacy fence topped with barbed wire like Christ’s crown of thorns. They host a party and we get a shot of the children splashing in the pool as we see plumes of smoke progressing across the horizon from a train arriving at the camp; from the opposite angle, the brick buildings that house gas chambers and furnaces loom ominously. As they sit poolside, Rudolf tells Hedwig that he’s been so successful at overseeing Auschwitz, he’s been promoted from commandant to deputy inspector. They’ll have to relocate to Oranienburg in Germany. Hedwig is incensed. Have you seen her garden? Have you seen how happy the children are? This is their dream, she argues, and it’s even better than they ever thought it’d be. Why would anyone ever want to leave this?

What Movies Will It Remind You Of?: File The Zone of Interest next to Michael Haneke’s The White Ribbon among modern cinema’s most miserably effective examinations of the worst of humanity.

Performance Worth Watching: Between this and Anatomy of a Fall , 2023 marked an extraordinary year for Huller. Both films gave her a platform to explore compellingly thorny moral gray areas; in The Zone of Interest , her characterization is all about fascinatingly superhuman feats of compartmentalization. 

Memorable Dialogue: Rudolf takes his son for a horseback ride through the woods. As the sounds of the Auschwitz camp creep into the scene, Rudolf points something out to the boy: “Do you hear that? It’s a bittern. A Eurasian gray heron.”

Sex and Skin: None.

Our Take: The Zone of Interests opens with a black screen and an ambient-music overture, functioning as a palate cleanser for what we’re about to see: A family going about its daily business. Boys play with toy soldiers, the nanny sits with her head in her hands as the baby wails in the wee hours, women chat over tea, a father reads his daughters a bedtime story. But one of the boys wears the uniform of the Hitler Youth. The sound of furnaces belching smoke and flame have awakened the child. The women casually discuss acquiring a dress from a “Jewess.” The story is Hansel and Gretel , and we specifically hear the part about the children pushing the witch into the oven.

Sometimes, we have to block out troublesome thoughts just to get through the workday and put dinner on the table and get the kids to bed. But the Hoss family is a different story. The children are collateral damage, while the adults function on a different level, especially Hedwig. While her husband ventures to the other side of the fence daily, she doesn’t, and prompts us to wonder whether complicity or indifference is worse. Most people get used to the best and worst of new surroundings; having acclimated to living in boiling water, Rudolf and Hedwig have become truly inhuman. Cue a crushingly prosaic scene: Rudolf makes a phone call, dictating a memo to camp workers. He wants them to please be conscious of not destroying the lilac bushes while picking flowers. We recognize the crass irony of the moment. Does he?

Glazer never shows us what happens on the other side of the fence. He doesn’t have to – we’ve seen it in Schindler’s List , Life is Beautiful , Son of Saul and others. In this film, though, the idea that what’s in our imagination is more terrifying than what we witness firsthand holds true as ever. The cinematography functions as a harsh staredown, as if the camera is trying to will its subjects to recognize reality, to self-reflect. The director tells parallel stories: The one we see, a quasi-observational family drama, austere and unblinking. And the one we hear, a horror story and condemnation of these characters (for this reason, the film is nominated for a best sound Oscar). These narratives intersect so frequently in our minds, because we’re not evil, and we try to will it to happen to Hedwig and Rudolf, perhaps because we value redemption stories, even when there are none.

Not all of the film is chillingly astringent. Glazer deviates from the static camera/natural light formality in a few scenes depicting Polish Jews whose faces go largely unseen: A girl, shot with reverse-negative photography, hides apples for starving prisoners; a lament played on a piano is subject to subtitles, instrumental music translated into words; a late-film sequence flash-forwards to present-day Auschwitz. History passes judgment. Not all is hopeless, and not all is forgotten. 

Our Call: The Zone of Interest is an exceptional film, and a difficult one to endure. The most vital stories are so often that way. STREAM IT. 

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

• Stream It Or Skip It

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Cabrini (Christian Movie Review)

Although it often paints with broad brushstrokes rather than detailed nuance, Cabrini is visually gorgeous and emotionally moving, a powerful testimony of faith and hope put into action.  

About the Film  

How can one person of faith offer hope and dignity to the oppressed, abused, and outcasts in society? Having explored this theme in 2023’s breakout hit film The Sound of Freedom , Director Alejandro Gómez Monteverde revisits this question in his follow-up movie from Angel Studios. The film is based on the true story of Francesca Cabrini, an Italian nun who confronted discrimination and sexism in order to care for immigrants in New York City. Although it often paints with broad brushstrokes rather than detailed nuance, Cabrini is visually gorgeous and emotionally moving, a powerful testimony of faith and hope put into action. The film is set for release on International Women’s Day, and anyone looking for a worthy representation of a powerful and resilient woman of faith need look no further.    

In the past, poorly made films created by or about people of faith were often excused due to their well-meaning message: “The movie may look like it was filmed by a child on an outdated camera, but it proclaims Jesus! Hallelujah!” Cabrini shows how far we’ve come. It is one of the most impressive looking films released in years. From the coloring to the framing to the camera movements, the scenes are elegantly composed. Faith-based films have long offered the True and the Good, but Cabrini also emphatically showcases the Beautiful.      

Cristiana Dell’Anna, whose prior experience consists primarily of international films, is dynamite in the central role of Francesca Cabrini. The script doesn’t always allow for dramatic range, but she subtly communicates the turmoil billowing behind her often-stoic expressions. The supporting cast is effective as well. There are no weak links, though few characters are given enough screen time to make a lasting impression.    

