The Attack on Titan series had, in its inception, a great deal of thematic depth. The titans can be seen to represent sin, and particularly with Eren’s ability to become a titan, the idea of mankind as being the very monsters they fight has a lot to say about morality and humanity. Unfortunately, by volume six, the series has started to rely on that initial setup as a crutch, and fails to add new intrigue to the story.
MercyMe’s previous album Welcome to the New was one of the strongest albums of 2014, with a terrific balance of energy and heart, and compelling, cohesive thematic focus. How do you follow that up? By doing the same thing again.
Fritz Lang’s Metropolis, hailed as one of the most important films of the early twentieth century, is a groundbreaking science fiction film, and strangely relevant to a twenty-first century audience. Its dystopian leanings and exploration of artificial intelligence explore science fiction tropes that are as present in the genre today as ever. But perhaps the most noteworthy thing about it isn’t just its relevance, but that it is seeped in religious imagery.
Two of the three films coming out this weekend have little potential to be more than mediocre. But the third, dare I say it, could be one of the first Christian films to be artistically pleasing as well as morally laudable.
Netflix’s new arrivals always bring some good options. But in April, there are enough family-friendly choices to give you an entire month of family movie nights.
With So Good, Zara Larsson has cranked out an effective pop album with So Good, one that emphasizes her powerful vocals and implements a powerful slew of catchy melodies. Unfortunately, it also betrays a shallow life philosophy, one that reflects the “live in the moment” impulsiveness of the broader culture.
Marvel’s latest Netflix endeavor continues the superhero craze, but introduces martial arts and elements of Buddhism. The question is, are those elements theologically significant?