Podcast appearances and mentions of james berardinelli

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Hosted by Sohaib Awan, Fictional Frontiers is the nation's only weekly radio program dedicated to a serious discussion of and about popular culture. The post Fictional Frontiers 10-09-22 appeared first on WWDB-AM.

"It's at a certain point toward the finale that this SCREAM becomes almost as drearily repetitious as the reboot culture it skewers." Pat Smith of Slant Magazine lines up SCREAM for a stab wound, and sadly, we mostly agree. One of our hosts is kind to the movie, and the other is Dave. We talk about waiting too long, the lack of difference between Scream 4 and 5, and how these kids never quite live up to noted thespians like Matthew Lillard and Jamie Kennedy. But then we move on to a great movie! Right? Well… “In the end, for all its pleasures, it's difficult to view Blade Runner 2049 as anything but an elaborate echo of the original, neither true sequel nor reboot, unclear of its own identity.” - Melissa Anderson, Columns “Blade Runner 2049 honors the original in many ways - some small and some large - but it's not a soft reboot. It's a new story with new ideas and new purpose” - James Berardinelli, ReelViews Two very different reviews here for what has been dubbed in cinephile circles as the movie we should have paid for, an underseen masterpiece. But what will Dave and Mike think? That's why you're here. Listen in to hear about fantastic visuals, stupid sounds, and Inspector Gadget threesomes. Hell yeah, that'll bring in the listeners (unlike stupid Marvel garbage) Subscribe on Apple Podcasts/Spotify/Google Podcasts/Amazon Music Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

On review aggregator Rotten Tomatoes, the film has a rating of 92% based on 88 reviews and an average rating of 7.87/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar." Another review aggregator, Metacritic, gave the film a score of 77 out of 100 based on 23 critics, indicating "generally favorable reviews". Todd McCarthy of Variety wrote, "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways." James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure." Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill." Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar." Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level". Richard Corliss of Time wrote, "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance." Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with." Paul Clinton of CNN wrote, "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids." Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits." On the contrary, Stephen Hunter of The Washington Post wrote, "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."

"Black Widow represents the MCU looking back when it should be moving forward. Everything about the movie seems small, even the big action set pieces." James Berardinelli gives words to our comments but not our feelings. Mike and Dave talk about the small scale, road trip camaraderie between ScarJo and Florence Pugh, and touch on why it's suddenly ok to make fun of superhero nonsense. We also briefly discuss why we are Team ScarJo in the lawsuit connected to this small scale, small profit movie. We mostly had a good time with BLACK WIDOW, which of course is underperforming by Marvel/Disney conglomerate standards, but who cares? Watch it and have a good time too! Or don't! Stimulate that ScarJo economy this Labor Day! Subscribe on Apple Podcasts/Spotify Twitter @offscreendeath Instagram @theoffscreendeath Letterboxd: @daveagiannini and @projectingfilm Artwork by Nathan Thomas Milliner Music by Joplin Rice Find out more at https://offscreendeath.pinecast.co This podcast is powered by Pinecast.

The Ice Harvest is a 2005 American black comedy film directed by Harold Ramis and written by Richard Russo and Robert Benton, based on the novel of the same name by Scott Phillips. It stars John Cusack, Billy Bob Thornton, and Connie Nielsen, with Randy Quaid and Oliver Platt in supporting roles. It was distributed by Focus Features, and it was released on VHS and DVD on February 28, 2006, making it the last Focus Features film released on VHS format. The Ice Harvest grossed $10.2 million worldwide. The film has a rating of 47% on Rotten Tomatoes based on 134 reviews and an average rating of 5.50/10. The consensus states: "The Ice Harvest offers a couple of laughs, but considering the people involved, it should be a lot funnier." On Metacritic, the film has a score of 62 out of 100 based on 32 reviews, indicating "generally favorable reviews". James Berardinelli of Reelviews gave the film 2 and a half stars out of four, saying, "Despite its brevity, it seems padded, with all sorts of irrelevant scenes and dead-end subplots taking up time. [...] Next time, Ramis should work to his strengths, and film noir isn't one of them. The Ice Harvest will have melted away long before the turkey leftovers are polished off." Roger Ebert gave the film 3 out of 4 stars and said: "I liked the movie for the quirky way it pursues humor through the drifts of greed, lust, booze, betrayal and spectacularly complicated ways to die. I liked it for Charlie's essential kindness, as when he pauses during a getaway to help a friend who has run out of gas. And for the scene-stealing pathos of Oliver Platt's drunk, who like many drunks in the legal profession achieves a rhetorical grandiosity during the final approach to oblivion. And I liked especially the way Roy, the man in the trunk, keeps on thinking positively, even after Vic puts bullets through both ends of the trunk because he can't remember which end of the trunk Roy's head is at. Maybe it's in the middle."