As I mentioned already, Cabrini is a film of epic and sweeping strokes rather than nuance. Thus, the characters are largely archetypes, not fully formed individuals. Each one falls into a simplistic category: the sexist males and selfless saints, the oppressed and the oppressors, the wholly good and the wholly evil, etc. As the audience, it’s easy to root for Cabrini, but it’s more difficult to know her. She is a selfless saint fighting a noble fight and inspiring others (in both the film and the audience) to join her. Her only weakness seems to be her constitution.  

Cabrini is essentially the cinematic equivalent to the viral “He Gets Us” ad campaign. Many of the same criticisms leveled at those advertisements—diminishing the divine and catering to modern sensibilities—are applicable here (see more below). Personally, though, I had a hard time feeling cynical about the story. Yes, it is simplistic. But so is Cabrini’s worldview: people are in need, so someone must help them. When she is told that she may have only a few years to live, she responds, “In that case, I should get to work.”   

Would it have been beneficial to explore the theological substance of her faith? Sure. Is the film intentionally inoffensive in a way that almost masks the spiritual elements? Perhaps. But at the end of the day, you are left with the story of an incredible woman of faith who felt compelled to be the loving hands and feet of Jesus. That’s the type of story Hollywood needs to tell more often.   

Cabrini can perhaps be understood as the other side of the coin from Martin Scorsese’s 2023 Academy Award-nominated film Killers of the Flower Moon . Both films are lengthy, sprawling epics that spotlight societal injustice. Whereas Scorsese’s film emphasizes the unrelenting sin and depravity that runs rampant in our broken world, Cabrini celebrates resilient efforts to shine a light into that darkness. The first asks audiences to open their eyes to the uncomfortable sights and sounds of a sinful world, while Cabrini challenges, “What will you do about it?” It’s a straightforward question, but often the simplest messages are the most impactful.

For Consideration

Language: There are some profanities ( “H—” and “b—h”), some derogatory slurs, and several other harsh words (“whore,” “bloody”).

Violence: A man is shot with a pistol (he is offscreen and the wound is not shown). A woman is assaulted and punched repeatedly in the face, leaving her bruised and bloodied. A man is stabbed in the chest and killed. A mine explosion kills and injures many. 

Sexuality: A young girl is identified as having been a prostitute. 

Other: There are several scenes in which characters smoke and drink alcohol.

Engage The Film

Faith and deed          .

On the surface, Cabrini ’s message of “love in action” is easy to affirm. In fact, even non-religious audiences will find that the film resonates with many of today’s core values. But that accessibility comes with some trade-offs.  

Thematically, the film has much in common with the viral—and contentious—“He Gets Us” ad campaign. It often focuses on the material over the spiritual. While Cabrini’s faith clearly motivates her, it seems to manifest itself in good deeds rather than a theological understanding of Jesus (at least as it is portrayed in the film).

For example, a former prostitute who has just killed a man (in self-defense) laments, “There is not enough water in the world to make me clean.” Rather than pointing to God’s forgiveness, Cabrini instead focuses on the young lady’s strength as a “survivor.” Cabrini’s words are true (the young lady is a courageous survivor), but the moment feels incomplete.

Cabrini continues, “We don’t get to choose how we come into this world. But God gave us the freedom to choose how we live in it.” She emphasizes human action rather than submission to God. What washes a sinner clean is apparently the choice to do good rather than Christ’s death and resurrection. Near the end of the film, the Pope says to Cabrini, “I cannot tell where your faith ends and your ambition begins.” Indeed, the delineation between the two is often unclear, with Cabrini characterized as both a bold entrepreneur and a humble woman of faith.     

Cabrini positions its message in such a way that it is palatable for modern sensibilities, touching on popular narratives of oppression and feminism. It ends with a voiceover call to action, “What kind of world do we want? And what will we do to achieve it?” Yet, at times the film seems reluctant to explore the theological and religious underpinnings that motivate those actions. Jesus clearly called Christians to meet the material needs of others (Matthew 25:40), and the Bible urges believers to put their faith into action (James). But Jesus also said, “Without Me you can do nothing” (John 15:4-5). He also asked, “What good will it be for someone to gain the whole world, yet forfeit their soul?” That is not to say the message of Cabrini is not powerful or biblical, only that it is incomplete. 

Stepping Out in Faith          

When questioned by the Pope about the viability of her ambitious plans for a network of orphanages and hospitals that span the globe, Cabrini responds, “Begin the mission and the means will come.” She repeats the refrain near the end of the movie, effectively bookending the film. Where others see the limitations, Cabrini trusts that God will provide for her regardless of what her critics say.    

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Tv/streaming, collections, great movies, chaz's journal, contributors, the inventor: out for blood in silicon valley.

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"The Inventor: Out for Blood in Silicon Valley" is the story of Elizabeth Holmes, founder and CEO of Theranos. It's a study in deception, and as told by filmmaker Alex Gibney  (" Enron: The Smartest Guys in the Room "), it's a disturbing and sad one. 

Theranos sounds like a creature of myth, and in the end, that's what the company was. Appealing to the common fear of having blood drawn invasively in large amounts, Holmes spun an enticing pitch about building a compact, portable analysis machine named after Thomas Edison and able to perform 200 different kinds of tests quickly, using a pinprick's worth of blood. Holmes styled herself as a Mozart-caliber wunderkind. She started her company when she was barely old enough to drink. Within a matter of years, it employed 800 people and was valued at $10 billion.

