• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer
  • Film
  • DVD
  • Editorial
  • About ScreenFish

ScreenFish

where faith and film are intertwined

  • Facebook
  • Instagram
  • Twitter
  • Home
  • Reviews
  • Interviews
  • News
  • OtherFish
  • Podcast
  • Give

Denis Villeneuve

8.06 Digging Around in DUNE

November 7, 2021 by Steve Norton Leave a Comment

Thought to be ‘unfilmable’ by many, Denis Villeneuve may have done the impossible in bringing Frank Herbert’s DUNE to life on the big screen. With stunning cinematography and solid storytelling, Villeneuve has managed to take the massive scope and size of Herbert’s classic sci-fi work and make it accessible to wider audiences. This week, Dave Voigt (InTheSeats.ca) and newcomer Steve Mah (Negating Silence) come together to discuss why they think DUNE is resonating with audiences and what it means to give up control.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8.06-DuneDownload

Filed Under: Featured, Film, Podcast Tagged With: Dave Bautista, Denis Villeneuve, dune, Frank Herbert, Oscar Isaacs, Stellan Skarsgard, TIFF

Dune: Massive Scale & Messianic Spirituality

October 21, 2021 by Steve Norton Leave a Comment

Never let it be said that Denis Villeneuve isn’t willing to take risks. After the financial disaster of critical darling Blade Runner 2049, one might have thought that the Canadian director would move on to smaller projects.

But why do that when you can tackle a complex work of science fiction with a history of failures onscreen?

Although adapted several times before, Frank Herbert’s 400-page sci-fi epic Dune has often been described as ‘unfilmable’ due to its incredible ambition and scale. However, Villeneuve has never been one to shy away from a challenge. Inching towards a three hour runtime, Dune seems like it could be almost overwhelming or impractical for audiences. (What’s more, its no secret that this is only the first half of the story as well.)

Even so, the experiment works. In taking this approach, Villeneuve has the opportunity to let the film breathe and allow its expansive storytelling and scale to unravel at its own pace. As a result, the film never feels like it’s unnecessarily cutting material for the sake of the runtime yet never really drags either. The director of such films as the vastly underrated Blade Runner 2049 and Arrival, Villeneuve has made a name for himself taking on material with multiple layers and massive landscapes and Dune certainly fits that description.

And to say that Dune operates on a massive scale is to put it mildly. 

Dune tells the story of Paul Atreides (Timothee Chalamet), a gifted young man who believes his destiny is to do great things. As the heir to the House Atreides, Paul is drawn into an interstellar conflict when his father Leto (Oscar Isaacs) attempts to negotiate the exclusive rights to mining a rare and essential natural resource on the planet Arrakis. As discussions move forward, tensions between the House Atreides are stalled when the brutal House Harkkonen attempt to take the resources for themselves. As a result, Paul finds himself caught between loyalty to his father and seeking the destiny that he believes lies before him.

Complex and expansive, there is little wonder why Herbert’s novel is held in such high esteem. The sheer audacity and scope of this piece is awestriking and really truly should only be seen in IMAX. (It’s obvious to see why Villeneuve would have balked at the proposal to release on HBO Max.) While the cinematography may not be quite as impressive as Deakins’ Oscar-winning work in Blade Runner 2049, there is no doubt that Dune is meant to make you feel insignificant against its landscapes. Deserts are expansive and dry. Planets of rain are feel as though they will be drench the audience. Every moment onscreen is constructed to emphasize that its characters are insignificant when compared to the immensity of their environments. 

Filled with creativity and detailed history, this is the sort of sci-fi epic that seeks to honour its source material by fully immersing you within its story. Similar to Game of Thrones, Dune is not a simple ‘good versus evil’ battle but instead becomes a deep political thriller with multiple sides, history and theology. As such, casual fans may need to be patient in order to find their way through at first. (Personally, I was unfamiliar with the material and it took me some time to feel like I fully grasped the relationships and tensions between worlds.) That’s not to say that the film doesn’t feature eye-popping special effects and enormous space battles. Villeneuve has some truly amazing visual action set pieces here as well. Instead, it is simply a caution that the film’s strong political emphasis can be overwhelming to the unfamiliar. 