With the British monarchy at its lowest ebb of popularity since the week after Diana's death, we consider these two moments within the context of the wretched institution's ignoble history. We watch Christopher Hitchens' documentary DIANA: THE MOURNING AFTER (1998) - a controversial dissenting take on the Diana myth - and also discuss Netflix's THE CROWN and the Harry/Meghan phenomenon. In the process, we speculate how the existential threat facing this frankly worthless institution might lead to an unholy reinvention. PLUS: a rueful look back at James Berardinelli, the most popular web-based critic of the '90s."The British Monarchy Will Not Survive Late Capitalism — And Harry and Meghan Are Proof" by Luke Savage - https://www.jacobinmag.com/2021/03/british-monarchy-neoliberal-age-prince-harry-meghan-markle

With the British monarchy at its lowest ebb of popularity since the week after Diana's death, we consider these two moments within the context of the wretched institution's ignoble history. We watch Christopher Hitchens' documentary DIANA: THE MOURNING AFTER (1998) - a controversial dissenting take on the Diana myth - and also discuss Netflix's THE CROWN and the Harry/Meghan phenomenon. In the process, we speculate how the existential threat facing this frankly worthless institution might lead to an unholy reinvention. PLUS: a rueful look back at James Berardinelli, the most popular web-based critic of the '90s. "The British Monarchy Will Not Survive Late Capitalism — And Harry and Meghan Are Proof" by Luke Savage - https://www.jacobinmag.com/2021/03/british-monarchy-neoliberal-age-prince-harry-meghan-markle

By the time we're releasing this we may know who won the American Presidential election, so we thought Aaron Sorkin's The American President was a perfect choice for this week's episode. It also happens to be having a 25th anniversary which seemed even more of a reason to deep dive into this film.Timmy St.Sauver is a lifelong friend of Rob's and has been on the pod numerous times. We know he's a lover of everything Sorkin and it was a no-brainer choosing him for this special election episode.We end with a fun Imitation Game and our Patrons get to hear us draft our Top 5 Favorite Movie Presidents.No matter who wins this election, let's all just be thankful that we won't have to deal with another one for another 4 years...Enjoy!1:58 Moneyball (Netflix)2:51 The Trial of Chicago 7 (Netflix)5:45 Bridesmaids 7:00 Schitt's Creek Season 6 (Netflix)7:53 Buegs' Favorite Meal8:48 Little Fires Everywhere by Celeste Ng10:50 Plugarooni's 11:30 patreon.com/theavidindoorsmen13:19 Timmy St.Sauver15:01 The American President Plot Synopsis15:36 Rotten Tomatoes16:15 James Berardinelli from Reel Views17:13 Janet Maslin from The New York Times17:53 Buegs' Hot Take19:55 Rob's Hot Take22:20 Timmy's Hot Take23:17 The Dude Award28:00 The Tucci Award33:08 The Dingus38:40 Show Me The Money48:04 Buegs Boo Hoo Moments50:06 Movie Trivia58:07 Judgement Day58:51 Imitation Game1:16:08 Top 5 Favorite Movie Presidents

While we are still being encouraged to social distance and stay at home, we continue our Social Distancing Sessions! We've been trying to keep it upbeat for the most part, so we figured since Just Friends is celebrating a 15th year Anniversary and currently on Netflix, it would be a fun one to chat about!We brought in one of our favorite recurring guests in @benny_elledge and making her AI Debut is fellow Broadway Actor, Stephanie Torns @Tornsy18! Lots of laughs were shared while breaking down this film and we got to hear what these actors felt about the performances they saw in Just Friends.This episode ends with a fun Imitation Game and our Patrons get to hear us draft our Top 5 Favorite Films Where The Main Character Returns To Their Hometown.We hope you're all staying healthy and safe during the complete mess that is 2020 and hope you're enjoying listening to our show!Enjoy!2:22 Castaway3:47 Sorry To Bother You6:15 Love Life9:00 Middleditch and Schwarz11:23 Buegs' Favorite Meal12:08 Rob's Favorite Meal13:24 Plugarooni's 13:53 Patreon.com/theavidindoorsmen16:03 Benny Elledge and Stephanie Torns17:30 Jusy Friends Plot Synopsis18:02 Rotten Tomatoes18:46 James Berardinelli from Reel Views19:35 Michael Wood from The Village Voice19:56 Rob's The Hot Take23:02 Buegs' Hot Take25:21 Stephanie's Hot Take27:00 Benny's Hot Take29:07 The Dude Award35:25 The Tucci Award43:01 The Dingus51:09 Show Me The Money1:02:00 Buegs' Boo Hoo Moments1:07:16 Movie Trivia1:10:12 Judgement Day1:13:15 The Imitation Game1:33:49 Top 5 Films Where The Character Returns To Their Hometown