Unfortunately, Holmes' machine couldn't do what she promised. She wasn't a scientist, and her own experts had warned her that it was physically impossible to build the device she'd envisioned. When a big deal with Walgreens' pharmacy chain was about to fall through over their impatience with Theranos' delivery schedule, her solution was a panicky end-run that involved secretly testing peoples' blood by conventional means, off-site, and then acting like the Edison machine had done the work. As described by Gibney and various expert witnesses, the whole scenario would've made for a classic farce were it not for the fortunes and reputations at stake—not to mention the possibility of going to market with a machine that put peoples' health at risk by delivering inaccurate results, and endangering the safety of technicians with goof-prone technology that could've punctured hands with errant needles, or tainted laboratory air with impurities released from broken sample tubes.

Despite the copious use of drone shots, a hypnotic, science fiction-sounding score, and some of the best explanatory computer graphics you'll ever see, "The Inventor" is ultimately more of an information delivery system than a fully satisfying work of cinema. The presence of one of documentary film's great innovators, Errol Morris , in the fabric of the movie itself—as a corporate gun-for-hire, Morris did a promotional video for the company—can't help but invite fantasies of what might've been. (The mind reels imagining an autobiographical movie about Morris, one of the great interrogators of war criminals and corrupt officials, coming to terms with his own paycheck-driven obliviousness to the incredible story sitting in front of his lens.) The movie never quite manages to crack the porcelain surface of Holmes' facade, despite the fleeting glimpses of insecurity and fear that sometimes flash through her eerily unblinking blue eyes. And at roughly two hours, it starts to grow repetitious. There are only so many ways to say, "In the end, there was no substance, and she fooled us all." 

"The Inventor" also shies away from exploring the explosive gender politics at play. Whether this is due to lack of interest, a belief that a male filmmaker shouldn't be fixating on them, or a feeling that Holmes deserves the same treatment as a male scam artist is impossible to guess. But the viewer still may come away wondering if a great storytelling opportunity was missed. Holmes was an object of fascination and inspiration for many women in tech. As such, her downfall is deeply depressing, not just because she was a dishonest person—maybe even a compulsive fabulist—but also because of the implication that some of the older, extremely powerful men who championed her might've been smitten as much by her youth and conventional good looks as by her sales pitch. Their ranks included Henry Kissinger, former president Bill Clinton , former vice president Joe Biden, former defense secretaries James Mattis and William Perry, senator Sam Nunn, Fox News Channel founder Rupert Murdoch, and former Secretary of State George Shultz, whose grandson Tyler Shultz worked for Theranos and eventually turned whistleblower. When things started imploding, Holmes hired attorney David Boies to intimidate people who threatened to expose her. 

In contrast, most of the women interviewed by Gibney—including Stanford University professor Dr. Phyllis Gardner, former Theranos lab technician Erika Cheung, and former Theranos receptionist Cheryl Gafner—appear to have sensed a bit more quickly that something was amiss. They come across as more aghast and disillusioned than all but a handful of the men who bought into Holmes' mythology. (One exception is Fortune magazine writer Roger Parloff, who helped make Holmes a tech superstar by doing a credulous cover story on her. As he recounts his reaction to a muckraking  Wall Street Journal series by John Carryrou, we hear a catch in his voice.)  

Briefly hailed as the world's youngest female billionaire, Holmes is now facing 20 years in prison on conspiracy and fraud charges. To paraphrase the final scene of the Coen brothers' satire " Burn After Reading ," it's hard to say what we've learned from this mess, except never to do anything like it again. And yet, human nature being what it is, we surely will do it again. 

One of the film's more intriguing unexamined assumptions is that Holmes' amphibious charm mesmerized people who should've known better. But on closer inspection, that notion doesn't hold up. Tyler Shultz, for instance, describes his granddad as a man who worked for two scandal-plagued Republican administrations—Richard Nixon's, which gave the world Watergate, and Ronald Reagan's, which produced the Iran-Contra conspiracy—and emerged "with his reputation intact," only to be fooled in his nineties by Holmes. If Shultz's biography is marked by a tendency to get involved with brazen and dangerous liars, his reputation should be marked by gullibility as well as integrity—and his championing of Holmes should seem all of a piece, not just with his own resume, but with the larger human story. 

We all want something to believe in—and, as Gibney suggests, if nothing worthy of belief presents itself, we'll make do with a ripping yarn.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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‘Bad Faith: Christian Nationalism’s Unholy War on Democracy’ Review: A Scary Look at the Potential Soldiers of a Second Trump Reign

The followers of Christian Nationalism want a theocracy. Stephen Ujlaki and Chris Jones's chilling film suggests that another Trump presidency could help them get it.

By Owen Gleiberman

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In 2017, Trump, once he took the reins of power, was constrained — by the other branches of government, and by the rule of law. He didn’t become the explicitly, committedly anti-democratic figure he is now until the 2020 election, when his declaration that he was actually the winner, and that Joe Biden had stolen the election, became the new cornerstone of his ideology. In the intervening period, Trump has been setting himself up to rule the United States as an authoritarian leader, and that meshes perfectly with the goals of Christian Nationalism, a movement that’s built around the dream of transforming America into a theocracy: a Christian nation ruled by a higher power than the Constitution — that is, by the will of God, as interpreted by his white Christian followers.

The alliance between Trump and Christian Nationalism is a profound one. Progressives tend to be focused, to the point of obsession, on the hypocrisy of the alliance — the idea that men and women who are supposedly devoted to the teachings of Jesus Christ could rally behind a sinner and law-breaker like Trump, who seems the incarnation of everything they should be against. The documentary fills in their longstanding justification: that Trump is seen as a modern-day version of King Cyrus, a pagan who God used as a tool to help the people. According to this mode of opportunistic logic, Trump doesn’t need to be a pious Christian; his very recklessness makes him part of a grander design. The Christian Nationalists view Trump much as his disgruntled base of working-class nihilist supporters have always viewed him — as a kind of holy wrecking ball.    

