J.A. Bayona’s film, based on the 2011 novel of the same name and adapted for the screen by the author himself, Patrick Hess, operates with a similar dichotomy and balancing act with its genre. “Fantasy” and “genuine” are two words that do not normally mix together. “A Monster Calls” creates an engrossing tale of allegory and myth and still roots it in a setting of stark reality filled with family and flaws.
Read MoreEvery winning streak has to end to some time. “Live by Night” will go down as the first “L” in the loss column for Ben Affleck as a film director. After climbing to the top of the mountain with the trio of “Gone Baby Gone,” “The Town,” and the Oscar parade of “Argo,” there was nowhere to go but down, but this newest film is a little more than down.
Read MoreBut all of those lofty intentions will not be automatically transcendent for everyone. Let me say it like this as delicately as I can. The level of your Christian faith, or lack thereof, will formulate your reaction, appreciation, or acceptance of “Silence.” It is an agonizing personal test for an audience, just the same as it is for the characters on screen. This will either be a soul-rattling testament or maddening torture.
Read MoreMovies are an offspring of plays. What started on theater stages can now step into a wider world. Locations can remove the boundaries and improve an immersive story, but the human performances are still what matters most. Words have power regardless of setting. “Fences,” directed by Denzel Washington, is one of the finest and most seamless examples of the power of performance being translated from the stage to the screen.
Read MoreSay hello to Mr. and Mrs. Jake and Kimberly Narens! Kim is a former co-worker of mine from back in the day. She was the art teacher and I was a fourth grade teacher at the Lloyd Bond campus of Chicago International Charter Schools during its inaugural school year in 2009-2010. We have both moved on to other jobs since then and also become first-time parents. While I am still in Chicago, she and her husband now call the sultry heat of Chandler, Arizona home. I'm guessing they don't miss shoveling snow.
Read MoreSeveral Chicago film critics got together earlier this week for a "year-end" roundtable hosted by Ian Simmons for his "Kicking the Seat" site and podcast. We had just gotten out of an advance screening for "Passengers" and were brimming with positive and negative opinions that couldn't be contained, creating a second reason for Ian to turn on the mics and recorders. Enjoy Ian, Emmanuel Noisette of Eman's Movie Reviews, Harold Egbo, David Fowlie of Keeping it Reel, and myself as we challenge the gravity and go on a trip for "Passengers."
Read MoreMixing romance with science fiction always seems to be a dodgy proposition of preposterousness. The emotionality of love is not something readily explained by science, unless some smarty pants cites neurotransmitters, adrenaline, dopamine, and serotonin. The marketing and publicity push of “Passengers,” starring the hot ticket names of Chris Pratt and Jennifer Lawrence, want you believe that you’re stepping into “Titanic in Space.” Hey now, come out of hyperdrive or drop out of warp speed (your choice, fellow geeks) and pump your space brakes! The only apt comparison between “Passengers” and “Titanic” is the metaphorical sinking.
Read MoreThe new animated musical “Sing” from Illumination Entertainment bills itself as containing more than 85 memorable tracks from legendary performing artists and one new original song collaboration from Ariana Grande and Stevie Wonder. When you divide the 110 minutes of the film by 86 songs, that averages out roughly to one song every 78 seconds. A mashup like that plays well as a recurring Jimmy Fallon/Justin Timberlake bit on late-night television, but it’s exhausting and tiresome when stretched to nearly two hours.
Read MoreIn front of and behind the camera, you will find creative people that deftly understand and properly tap into the spirit and flavor of the classic genres and eras they are blending. Breathing jazzy life into a Hollywood musical set in the present day of Priuses and iPhones, Damien Chazelle’s follow-up to “Whiplash” is a modern cinematic masterpiece. It is the kind of film where you will remember where you were when you first saw it. You will not find a more jubilant, romanticized, or flat-out entertaining film this year.
Read MoreAs entertainment, movies are an ideally suited artistic medium to motivate or stimulate emotional responses. The smartly composed narratives among them can pull that off naturally. Others force it. When such happens, manipulation replaces motivation. For an example, look no further than “Collateral Beauty” starring Will Smith and directed by David Frankel. It is one of the most egregious miscalculations of filmmaking and marketing in recent memory.
Read MoreLags of preparation and mounting conflict aside, there is more than enough big-screen excitement infusing the gravitas that give way to pathos. "Rogue One" smoothly delves into an untold narrative while providing clever and catchy callbacks and nods to the expanded universe we know is on the other side of the horizon. Fleshing out key history, “Rogue One” instantly becomes an indispensable companion piece to “Star Wars: Episode IV: A New Hope.” Watching this mini saga and seeing the seeds it plants makes one appreciate the fruits of the 39-year-old classic’s triumphs even more.
Read MoreMesmerizing describes the film as a whole and its incomparable lead performance from Academy Award winner Natalie Portman playing First Lady Jacqueline Kennedy in the immediate hours and days following her husband's 1963 assassination. Far from a biopic and more of a psychological examination, Portman and Larrain sear the screen with emotion and imagery that is as captivating as it is difficult. It is astonishing that it takes a foreign director to create the most empowering portrait of American history put to film in years.
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