On this week's episode, we dive into 2004's 'Sky Captain and the World of Tomorrow'. It's not really a comic book movie, not really a sci-fi movie, and probably not really good.How is this movie ripping off a million things at once? Where's our spinoff movie about Angelina Jolie's character? Why does Chris absolutely despise Gwyneth Paltrow? Listen to find out.You can find us on Twitter here: http://twitter.com/tomatotomatopodChris' Twitter: http://twitter.com/TheChrisVittoeJenna's Twitter: http://twitter.com/heyitsjennalynnJenna's articles on ComicBook.com: http://comicbook.com/author/heyitsjennalynnReviews/articles we reference:Empire: Sky Captain and the World of Tomorrow Review by William Thomas:http://www.empireonline.com/movies/sky-captain-world-tomorrow/review/CinemaWriter: Sky Captain and the World of Tomorrow:https://cinemawriter.com/2010/09/03/sky-captain-and-the-world-of-tomorrow/ReelViews: Sky Captain and the World of Tomorrow by James Berardinelli: http://www.reelviews.net/reelviews/sky-captain-and-the-world-of-tomorrow

On this week's episode, we dive into 2004's 'Sky Captain and the World of Tomorrow'. It's not really a comic book movie, not really a sci-fi movie, and probably not really good.How is this movie ripping off a million things at once? Where's our spinoff movie about Angelina Jolie's character? Why does Chris absolutely despise Gwyneth Paltrow? Listen to find out.You can find us on Twitter here: http://twitter.com/tomatotomatopodChris' Twitter: http://twitter.com/TheChrisVittoeJenna's Twitter: http://twitter.com/heyitsjennalynnJenna's articles on ComicBook.com: http://comicbook.com/author/heyitsjennalynnReviews/articles we reference:Empire: Sky Captain and the World of Tomorrow Review by William Thomas:http://www.empireonline.com/movies/sky-captain-world-tomorrow/review/CinemaWriter: Sky Captain and the World of Tomorrow:https://cinemawriter.com/2010/09/03/sky-captain-and-the-world-of-tomorrow/ReelViews: Sky Captain and the World of Tomorrow by James Berardinelli: http://www.reelviews.net/reelviews/sky-captain-and-the-world-of-tomorrow

This week, OscarWatch addresses the troops with a very special look at the 1970 Best Picture winner, Patton. Joining the discussion is internet critic legend, fantasy novelist, and all-around cinephile, James Berardinelli of Reelviews.net (@reelviews). James explains his longtime admiration of the WWII biopic, a film he has named his favorite of all time (and he's seen his share of movies in his nearly 25 year career as a film critic!) From the central performance, to the script, the music, and technical mastery on display, James and OscarWatch get down to the reasons why Patton will always be 5-stars. Find James Berardinelli and his writings at www.reelviews.net And look for OscarWatch on iTunes, SoundCloud and GooglePlay. Follow along on Facebook, Twitter and Instagram @oscarwatchpod and if you'd like to drop a line, shoot us an email at oscarwatchpodcast@gmail.com