But, of course, that’s just the rationalization. “Bad Faith” captures the intricacy with which Trump, like certain Republicans before him, has struck a deal with the Christian Right that benefits both parties. In exchange for their support in 2016, he agreed to back a slate of judicial appointees to their liking, and to come over to their side on abortion. Trump’s victory in 2016, like Reagan’s in 1980, was sealed by the support of the Christian Right. But what he’s promising them this time is the very destruction of the American system that they have long sought.   

The most chilling aspect of “Bad Faith” is that, in tracing the roots of the Christian Right, the movie colors in how the dream of theocracy has been the movement’s underlying motivation from almost the start. In 1980, when the so-called Moral Majority came into existence, its leader, Jerry Falwell, got all the attention. (A corrupt quirk of the movement is that as televangelists like Falwell, Pat Robertson, and, later on, Joel Osteen became rich and famous, their wealth was presented as evidence that God had chosen them to lead.) But Falwell, despite the headlines he grabbed, wasn’t the visionary organizer of the Moral Majority.

That was Paul Weyrich, the owlish conservative religious activist who founded the hugely influential Council for National Policy, which spearheaded the structural fusion of Christianity and right-wing politics. He’s the one who went to Falwell and Robertson and collated their lists of supporters into a Christian political machine that could become larger than the sum of its parts. The machine encompassed a network of 72,000 preachers, it employed sophisticated methods of micro-targeting, and its impetus was to transform Evangelical Christianity into a movement that was fundamentally political. The G.O.P. became “God’s own party,” and the election of Reagan was the Evangelicals’ first victory. We see a clip of Reagan saying how he plans to “make America great again,” which is the tip of the iceberg of how much the Trump playbook got from him.

Randall Balmer, the Ivy League historian of American religion who wrote the book “Bad Faith,” is interviewed in the documentary, and he makes a fascinating point: that there’s a mythology that the Christian Right was first galvanized, in 1973, by Roe v. Wade — but that, in fact, that’s not true. Jerry Falwell didn’t deliver his first anti-abortion sermon until 1978. According to Balmer, the moment that galvanized the Christian Right was the 1971 lower-court ruling on school desegregation that held that any institution that engages in racial discrimination or segregation is not, by definition, a charitable institution, and therefore has no claim to tax-exempt status.

This had an incendiary effect. Churches like Jerry Falwell’s were not integrated and didn’t want to be; yet they also wanted their tax-exempt status. It was this law that touched off the anti-government underpinnings of the Christian Right, much as the sieges of Ruby Ridge and Waco became the seeds of the alt-right. And it sealed the notion that Christian Nationalism and White Nationalism were joined at the hip, a union that went back to the historical fusion of the two in the Ku Klux Klan’s brand of Christian terrorism.

“Bad Faith” makes a powerful case that Christian Nationalism is built on a lie: the shibboleth that America was originally established as a “Christian nation.” It’s true to say that the Founders drew on the moral traditions of Judeo-Christian culture. Yet the freedom of religion in the First Amendment was put there precisely as a guard against religious tyranny. It was, at the time, a radical idea: that the people would determine how — and what God — they wanted to worship. In truth, Christian Nationalism undermines not only the freedoms enshrined by the Constitution but the very concept of free will that’s at the heart of Christian theology. You can’t choose to be a follower of Christ if that belief is imposed on you.

Reviewed online, April 2, 2024. Running time: 88 MIN.

• Production: A Heretical Reason Productions, Panarea production. Producers: Stephen Ujlaki, Chris Jones. Executive producers: Peter D. Graves, John Ptak, Mike Steed, Todd Stiefel.
• Crew: Directors: Stephen Ujlaki, Chris Jones. Screenplay: Stephen Ujlaki, Chris Jones, Alec Baer. Camera: Bill Yates, Pilar Timpane, Trevor May. Editor: Alec Baer, Chris Jones. Music: Lili Haydn, Jeremy Grody.
• With: Peter Coyote, Elizabeth Neumann, Randall Balmer, Ken Peters, Eboo Patel, Katherine Stewart, Samuel Perry, Russell Moore, Rev. William Barber II, Linda Gordon, Jim Wallis, Lisa Sharon Harper, Jonathan Wilson Hartgrove, Anne Nelson, Brent Allpress, John Marty.

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Screen Rant

The first omen review: horror prequel criticizes church corruption in effective franchise entry.

The First Omen contains the scary elements from the classics and creative upgrades, resulting in a hit for the horror genre and The Omen franchise.

• The First Omen goes beyond surface-level storytelling, featuring great visual storytelling.
• Nell Tiger Free delivers a wonderful leading performance in The First Omen .
• The film explores themes of church corruption and womanhood, adding layers to classic horror tactics.

Richard Donner’s The Omen took the world by storm when it first premiered in 1976. It told the story of Damien Thorn, a child believed to be the spawn of Satan who would grow up to be the Antichrist. Since then, several sequels and even a 2006 remake have followed, but they never really amounted to the greatness of the first movie. But that all changed with The First Omen , a prequel to the original.

The First Omen is a horror film from director Arkasha Stevenson that acts as a prequel to the 1976 film The Omen. The film follows a young woman who goes to Rome to become a nun but begins to question her faith after encountering a terrifying darkness that aims to spawn an evil incarnate.

• The First Omen goes beyond surface-level storytelling.
• Nell Tiger Free gives a wonderful leading performance.
• Arkasha Stevenson's feature debut comes with great visual storytelling.
• The editing is a bit jarring at times.

Directed by first-time feature director Arkasha Stevenson, who also co-wrote the screenplay with Keith Thomas and Tim Smith, The First Omen contains the scary elements from the classics and creative upgrades, resulting in a hit for the horror genre and The Omen franchise .