As warring factions collide over their interest in ‘spice’, their interest truly lies in power and conquest. The primary propellant for space travel, spice also can extend human life and create super-human levels of thought. As a result, this strange material has become the most sought-after resource in the universe, initiating complicated political machinations in order to maintain control of its reserves. (It’s worth noting that Villeneuve seems to use this as a metaphor to echo the battle for oil in the Middle East.) To those involved, those who control the spice control the galaxy.

Complicating this battle is the Fremen, natives of Arrakis who live in the deep desert. To those who seek only the spice, they are viewed as helpless nomads that need the strength and might of their conquerors. However, it is clear from the outset that the Fremen require no protection. Confident, intelligent and well-organized, the Fremen have survived for centuries on their own amidst the dangers of the desert. Though viewed by the powerful as the ‘savages’ of the desert, in truth they have the greatest understanding of their world and how it operates. However, this matters little to their conquerors. Rather than take the time to learn about the Fremen, the people of Atreides and Harkkonen instead view them as obstacles that threaten their quest for power. Like so many victims of colonization before them, the Fremen are treated with disrespect by those who hold the military might and are therefore kept to the margins.

What’s most interesting about Villeneuve’s Dune though is its spiritual underpinnings. Unlike the cold cynicism of Blade Runner 2049, this is a world that has deeply theological roots that inform its culture with hope. From the authority of the Bene Gesseret to the underlying prophesy, Dune is very interested in imbuing its world with messianic themes. This becomes particularly true in the case of the culture’s view of Paul Atreides and his mother. Believed to be the ‘chosen one’, Paul’s relationship with the people of Atraxis reveals two differing worldviews. On the one hand, the two are held in reverence by those who believe. At the same time, they are kept at a distance by those who simply cannot fathom that this insignificant little man could be the one who has been prophesied about. (Echoing the Biblical narrative of Mary and Jesus, the comparisons to the New Testament journey of Christ are undeniable.) Despite their technological advancements and social systems, this is still a world waiting for something (or someone) more powerful that will give them hope and bring justice.

Bound to be divisive due to its long runtime and complex political landscapes, there will be those who feel they cannot connect with Dune. What’s more, its always a risk to make a film with the intent of future installments, especially for science fiction epics. However, Villeneuve’s Dune is one which deserves to be completed. Featuring expansive storytelling, landscapes and a cast that seems to contain almost everyone in Hollywood, Dune simply works. With deep affection for his source material and incredible skill, Villeneuve has yet again created a film which is both stunning and smart. Most importantly though, this story feels like it has something to say… but it simply needs the opportunity to finish its thought.

Dune is be available in theatres on Friday, October 22nd, 2021.

Filed Under: Featured, Film, Film Festivals, Reviews, TIFF Tagged With: Dave Bautista, David Dastmalchian, Denis Villeneuve, dune, Jason Momoa, Javier Bardem, Josh Brolin, Oscar Isaacs, Rebecca Ferguson, Stellan Skarsgard, Timothy Dalton, Zendaya

TIFF ’21: Dune

September 12, 2021 by Steve Norton Leave a Comment

Directed by Denis Villeneuve (Blade Runner 2049, Arrival), Dune tells the story of Paul Atreides (Timothee Chalamet, a gifted young man who believes his destiny is to do great things. As the heir to the House Atreides, Paul is drawn into an interstellar conflict when his father Leto (Oscar Isaac) attempts to negotiate the exclusive rights to mining a rare and essential natural resource on the planet Arrakis. As discussions move forward, tensions between Atreides are stalled when the brutal Harkkonen attempt to take the resources for themselves. As a result, Paul finds himself caught between loyalty to his father and seeking the destiny he believes lies before him.

While the cinematography may not be quite as impressive as Blade Runner 2049 [How do you compete with Roger Deakins?], there is no doubt that Dune is meant to make you feel insignificant against its landscapes. Filled with creativity and detailed history, this is the sort of sci-fi epic that seeks to honour its source material by fully immersing you within its story. Similar to Game of Thrones, Dune is not a simple ‘good versus evil’ battle but instead becomes a deep political thriller with multiple sides, history and theology. As such, casual fans may need to be patient in order to find their way through at first..) 

With deep affection for his source material and incredible skill, Villeneuve has yet again created a film which is both stunning and smart. Bound to be divisive due to its long runtime and complex political landscapes, there will be those who feel they cannot connect with Dune. What’s more, its always a risk to make a film with the intent of future installments, especially for science fiction epics. However, Villeneuve’s Dune is one which deserves to be completed. 