As most people do, I receive a lot of spam in my email.  One day, while attempting to clean out my inbox, I ran across this advertisement from New Release Tuesday, a Christian music website.  As soon as I saw this it made me very angry.  There is a lot a bad sentiment implied here; it is also misleading, and exploitative.  A little harsh, you say? I shall explain why I think this is an exploitative film and why you should not go see Left Behind with Nicolas Cage. First, I shall describe the bad sentiment behind this ad.             There has been a long history of bad blood between Hollywood and conservative Christians.  Robert K. Johnston gives a very good account of this in his book Reel Spirituality: Theology and Film in Dialogue.  It begins, strangely enough, with Cecil B. DeMille.  Today, DeMille’s movie The Ten Commandments (1956) is generally held in high regard as the ultimate example of what a religious movie should be.  It details the life of Moses, from growing up in the Egyptian royal house to leading the Israelites triumphantly into the Promised Land.  It depicts God as a real entity and Moses coming to trust in the Lord after wrestling with Modern philosophical concerns about him.  ABC still broadcasts the film on television every Easter (or Passover, depending on your point of view), and has done so for so long it has become an unbreakable tradition.  Despite the fact that nearly the entire first half of the movie has no basis in the Biblical story, or that—in an opening sequence often deleted for time on television—DeMille comes out from behind the curtain to say this movie is an explicit metaphor of the Cold War,[1] the general opinion amongst Christians is that this classic movie is a highly accurate representation of the Genesis tale.  My pastor once told the story in one of his sermons how his parents, who were the conservative types that shunned all motion pictures, made the exception to see DeMille’s spectacle in the theater.              But what few people know is that this was DeMille’s second movie bearing the title The Ten Commandments.  In 1923, he produced a film with that moniker, but it was not a sword and sandal epic.  It was of the genre which he basically invented and was first famous, or more precisely, infamous.  Based on the rationalization that indiscretion could be presented on the screen as long as the sin was eventually corrected, his spectacles were little more than glorified melodramas that included an effective combination of debauchery and piety. They were, however, hits with the public. In The Ten Commandments (1923), which was produced for the then-astronomical figure of one-and-a-half million dollars, DeMille housed his portrayals of orgies within a larger moral framework of the giving of the Law (Johnston, 44).[2]   It was objections to Demille’s graphic portrayal of sinful behavior which prompted groups like The Catholic Church to form the Legion of Decency to start boycotting movies they felt were objectionable.[3]  In response, the film industry instituted the first Production Code in 1930.[4] Our modern ratings system is the ideological descendant of this Code.             Boycotting films is a tactic which did not cease in the early part of the former century.  More recently, films like Martin Scorsese’s The Last Temptation of Christ and Kevin Smith’s Dogma have seen opening nights surrounded by picket signs.[5]  All of this goes to show that the relationship between Hollywood and the conservative church has always been uneasy at best.             Things have changed in the last ten years or so with the rise of the faith based family film.  The unexpected and overwhelming success of Mel Gibson’s The Passion of the Christ demonstrated that there is a demand for religious based fare in the movie marketplace.  The website Box Office Mojo has compiled a list of the top 100 Christian movies released in the last twenty years, the majority of which have been release in the wake of Gibson’s Passion. The total gross of these movies is over $1.5 billion.[6]  Left Behind (2014) is the most recent addition to this genre, and is typical to most of those movies made in that time period in terms of its modest budget and independent production values.  They are a far cry from the massive Biblical epics of the 50’s like The Ten Commandments, Ben-Hur, and Quo Vadis. And here is where I take issue with what is implied in the advertisement for Left Behind.             It seems to me that when it is said, “Show your support for Christian based films and see the movie now,” the implied meaning is “Show Hollywood they need to make more Christian movies like this.”  If that is the case and you, dear reader, run out to see Nicholas Cage in Left Behind in hopes that Hollywood executives in the major studios will start throwing big bucks at Christian morality tales, you will be sorely disappointed.  It is very unlikely that we will see the return of the big Christian Biblical epic.  On the contrary, the films we are seeing now are a new genre of exploitative movies, the Christploitation film, if you will.             How are films like Left Behind, God’s Not Dead, and Son of God exploitative?  Let us look at the definition of exploitative.  Webster’s dictionary identifies it: ex·ploit·ative adjective ik-ˈsplȯi-tə-tiv, ek-ˌsplȯi-:  exploiting or tending to exploit; especially :  unfairly or cynically using another person or group for profit or advantage    Take notice of the last example in the definition.  Exploitative films have been around so long that they are in the dictionary.  There are many kinds of exploitative films, including various horror films, monster movies, and the Blaxploitation film.  Even DeMille’s first The Ten Commandments (1923) can be classified as exploitation.  Wikipedia puts it this way, “Exploitation film is an informal label which may be applied to any film which is generally considered to be low budget, and therefore apparently attempting to gain financial success by "exploiting" a current trend or a niche genre or a base desire for lurid subject matter.”[7]  An argument might be made that these faith based movies do not fit this definition because they are anything but lurid.  In fact, their core audience wants to see sanitized fare that is safe for the whole family.              But fitting the definition, the Christian faith based movie (or Christploitation flick) is a niche genre and definitely a current trend. “Over the last five years, independent Christian movies—films with overt proselytizing—have been among the most profitable independent releases across all genres.”[8]  Also fitting the above definition, the majority of them are made on modest budgets to turn a quick profit. For example, let us look at the budgets of some Christploitation films released in the last year.  Heaven is for Real was made for $12 million and grossed $91.4 million.  Mom’s Night Out grossed over $10 million and was produced for half of that, while God’s Not Dead earned $60 million on a budget of only $2 million.