The First Omen Opens With Proper Atmosphere-Building

It sets the tone for the rest of the film and its events.

The First Omen , set in 1971 , starts off with a mysterious and daunting sequence that may produce equal amounts of anxiety and confusion. It’s the perfect beginning to a horror film of this kind, as we’re already familiar with the basics. Yet the mystery surrounding the conversation between Father Brennan (Ralph Ineson) and Father Harris (Charles Dance) is enough to set up the atmosphere. The screenwriters do well by keeping their conversation as vague as possible. And it’s the first reason viewers will focus on the screen and stay glued to their seats.

Where To Watch The First Omen: Showtimes & Streaming Status

Soon after, a young American woman named Margaret (Nell Tiger Free) arrives in Rome, ready to dedicate her life to God by servicing the youth at the Vizzerdeli Orphanage before her vows. In classic horror movie style, most things appear to be normal until she meets Carlita Skianna (Nicole Sorace), an outcast orphan who has been deemed bad by the nuns. Troubling visions and circumstances begin to occur, which sends Margaret on a hunt to uncover the truth. Her investigation unravels a disturbing truth that enables Stevenson to put on a tremendous horror showcase.

The First Omen

The first omen delivers quality themes & entertainment, stevenson's feature debut is a strong one.

The best part about Stevenson’s film is how her directing guides us on a trippy journey that is equally horrifying and emotionally gripping. Even the classic jump scares come with added layers of terror that will leave a lasting picture in your mind. But underneath these standard strategies taken to amplify the mood is a genuinely good story with a theme of church corruption at the center of it all. The script intently focuses on what many people hate about religion: How people use inhumane and violent methods in God’s name even though it goes against His teachings.

Another exceptional theme explored in The First Omen is womanhood, as it relates to body autonomy and purpose. With such a prevalent topic in today’s world, the film could have swayed towards either the offensive or even a half-baked examination. But the team behind this horror film understands their central female lead and gives us a fine character journey worth every second. To that end, Free gives a performance that has already become one of my favorites in the genre. She is a young actress we should all get used to seeing on the big screen.

The team behind this horror film understands their central female lead and gives us a fine character journey worth every second.

Often defying its own genre to borrow from the likes of thriller films, The First Omen is a prequel done right. It contains classic jump scares we all love, with an intensely emotional and frightening story to back it up. With an incredible dissection of church corruption related to evil acts in God’s name, Stevenson’s feature debut boldly uses Margaret to facilitate important dialogue when it comes to religion and understanding one's purpose. And thanks to a great central performance from Free, I wouldn’t be surprised if The First Omen became a favorite of the entire franchise.

THE MAN WHO INVENTED CHRISTMAS

"a great christmas story well told".

What You Need To Know:

Miscellaneous Immorality:  Protagonist won’t confide in his wife, borrows too much money and is estranged from his father, who’s a dreamer.

More Detail:

THE MAN WHO INVENTED CHRISTMAS is a thoroughly delightful, brilliant, enthralling movie about how Charles Dickens crafted the beloved Christmas classic A CHRISTMAS CAROL and practically invented the way we celebrate Christmas today. THE MAN WHO INVENTED CHRISTMAS is an instant holiday classic, with a marvelous performance by Dan Stevens as Charles Dickens. It’s one of the best Christmas movies ever made.

The movie opens with Charles Dickens on tour in America in 1842. Dickens is basking in the successful glow of his early successes, especially OLIVER TWIST. A year later, however, his new novel, MARTIN CHUZZLEWIT, which is being released a chapter at a time, isn’t doing so well, and Dickens is suffering from writer’s block. Making matters worse, the expenses for his book tour and his extravagant lifestyle, which include supporting his wife, several children and servants, have piled up. As a result, Dickens is afraid he’s going to end up in debtors’ prison like his father did.

One night, he hears his children laughing and crying over a ghost story being told by the family’s new, young Irish maid. This, and his difficulties of securing an advance for a new book or a loan, inspire him to start writing A CHRISTMAS CAROL. As he writes the book, the characters he writes about come alive and speak back to him, especially old Ebenezer Scrooge, who’s anxious to tell Dickens “my side of the story.”

However, no one will give Dickens an advance for the book, despite help from his longtime friend and manager, John Forster. No one cares about Christmas these days, the publishers say. So, Dickens decides to finance the book himself, but the decision puts additional pressure on him to finish the book in time for Christmas.

Meanwhile, Dickens’ irresponsible father shows up on his doorstep with his mother. This only reminds Dickens of the time he was forced to work in a filthy, rat-infested factory among other child workers because his parents and younger siblings were sent to a debtors’ prison to work off the father’s debts. The father brings along a pet crow for their grandchildren, which only increases the distractions in the house while Dickens tries to write A CHRISTMAS CAROL.

Can Dickens finish the book in time for Christmas? Even more importantly, can Dickens’ father reconcile with his son?

THE MAN WHO INVENTED CHRISTMAS is full of laughter, tears and brilliance. Dan Stevens gives a magnificent, exuberant performance as Charles Dickens. The great Christopher Plummer (THE SOUND OF MUSIC, UP and MURDER BY DECREE) delivers a lively performance as the cantankerous Mr. Scrooge. It’s a perfect holiday movie for Thanksgiving and the Christmas season!