Dune premiered at TIFF ’21 on Saturday, September 11th, 2021

Filed Under: Film, Film Festivals, Premieres, TIFF Tagged With: Denis Villeneuve, dune

Blade Runner 2049: Still Running

January 16, 2018 by Steve Norton Leave a Comment

Let’s get this out of the way quickly.  If you’re not a fan on the original Blade Runner, you will likely not be particularly interested or impressed by its sequel, Blade Runner 2049.

If you, like myself, are a fan of the original, however… maybe everything has led to this.

Directed by Denis Villeneuve (Arrival), Blade Runner 2049 picks up thirty years after the original film.  Officer K (Ryan Gosling) is a Blade Runner, a bounty hunter tasked with ‘retiring’ the final remnants of the old edition Replicants, androids in human form created to serve society.  However, when a routine raid uncovers a box containing the remnants of a deceased replicant, K begins to unravel a mystery that threatens the divide between humanity and machine.

Admittedly, when this film was announced, the idea was met with disbelief.  After all, Blade Runner is now largely heralded as a cinematic achievement as one of the most influential science fiction films ever made. Known for its in-depth exploration of humanity and its stunning visuals, Blade Runner was a film that was not in need of a sequel. Unbelievably, Denis Villeneuve seems to have done the impossible. Amazingly, 2049 actually manages to expand and enhance the world first created by Ridley Scott over 30 years ago. Rather than simply offer a retread of the original film as so many reboots have done in recent years, 2049 builds upon its predecessor’s themes and takes the story in a new direction. In fact, it somehow even feels… necessary.  Fans of Harrison Ford’s Rick Deckard should be aware that his role is much smaller than the trailers would have you believe.  Still, Villeneuve makes good use of Ford and his appearance is worth the wait. (Approaching three hours in length, the film does feel a little long so be warned.) Visually, while the color scheme is much brighter than the original’s focus on shadows and darkness, Villeneuve and master cinematographer Roger Deakins succeed in making even the lightest tones feel claustrophobic and menacing.

Whereas the original Blade Runner is preoccupied with what it means to have life, 2049 takes the conversation further with its discussion of what it means to have a soul.  Even though he is a replicant, Officer K is in search of what is real. Despite his love for his digital assistant, he also understands the limitations of and falsehood within that relationship. When approached by a prostitute, he resists her, causing her to accuse him of “being afraid of real girls”. While he seems at peace with his android life, he wonders what life would be like if there (or he himself) were more. He continues to be drawn to things that are ‘real’, albeit nervously. In a subtle homage to Pinocchio, K too seems caught within the ambiguity of his own existence. Is he a replicant?  Could he be more? These are the questions that he needs to answer.  In many ways, this bookend to the original [or potential middle piece of a trilogy?] has within it a sense of hope that is missing from the first entry. Whereas Deckard in the original film feels like a man who is lost, 2049 presents K (and, potentially, Deckard) as a man who is found (or, at least, wishes to be).  2049 recognizes that humanity has something that no android can imitate.

They are missing something.

Interestingly though, 2049 also suggest that the replicant Creator himself is dissatisfied with his achievement. While other recent films have portrayed the Creator as relentless (Noah), distant (Alien: Covenant) or reckless (Guardians of the Galaxy: Volume 2), 2049 reveals him as restless.

As designer of the new breed of replicants, Niander Wallace (Jared Leto) remains constantly frustrated by his inability to create self-sustaining life. Although he has produced a being of perfect obedience, Wallace is unable to crack the code of procreation. As a result, 2049 presents humanity is viewed as something to withhold. Wallace wants to see life flourish (as long as it follows orders) but he struggles to find the formula to make life actually grow. There is a miracle to life that remains just out of reach. In this sense, while one could look at Wallace as god-like within the film, he remains largely ineffective. This is a Creator who doesn’t understand how to create… and he knows it. As a result, Wallace holds no love for his creation, despite his talk of it. He speaks of his creations as Angels but they still seem to pale in comparison to the reality of humanity.

In 2049, life itself is a miracle.