[9]  So you see, studios are going to make these small movies with the intention of reaping huge dollars at the box office.  Contrary to this trend, the recent Left Behind was made for a larger budget of $16 million, but in its third week of release it has only earned just over $13 million.[10]             The reason this movie seems to be bucking the trend is because it is an awful movie.  The filmmakers decided to take more of a gamble and throw a little more money at this movie expecting the same ratio of success the other movies enjoyed.  It didn’t pay off this time.  A 2012 article states, “But this year, Cloud Ten is quadrupling down on Left Behind.  It plans to spend roughly $15 million to remake just the first of the series, nearly four times the budget of each of the original three.”[11]  It was the hope of the producers that this movie would cross over from the group of Christian movie goers to whom Christploitation flicks pander to the mainstream audience.  This didn’t happen.  A look at the professional reviews of Left Behind elucidate why.             Rotten Tomatoes is a website that compiles movie reviews in order to find a consensus on the general quality of a film.  Looking at the overall positive or negative nature of the critiques, Left Behind earned a rating of 2% fresh, meaning just one out of 57 critical reviews was positive.  If you are a Christian still deciding if you want to catch this remake, just don’t. Listen to some of the reviews compiled by Rotten Tomatoes. “Left Behind isn't a movie for progressive Christians any more than it's a movie for people who appreciate top production values, convincing acting or superlative dialogue.” Matt Brunsen.  “The movie unravels in its own destruction. Every effort to milk the tragedy of the apocalypse is met with terrible music, acting and effects that soak (and drown) the pathos in camp fare.”  Monica Castillo.  “Not only is this an amateurish travesty combining fundamentalist Christian eschatology with disaster movie b.s., but it's plodding and tedious.” James Berardinelli. [12]             The last review makes a point that I would like to touch on, that this movie is based on bad theology.  Like the literal, fundamentalist interpretation of Genesis leads to bad theology (which I discussed at length in several episodes of my podcast, which you can find here and here), taking the book of Revelation at face value can lead one to get lost trying to find meaning in the dreamlike, apocalyptic imagery of the tome and lose the real meaning behind it. Left Behind is an example of this, using the end of the world as the McGuffin for an action movie instead of offering hope to those who follow Jesus that are facing insurmountable persecution.  A nice, short read which can help all people discover the long held, orthodox interpretation of both Genesis and Revelation is book The Beginning and the End by Michael W. Paul.              So whether you are hoping to see Left Behind because you are looking for a good action movie, or because you are looking for a faith based movie which displays orthodox Christian theology, then Left Behind will disappoint you on both accounts.  As New York film reviewer Susan Granger says, “Faith-driven audiences deserve better.”[13]             Does this mean we should avoid all Christploitation movies because we deserve to see better? By all means, no! Not all of these movies are as terrible as Left Behind.  I personally liked God’s Not Dead.  Kevin Sorbo is compelling as the atheist philosophy professor who demands that his students likewise deny God’s existence.  The ensuing classroom debate harkens back to the drama in Inherit the Wind.  Even though the rest of the acting is wooden (sorry Dean Cain), and there are too many plot threads trying to prove too many preachy points, this movie is pretty good overall.              That does not mean that Christian moviegoers should blindly throw their money at terrible movies solely because they are faith based.  As the old saying goes, you get what you pay for.  If we keep paying for garbage, the movie industry will keep serving up garbage.  But is Left Behind really that bad?  The ad above claims that Fandango fans gave it four stars, and the audience score on Rotten Tomatoes gave it a 65% approval rating.  A closer examination of the reviews on both websites belies these apparently favorable indicators.  For every five-star rating with a simple “I liked it” review, there are several one-star diatribes describing every inferior aspect of the movie.   In the end, the answer to the question just posed is: yes, Left Behind really is that bad.             So if you are a Christian and a fan of the movies, do not feel compelled to fall into the old way of thinking, the “us versus them” attitude conservatives copped towards Hollywood for so much of the twentieth century.  Please do not drag your friends to Left Behind just to feed a desire to see more faith based movies in the theater.  Do your research, look at the reviews, and spend your money on quality.  If Left Behind fails to meet expectations (which I say it has, both in quality and financially) it does not mean the end of the world. The end of the world will come at a time no one expects and in a way no one can predict, just as Jesus said in Matthew 24.  In the meantime, Christploitation films are, for the foreseeable future, going to keep premiering at the cineplex.  Just because one falters, it will not dissuade any other movie producers from making money in the genre.  That is my prediction. Works Cited Bennett, Cory. "Christian films find fans at multiplex." Akron Beacon Journal 3 May 2012: F21-F22. Newspaper. Christian Movies at the Box Office. n.d. website. 27 Oct 2014. . Flesher, Paul V.M. and Robert Torry. Film & Religion: An Introduction. Nashville, TN: Abingdon Press, 2007. Johnston, Robert K. Reel Spirituality: Theology and Film in Dialogue. Grand Rapids, MI: Baker Academic, 2006. Left Behind - Rotten Tomatoes. n.d. website. 27 Oct 2014. . Riley, Robin. Film, Faith, and Cultural Conflict: The Case of Martin Scorsese's The Last Temptation of Christ. Westport, CT: Praeger Publishers, 2003. [1] Flesher, Paul V.M. and Robert Torry. Film & Religion: An Introduction. Nashville, TN: Abingdon Press, 2007. Pg. 72 [2] Johnston, Robert K. Reel Spirituality: Theology and Film in Dialogue. Grand Rapids, MI: Baker Academic, 2006. Pg. 44 [3] Johnston , pg. 46 [4] Johnston,  pg. 45 [5] Riley, Robin. Film, Faith, and Cultural Conflict: The Case of Martin Scorsese's The Last Temptation of Christ. Westport, CT: Praeger Publishers, 2003 [6] http://www.boxofficemojo.com/genres/chart/?id=christian.htm [7] www.wikipedia.com [8] Bennett, Cory. "Christian films find fans at multiplex." Akron Beacon Journal 3 May 2012: F21-F22. Newspaper. Pg.  F21 [9] http://www.boxofficemojo.com/genres/chart/?id=christian.htm [10] http://www.boxofficemojo.com/genres/chart/?id=christian.htm [11] Bennett, pg. F21 [12] http://www.rottentomatoes.com/m/left_behind_2014/?search=left%20b [13] http://www.rottentomatoes.com/m/left_behind_2014/?search=left%20b