Recently, a reviewer said in a review about a movie based on author J.D. Salinger’s work that it’s hard to make a writer’s work seem interesting or exciting in a movie. That’s certainly not the case with THE MAN WHO INVENTED CHRISTMAS. The filmmakers have solved this alleged problem by having Dickens interact with the characters in his book. Not only does he have lively discussions with them, they also act as a kind of Greek chorus commenting on Dickens’ own personal story. At one point, Scrooge reminds Dickens that Dickens’ attitude toward his father is just as miserly as Scrooge’s own attitude toward accumulating wealth. The benefit of having the characters in A CHRITSMAS CAROL interact with Dickens while he’s writing not only illuminates life of Dickens, it also allows the movie to do a few powerful scenes from A CHRISTMAS CAROL.

Like the book on which it’s based, THE MAN WHO INVENTED CHRISTMAS is a celebration of Christmas and the biblical sentiment of the Birth of Christ, “Peace on Earth, good will toward men.” In the movie, Charles Dickens overcomes the ordeal of writing his book and dealing with his father by remembering something his father taught him, that anyone can lift the burden of another person. Also, although the movie isn’t an evangelical treatise on salvation by grace through faith in Jesus, the movie shows the father as well as Tiny Tim using the beloved blessing from A CHRISTMAS CAROL, “God bless us, everyone!” Ultimately, A CHRISTMAS CAROL is a classic story of redemption, and so is THE MAN WHO INVENTED CHRISTMAS.

THE MAN WHO INVENTED CHRISTMAS is free of foul language. However, there are some scary scenes requiring caution for younger children. For instance, in a flashback to Charles Dickens working in the factory, another boy puts a dead rat on the bench where Dickens works.

Now more than ever we’re bombarded by darkness in media, movies, and TV. Movieguide® has fought back for almost 40 years, working within Hollywood to propel uplifting and positive content. We’re proud to say we’ve collaborated with some of the top industry players to influence and redeem entertainment for Jesus. Still, the most influential person in Hollywood is you. The viewer.

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Review: Climate the Movie, the film you must see – ‘Film exposes the climate alarm as an invented scare without any basis in science’

• By Marc Morano
• April 4, 2024

Climate the Movie, the film you must see

By Paul Homewood

THREE weeks ago saw the Dutch premiere of  Climate the Movie: The Cold Truth.  Now the film has been released globally, and can be watched on YouTube below.

It is directed by Martin Durkin, who produced the Channel 4 programme  The Great Global Warming Swindle  in 2007. That documentary was such a powerful take down of the climate scam that the climate establishment colluded to prevent any further airing on UK television.

This new film exposes the climate alarm as an invented scare without any basis in science. It shows that mainstream studies and official data do not support the claim that we are witnessing an increase in extreme weather events – hurricanes, droughts, heatwaves, wildfires and all the rest. It emphatically counters the claim that current temperatures and levels of atmospheric CO 2  are unusually and worryingly high. On the contrary it is very clearly the case, as can be seen in all mainstream studies, that compared with the last half billion years of earth’s history both current temperatures and CO 2  levels are extremely and unusually low. We are currently in an ice age. It also shows that there is no evidence that changing levels of CO 2  (it has changed many times) has ever ‘driven’ climate change in the past.

Why then are we told again and again that ‘catastrophic man-made climate-change’ is an irrefutable fact? Why are we told that there is no evidence that contradicts it? Why are we told that anyone who questions ‘climate chaos’ is a ‘flat-earther’ and a ‘science-denier’?

The film explores the nature of the consensus behind climate change. It describes the origins of the climate funding bandwagon, and the rise of the trillion-dollar climate industry. It surveys the hundreds of thousands of jobs that depend on the climate crisis. It explains the enormous pressure on scientists and others not to question the climate alarm: the withdrawal of funds, rejection by science journals, social ostracism.

But the climate alarm is much more than a funding and jobs bandwagon. The film explores the politics of climate. From the beginning, the climate scare was political. The culprit was free-market industrial capitalism. The solution was higher taxes and more regulation. From the start, the climate alarm appealed to, and has been adopted and promoted by, those groups who favour bigger government.

This is the unspoken political divide behind the climate alarm. The climate scare appeals especially to all those in the sprawling publicly-funded establishment. This includes the largely publicly-funded Western intelligentsia, for whom climate has become a moral cause. In these circles, to criticise or question the climate alarm is a breach of social etiquette.

The film includes interviews with a number of prominent scientists, including Professor Steven Koonin (Obama’s under secretary for science), Professor Dick Lindzen (formerly professor of meteorology at Harvard and MIT), Professor Will Happer (professor of physics at Princeton), Dr John Clauser (winner of the Nobel prize in Physics in 2022), Professor Nir Shaviv (Racah Institute of Physics) and others.

Over the next four days we are going to focus on and give the transcript of each of the film’s four key sections.

Climate the Movie – Part 1: History of the earth and CO2 – The Conservative Woman https://t.co/8T7yV1Oth4 — Marc Morano (@ClimateDepot) April 4, 2024

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Book Reviews

Finding flight in 'the invention of wings'.

Bobbi Dumas

The Invention of Wings

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I don't remember how old I was when I discovered some of the more harrowing chapters of human history — the Holocaust and American slavery — but I do remember convincing my young self that I would have been brave had I lived in those times. I would have hidden my Jewish friend Anne Frank; I would have been a station on the Underground Railroad. I would have stood up for humanity and against injustice.

Later, I was not quite as zealous or stalwart. I considered such acts with a keener sense of how it felt to be ostracized, and a deeper understanding of how much I wanted to belong — or survive. And I found myself contemplating those past selves — the girls and women I've been over the course of my life — while reading Sue Monk Kidd's newest novel, The Invention of Wings.

In simple terms, the book is the fictionalized history of the Grimké sisters, Sarah and Angelina (Nina), who were at the forefront of the abolitionist and women's rights movements, wound around the intriguing narrative of a young slave, Hetty, who was given to Sarah as an 11th birthday present. Sarah despises slavery, even at that early age, and out of principle attempts to reject the gift.