Herein lies the real heart of Villeneuve’s argument. Although Wallace believes himself to be the ultimate creator, the miracle of life is outside of his understanding. Despite his knowledge, there remains something greater than he. While the film never engages the question of what that something may be, it is a seed of humility that points to a much larger Creator in the end.

Blade Runner 2049 is a film that will require multiple viewings. While it is a little long at almost 3 hours, it’s a dense and beautiful piece that could spark conversations for years to come.

Special features on the Blu-ray combo pack include three prologues: the anime “2022: Black Out”, “2036:Nexus Dawn,” and “2048: Nowhere to Run”. There are also featurettes on the way Denis Villeneuve put the follow-up story together through “Designing the World of Blade Runner 2049” and “To Be Human: Casting Blade Runner 2049.” Views of this strange, new world are also available in “The Replicant Evolution,” “Blade Runners,” “The Rise of Wallace Corp,” “Welcome to 2049,” “Jois,” “Within the Skies: Spinners, Pilotfish and Barracudas.”

Filed Under: DVD, Film, Reviews Tagged With: Blade Runner, Blade Runner 2049, Denis Villeneuve, Harrison Ford, Ryan Gosling, sci-fi, science fiction

4.04 On the Run with BLADE RUNNER 2049

October 30, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/10/4.04-Blade-Runner-2049.mp3

In the year 2017, director Denis Villeneuve attempted the impossible: to direct a sequel to the incomparable sci-fi classic, BLADE RUNNER. With the release of BLADE RUNNER 2049, Villeneuve’s risk became our reward by creating one of the year’s most compelling films yet it still struggles to find an audience. This week, Steve welcomes Face2Face‘s David Peck and Michael LeFleur to discuss the film’s slow open at the box office, the nature of reality and the relationship between the Creator and his creation.

4.03 Blade Runner 2049

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

A very special thanks to David and Michael for coming on the show!

Filed Under: Film, Podcast Tagged With: Blade Runner, Blade Runner 2049, Denis Villeneuve, Edward James Olmos, Harrison Ford, Ryan Gosling, SciFi

ARRIVAL: Guess Who’s Coming to Earth?

February 14, 2017 by Steve Norton Leave a Comment

amyadamsarrival

America needs Arrival.

Directed by Denis Villeneuve, Arrival begins on the day that (the latest) aliens appear over major cities around the world. Resting silently and still above the earth, these objects send the population into a moment of fear as everyone awaits what will happen next. When the military begins the process of communicating with their visitors, they assemble a team led by linguist Louise Banks (Amy Adams), theoretical physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker). As humankind teeters on the verge of global war, Banks, Donnelly and Weber take a chance that could threaten their lives, and quite possibly, humanity.

Despite the familiar premise, Arrival is far from your traditional ‘alien invasion’ film. While films of this genre generally play out with intergalactic space battles or wanton destruction (yes, I’m looking at you Independence Day: Resurgence), Arrival carves out it’s own unique and compelling place amongst the very best of science fiction by focusing on the pratfalls of language.

arrival

Caution: Potential spoilers ahead…

Playing out like a sci-fi vision of the Cold War, humans and aliens wait anxiously to see who will make the next move. Will it be an act of aggression? An offer of peace? Unlike other sci-fi entries, the real tension within this film exists in the realities of learning how to communicate with another who you neither understand nor trust. Of course, the obvious implications of this are between human and alien… however, the film reveals that similar issues lie amongst the people of Earth themselves.

Having first seen the film at the Toronto International Film Festival in September, I found myself struck by the boldness of this film. However, to be honest, I could never have predicted how timely it would become. Living in the shadow of the Presidential election, it has become frighteningly clear of the breadth of the divide amongst the American people. As thousands of people protest the election results in rallies across the country, philosophical differences have never been more apparent and anger and fear appear rampant amongst the people. The ability to humble ourselves and have conversation has given way to bitterness and resentment.

screen-shot-2016-08-16-at-9-21-56-am

As a pastor, I wonder where ideas like either ‘Judge not, lest ye be judged’ or ‘love your neighbor as yourself’ have gone in a moment like this.

But Arrival hasn’t forgotten.

Here, as military officers increase the pressure to attack their visitors, linguist Banks cries out for patience, even when the communication seems as though it’s gone awry. As the challenges of communication increase, Banks and her team recognize the value in the other and fight for the reality that words matter. They understand that one narrative doesn’t tell the whole story—and that that builds bridges.

arrival-movie-4-e1471529984165

In a time where American culture seems primed to rip itself in two, the notion of seeing beyond our own views and truly listening to one another couldn’t seem more poignant.