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our chat with the nation’s best online film critic and founder of ReelViews: James Berardinelli.This week, James and Sohaib talk about:The MasterDreddEnd of WatchLooperFictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our chat with the founder of ReelViews and one of the nation's best online film critics, James Berardinelli.Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our chat with the nation's best online film critic and founder of ReelViews: James Berardinelli.Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our chat with the nation's best online film critic and founder of ReelViews (http://www.ReelViews.net/): James Berardinelli.Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy another segment with the best online film critic in America and founder of ReelViews (Reelviews.net): James Berardinelli.In this episode, Sohaib and James talk about: Dark Shadows, Battleship, The Dictator, The AvengersPlus:* The annual summer movie false start.* Johnny Depp and Tim Burton: Is it time for an intervention?* Will we ever see one-off superhero films?* Upcoming movies: Men in Black III, Snow White and the Woodsman, Finding a Friend for the End of the WorldFictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy another extended chat with the nation's top online film critic, James Berardinelli.Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our segment with the founder of ReelViews (http://www.reelviews.net) and, according to Roger Ebert, the "best of the web-based film critics": James Berardinelli.  James offers his take on Disney's John Carter and the film version of Suzanne Collins' The Hunger Games.Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers

Each week on 15 Minutes of Fiction...with Fictional Frontiers, Host Sohaib Awan will highlight the best in genre entertainment. Dedicated to a serious discussion on pop culture, industry leaders will provide their unique takes on science fiction and fantasy. This week...enjoy our segments with author Maya Kaathryn Bohnhoff, co-author of Del Rey's Star Wars: Shadow Games and James Berardinelli, the founder of ReelViews and, according to Roger Ebert, the "best of the web-based" film critics. Suvudu: Fictional Frontiers on Suvudu: http://suvudu.com/tag/fictional-frontiers