Much of the Grimkés' story is historically based: Kidd has fleshed out mountains of research — facts, figures, dates, letters, and articles — into a believable and elegantly rendered fictional first person account of Sarah's life. But though Hetty was real, her story here is almost entirely fabricated — and perhaps because she is mostly a product of Kidd's imagination, Hetty's character seems truly inspired.

Sue Monk Kidd's previous books include The Secret Life of Bees and Traveling with Pomegranates: A Mother-Daughter Story . Roland Scarpa/Courtesy of Viking Adult hide caption

Sue Monk Kidd's previous books include The Secret Life of Bees and Traveling with Pomegranates: A Mother-Daughter Story .

She maintains a spirited independence in her internal life. She survives cruelty and servitude by creating rituals and touchstones that she imbues with meaning and power. She both benefits and is injured by her complicated relationship with Sarah, who can neither free her nor protect her when she truly needs it. And yet, for many years, it almost seems as if Hetty is more psychologically free than Sarah, despite the external reality of being a slave.

A pivotal moment in the book comes with the discovery that Sarah has taught Hetty to read — a criminal offense in antebellum South Carolina. Punishment is cruel for both girls; Sarah is banned from her favorite things in the world: her father's library and his books. Hetty is whipped.

But then Hetty learns to sew, and grows to be the best seamstress in Charleston. Ultimately it is this talent that will offer her freedom: spiritually, in the form of a quilt that tells the story of her family, and possibly physically, in the way of a disguise that may allow her to escape. Inside her head, Hetty always has hope. She believes in her ability to get free, she manages to create an internal life of ideas and possibility, and she is able to carve out a sliver of independence within the context of her life.

Meanwhile, Sarah's family ridicules her hope to study law, labeling it unseemly because she is a woman. She is shattered and cowed by their conviction that being a woman means she has no right to ambition. Overcoming that obstacle is a long, painful journey full of self-doubt; she'll face prejudice toward her sex the rest of her life, even as she creates a national following for her abolitionist crusade. Sarah may read, think, or speak — as long as she doesn't make any men uncomfortable by doing so.

Author Interviews

In an age of slavery, two women fight for their 'wings'.

The novel is a textured masterpiece, quietly yet powerfully poking our consciences and our consciousness. What does it mean to be a sister, a friend, a woman, an outcast, a slave? How do we use our talents to better ourselves and our world? How do we give voice to our power, or learn to empower our voice?

I'm not sure any of my selves, at any point in my life, would have been as brave or formidable as Hetty or Sarah, though I'd like to think so. I am grateful that Kidd, an exquisite and masterful writer, explores these difficult topics and complex ideas and does so unflinchingly — yet somehow leaves us feeling uplifted and hopeful. And finally, I am appalled that I had never heard of the Grimkés before, and thank the author sincerely for allowing me to make their acquaintance.

Bobbi Dumas is a freelance writer based in Madison, Wis. She mostly reviews for Kirkus Media , and is a founding contributing editor of the writing resource website HowToWriteShop.com .

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The Man Who Invented Christmas

Dove Review

For as well known as is the story of Ebenezer Scrooge, The Man Who Invented Christmas is an entirely new perspective on the Charles Dickens we mostly pictured in our minds as a stately older man. Dan Stevens brings this intriguing and marvelous character to life in a way we’ve probably not imagined. Sharp, successful, and famous, young Dickens is the rock star of his era, but in this midlife moment, he fears he’s lost his touch. The film tell us the story of how the people around him, both real and imagined, inspired him to act on his conviction, and change the world forever.

The Man Who Invented Christmas focuses on the crazy six weeks during which Dickens wrote and self-published A Christmas Carol . The filmmakers envisioned a screenplay that presented Dickens as a modern man: flawed, fierce and funny all at the same time. Writer Susan Coyne delivered a playful narrative in which Dickens interacts with his fictional characters as he gives birth to the tale of Ebenezer Scrooge. Thanks to director Bharat Nalluri, we get to be absorbed into this legendary creative mind—and it’s a blast.

We see him in this odd collaboration—or therapy session—with his cast of characters, discussing the storyline. They’re arguing! One of the best moments is when Dickens is struggling with the storyline, and he complains to his agent, “They won’t do what I tell them to do!” Dickens’ “relationship” with Scrooge, beautifully played by Christopher Plummer, makes us love them both even more.

This marvelous film is sure to become a Christmas staple in our home. The movie gives us a deeper appreciation for A Christmas Carol , and now I want to make a bigger deal out of that tradition! The story is redemptive on several levels, and through Dickens’ own journey into his childhood to heal his own pain, he delivers a tale that explores redemption that touches all of our lives. We’re thrilled to award this movie the Dove-Approved Seal for All Ages.

Dove Rating Details

Dickens is hoping to keep the true spirit of Christmas alive.

Scenes flash back to character's past into dark memories, handled quickly and artistically

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The Various Mr. Ripleys

“Ripley” on Netflix is the latest riff on the con-artist character the author Patricia Highsmith invented in the 1950s. Here’s a look at the earlier versions.

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By Brian Tallerico

One of fiction’s most famous impostors returns on Thursday with the debut of Netflix’s “Ripley,” the latest adaptation of a character invented in the 1950s by the author Patricia Highsmith. In eight episodes, all written and directed by the Oscar-winning screenwriter Steven Zaillian (“Schindler’s List,” “The Night Of”), a classic chameleon changes colors yet again, returning to a few core elements of Highsmith’s original creation while also boosting the creepiness quotient.