In the end, Arrival is a film about risking our lives not for a cause, but for the benefit of others. It’s a film about leaning into suffering for the sake of receiving blessings along the way.

It’s a film that shows that every life matters and that communication requires humility on our behalf to connect us.

America needs Arrival.

screen_shot_2016-08-16_at_10-25-44_am-0

Special features include a look at language (“Xenolinguistics: Understanding Arrival”), sound and score (“Acoustic Signatures: Sound Design”, “Eternal Recurrence”), the editing (“Nonlinear Thinking”), and time (“Principles of Time, Memory & Language”), all the main elements (in addition to Adams) that make the film great. 

Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, Forest Whitaker, Independence Day, invasion, Jeremy Renner, science fiction, SciFi, TIFF, TIFF16, Toronto, Toronto International Film Festival

tiff16: ARRIVAL

September 18, 2016 by Steve Norton Leave a Comment

arrive

When mysterious spacecraft touch down across the globe, an elite team, led by expert linguist Louise Banks (Amy Adams), is brought together to investigate. As mankind teeters on the verge of global war, Banks and the team race against time for answers — and to find them, she will take a chance that could threaten her life, and, quite possibly, humanity.

With ARRIVAL, Denis Villeneuve takes his first steps into the science fiction genre (he is currently filming the highly-anticipated sequel to BLADE RUNNER) and manages to surprise us in the best of ways.  Rather than succumbing to the temptation to develop the more traditional ‘alien invasion’ piece, Villeneuve opts for a more poignant approach by focusing the story on character development and relationships.  In doing so, Villeneuve creates an atmosphere of tension and intrigue as communication between the alien species and human race unfolds like an intense game of chess with the future of the earth hanging in the balance.

amyadamsarrival

What’s more, the film is anchored by an incredible performance by Adams as she seamlessly moves between hearts of both courage and emotional trauma.  With strong outings in both ARRIVAL and Tom Ford’s NOCTURNAL ANIMALS, she could very well finally be poised for recognition come Oscar time.  Although it also features solid performances from its supporting cast (Jeremy Renner, Forest Whitaker), there’s little question that this is Adams’ film and she seizes the opportunity.

Without giving away any spoilers, Villeneuve also has much to say within the film about the nature of language and communication.  Is communication what brings us together or a roadblock?  Or is it possible that truth can get lost in translation?  These questions, in addition to the theme of ‘leaning into fear’ provide more than enough content to  lift ARRIVAL beyond your run-of-the-mill sci-fi piece.

Without question, this was one of my favourite films of the fest this year and could receive significant notoriety come awards season.

Trust me.  The film is not what you expect.

And that is a very good thing.

97d62997f2c91fd9_soyld03710433r

Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, drama, Future, Jeremy Renner, language, SciFi

TIFF Hits: Shooting Stars

September 15, 2015 by Steve Norton Leave a Comment

 

IMG_1216     IMG_1137     IMG_1219

At ScreenFish, we’re very conscious of those moments where faith and film collide… but that doesn’t mean we can’t have a little fun as well!  Here are some exclusive shots of the celebs around the city as the Toronto International Film Festival enters it’s second half.  Pics will be updated as new sightings occur…

Black Mass premiere:

Johnny Depp

IMG_1140     IMG_1150     IMG_1164

Joel Edgerton

IMG_1159      IMG_1158

Peter Sarsgaard

IMG_1040     IMG_1044

Kevin Bacon

IMG_1135     IMG_1136

John Morris                                           Dakota Johnson

IMG_1072     IMG_1059     IMG_1179

Freeheld Premiere:  Michael Shannon, Ellen Page, Julianne Moore, dir. Peter Sollett

IMG_0938 (1)

Sicario Premiere:  Benicio Del Toro, Emily Blunt, Josh Brolin, dir. Denis Villeneuve

IMG_0869

Forsaken Premiere: Donald Sutherland, Keifer Sutherland, d. Jon Cassar (24)

IMG_1246 IMG_1247 IMG_1249

Team from Beast:  Chad McKinney, dir. Tom and Sam McKeith, Garret Dillahunt

IMG_1191

The Man Who Knew Infinity:  Jeremy Irons; Dev Patel; Devika Bhise

IMG_1265     IMG_1267     IMG_1280

 