Over nearly seven decades, Tom Ripley has appeared in five books by Highsmith, five films, multiple television episodes and even a radio show. He has been played by interpreters as varied as Matt Damon, Alain Delon, Dennis Hopper, John Malkovich and now, Andrew Scott. What has made him so enduring?

The details change, but the foundation of the character remains the same: a con artist who becomes a killer, someone so enamored by upper-class comfort that, once he experiences it, will do anything to hang on to it. Ripley dreams of a better life for himself, which makes him relatable. What makes him fascinating is his willingness to go to murderous lengths to secure it.

As a new version of Tom Ripley arrives, here is a look at how this grifter has evolved over the generations.

By the time Highsmith created Ripley, she was already an accomplished writer. She burst onto the scene in 1950 with her first novel, “Strangers on a Train,” which would be adapted into the Alfred Hitchcock film a year later. Other acclaimed Highsmith works include “The Two Faces of January,” made into a 2014 film starring Viggo Mortensen; and “Deep Water,” adapted into a 2022 film starring Ben Affleck and Ana de Armas. Using the pen name Claire Morgan, Highsmith also wrote “The Price of Salt,” renamed “Carol” for Todd Haynes’s 2015 film adaptation.

The books collectively known as the “Ripliad” remain her signature achievement. The series started in 1955 with “The Talented Mr. Ripley,” a thriller that has been adapted multiple times and influenced other, similar tales of men replacing other men. Highsmith’s Ripley is a low-level con man asked by a shipping magnate to find his layabout son, Dickie Greenleaf, who is wasting his trust fund in Italy with his friend Marge Sherwood.

Tom quickly becomes enraptured with Dickie’s life, as the skeptical Marge and abrasive friend Freddie Miles view him with suspicion. When it appears that Dickie wants to cut Tom loose, Ripley murders him on the water with an oar and attempts to take his place. Highsmith’s Ripley is always one step ahead of reality, willing to do anything to stay there. He is more amoral than immoral, unwilling or unable to consider anything beyond his own self-interest.

The character would appear in four sequels: “Ripley Under Ground” (1970); “Ripley’s Game” (1974); “The Boy Who Followed Ripley” (1980); and “Ripley Under Water” (1991). But the first story has remained the one most identified with Ripley, even as different artists have made him their own.

‘Purple Noon’

The first adaptation of “The Talented Mr. Ripley” was on TV, in a 1956 episode of the anthology series “Studio One.” (One of the writers was Marc Brandel, who had once been engaged to Highsmith.) The French film “Purple Noon” (1960) presented the first cinematic version of Ripley, introducing the world to Alain Delon, in his first major role.

Co-written and directed by René Clément, it begins in Italy, eschewing the criminal setup of Highsmith’s novel. It presents the most impassioned Ripley — he is motivated more by vengeance than by a desire for wealth. This Greenleaf, named Philippe (played by Maurice Ronet), is a cruel, abusive snob. When he catches Ripley in his clothes — a key turning point in all versions of the tale — Philippe acts out against him, belittling Tom and stranding him on a dinghy in the hot sun to teach him a lesson. Tom decides to kill Philippe and take his place.

From there the film hews close to the source material. However, Clément sends his Ripley into a trap at the end, perhaps recognizing that movie audiences in 1960 wanted to see their villains punished, even if they were as charismatic as Delon.

‘The Talented Mr. Ripley’

This 1999 film by Anthony Minghella kept Highsmith’s vicious opportunism while changing a few key elements, upping the body count and aggravating some purists.

Matt Damon’s take on Ripley is less of a schemer — his cruelty tends to be improvised, the result of emotional torment rather than sociopathic planning. This Ripley isn’t a criminal at the start, merely someone who stumbles into the elder Greenleaf’s life and gets sent to Italy by chance. He is also clearly attracted to Dickie, which is hinted at in other versions but made explicit here. (For the record, Highsmith told Sight & Sound in 1988 that she didn’t think Ripley was gay, even if her original text allowed for that interpretation.)

Featuring one of the best casts of its era, with Jude Law, Gwyneth Paltrow, Philip Seymour Hoffman and Cate Blanchett, among others, Minghella’s version uses a well-known source to craft its own story, ending with a scene that is somehow both heartbreaking and disturbing in equal measure.

Other adaptations

Other Ripley books were adapted to varying degrees of success over the years. The best of the bunch is Wim Wenders’s “The American Friend” (1977), which blends elements of “Ripley’s Game” and “Ripley Under Ground” into something new and very Wenders. Bruno Ganz is excellent as a dying painter manipulated by Ripley, played here by Dennis Hopper, who has an eccentric, enigmatic take on the character.

John Malkovich starred in a 2002 film version of “Ripley’s Game,” and Barry Pepper played the character in a little-seen adaptation of “Ripley Under Ground” in 2005. Jonathan Kent played Ripley in “Patricia Highsmith: A Gift for Murder,” a 1982 episode of the British arts and culture series “The South Bank Show.” BBC Radio 4 adapted all five Ripley novels in 2009, with Ian Hart as Ripley.

Originally commissioned by Showtime, the new “Ripley” moved to Netflix last year while the show was still in postproduction. With Scott (“All of Us Strangers”) in the title role, it follows the narrative of the Highsmith original while adding its own distinctive touches: Black-and-white cinematography by Robert Elswit (“There Will Be Blood”) amplifies the cool detachment of the con artist, portrayed by Scott as a criminal with ice in his veins. Johnny Flynn plays Dickie, and Dakota Fanning is Marge.

But as usual the main focus is Tom Ripley, who keeps slinking his way through books, films and TV, unconcerned about the damage he leaves in his wake.

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