Other Celebs:

Penelope Cruz

IMG_1208     IMG_1213

Sarah Silverman

IMG_1230     IMG_1225

Susan Sarandon                                  Rachel McAdams

IMG_0957     IMG_0971

Nick Robinson

IMG_0989     IMG_0994

Rob Reiner                                           Carey Elwes                                         Michael Moore

IMG_1006     IMG_1025     IMG_0857

 

Filed Under: Current Events, Film, News, TIFF Tagged With: 24, Benicio Del Toro, Black Mass, Carey Elwes, Chad McKinney, Dakota Johnson, Denis Villeneuve, Donald Sutherland, Ellen Page, Emily Blunt, Forsaken, Freeheld, Garret Dillahunt, Joel Edgerton, John Morris, Johnny Depp, Jon Cassar, Josh Brolin, Julianne Moore, Keifer Sutherland, Kevin Bacon, Michael Moore, Michael Shannon, Nick Robinson, Penelope Cruz, Peter Sarsgaard, Peter Sollett, Rachel McAdams, Rob Reiner, Sam McKeith, Sarah Silverman, Susan Sarandon, Tom McKeith, Toronto International Film Festival

TIFF Hits: SICARIO

September 12, 2015 by Steve Norton 1 Comment

sicarioBelieve the hype.

Since it’s debut at Cannes several months ago, Canadian filmmaker Denis Villeneuve’s latest film, Sicario, has garnered a great deal of buzz.  If you haven’t heard of Villeneuve, you will.  He’s quickly becoming one of Hollywood’s brightest directors, having broken through with intense dramas like Prisoners and Enemy.  (He’s also been chosen to direct the sequel to Blade Runner as well.) With Sicario, he continues his hot streak, telling a tightly woven narrative that literally has you gripped from beginning to end.  What’s more, the film is shot by cinetamagraphy legend, Roger ‘Someone Please Give This Guy an Oscar’ Deakins who beautifully stalks the action with the camera.

Sicario tells the story of Kate Macer (Emily Blunt), a DEA agent who is brought in to support a team of special ops led by Josh Brolin as they attempt to take on Mexican drug lords.  Blunt describes Kate as “the audience’s surrogate” as we participate in this unfolding drama through her own inexperienced eye.  The story is gritty, honest and seeks to reveal a lifestyle and world that is completely foreign to most of us.  Brolin addresses this issue when he says “this situation is so close to home.  We all talk about ISIS but the [problems] are right here.  It’s our neighbor.”

Most interestingly is the ethical balance that plays out between the film’s lead characters.  Blunt feels that Kate is “a moral character in an amoral world” as she attempts to come to grips with the travesties around her. However, this leads very quickly into conversation about whether or not it’s truly possible to do what is right in the face of insurmountable violence and evil.

Sicario is a riveting drama that doesn’t make that question easy to answer.

But it’s going to make you ask.

 

Sicario (rated R for violence, language and disturbing images)

Starring Emily Blunt, Josh Brolin, Benicio Del Toro

d. Denis Villeneuve

***** (out of five)

Filed Under: Current Events, Film, Interviews, News, Reviews, TIFF Tagged With: Benicio Del Toro, Blade Runner, Denis Villeneuve, Emily Blunt, Josh Brolin, Prisoners, TIFF

Primary Sidebar

THE SF NEWS

Get a special look, just for you.

sf podcast

Hot Off the Press

  • Ambulance Digital Code Giveaway
  • Top Gun: Maverick – Welcome [Back] to the Danger Zone
  • Elizabeth: A Portrait in Part(s) – The Power of the Image
  • Kicking Blood: Kicking the Habit
  • Dakota: Love, Loss and Heroes
Find tickets and showtimes on Fandango.

where faith and film are intertwined

film and television carry stories which remind us of the stories God has woven since the beginning of time. come with us on a journey to see where faith and film are intertwined.

Footer

ScreenFish Articles

Ambulance Digital Code Giveaway

Top Gun: Maverick – Welcome [Back] to the Danger Zone

  • About ScreenFish
  • Privacy Policy

© 2022 · ScreenFish.net · Built by Aaron Lee

Posting....
 

Loading Comments...