With rock-heavy undertones replaced by the dramatic struggles of silence, Sound of Metal can personify every one of those questions. This labor-of-love and festival darling debuts in limited release and Amazon Prime on December 4th. Led by a sensational, internalized performance from Riz Ahmed, read here, see on the screen, and hear anyway you can how this stands as one of the best films of the year.
Read MoreThe 2020 edition of the Chicago International Film Festival will bring several of their Gala and World Premiere presentations to socially distant audiences from the comfort of their automobiles. The Chi-Town Movies Drive-In location in the trendy Pilsen neighborhood hosts the Opening Night documentary Belushi, the Closing Night Nomadland, and six more films in-between. Tickets are available only through online advance sales. The full festival runs from October 14-25.
Read MoreUnfiltered regrets, debated wisdom, and long-held dreams replace the microphone soundbites and the picket signs. Those scenes carry genuinely serene and affecting moments of reflection. They may be shot to look whimsical, but they reach to gild exposed and admitted personal flaws within the central figure. Call this respectful hero worship and the most traditional or packaged film Taymor’s ever made if you must. However, what’s left (political pun intended) is well-earned pride.
Read MoreWhen it comes to Cuties, if you don’t like what you see of these errant kids left to their own wiles and devices, your gut is accurate and working. If its imagery bothers you, it’s supposed to. Check your gaze and your privilege. Now, look past the fictional take and target the very valid and present potential problem in our own settings and lives off the Netflix couch. If you don’t want that, prevent it with education. If you don’t want those sexualized elements to be goals, don’t make them so appealing and desirable to the uninformed. Adjust those expectations or create better ones. Shake your head, change your stance to empathy and honesty, and act accordingly to our daughters and children. Get there and you have made it precisely to the point that is being hammered home.
Read MoreQuite quickly into Roger Michell’s Blackbird, Susan Sarandon stamps exactly what kind of terminally ill character this film intends to portray. You may see the Academy Award winner’s aged luminosity but, let me tell you, this is far from a retread of her beloved 1998 film Stepmom. Her Lily is tired of the pretend pleasantries as she summons her extended family to her and husband’s beachfront homestead. She is done with the constant “who are you” questions, “are you OK” observation checks, and her own cordiality to retort with “glad you’re here.”
Read MoreEvery braided shoestring of DIY indie filmmaking on Lake Michigan Monsters swings a proverbial kitchen sink of derring-do flair on the end of it. Editor and animator Mike Cheslik of Netflix’s The Get Down (the MVP of this film) splashes buoyant pacing and endless layers of light visual effects that have creativity and energy to spare. Each sink of eye-popping detail is wielded like a medieval flail used to dispatch dragons of snobbery and doubt. Never ever look down on this class of movie because this is where you find true commitment.
Read MoreTo pull off holding court without reducing matters to the preening or showy variety, the performer must have screen presence. Deneuve, the ageless ingenue, “frigid femme fatale,” and “grandes dame” of French cinema, has wattage for a thousand cameras, even now in her mid-70s. With that stature, compelling shockwaves come at will. The acting awe within The Truth is that Deneuve’s prestige is matched moment-to-moment by Academy Award winner Juliette Binoche, a contemporary, if you will, every bit as powerful as the senior. Their pairing as an estranged mother and daughter in the celebrity world writes cinematic scripture.
Read MoreWhen no flowery language is flowing to fill our ears, another ambiance is necessary. The sweep of Felipe Tellez’s musical score is astounding. His arrangements were performed by the Budapest Air Orchestra and their lovely strings keep Farewell Waltz soaring with the remembrance and regret of the narrative. One would not readily imagine a 10-minute short film could reach heartstrings so assuredly and effectively, yet this throwback from Levy does so with lingering beauty above films ten times its length.
Read Moreby Kathrin Garner
Film festivals are a wonderful opportunity to see what’s new in the movie industry, but also to connect with people and hang out. The COVID-19 pandemic has changed the plans of many film festivals. Some of them pushed their dates, others got canceled, some got postponed, and so on. But, sooner or later they’re going to happen and when that time comes you’ll want to get the most out of the movie festival experience. We’re going to help you out with 10 rules worth following.
Read MoreLet’s just say it. The subgenre of redneck crime films is a messy place. The “black hat” is almost always a crazy SOB engaged with a less crazy SOV “white hat.” Slickness is replaced by stains. Dazzle is replaced by dinge. Calling any of them “sagas” is too much credit and heft. Unless you’re the Coen brothers (and even if you’re them too), spicing up this slow-and-low movie barbecue takes some of that absent slickness and dazzle injected into either the filmmaking or storytelling departments, or both.
Read MoreGranted, messy people and their messy lives make for messy stories, especially here in the medium of narrative film. Not everyone can hold their noses to other peoples’ messes on display. Their pity or empathy levels have limits. Tolerance comes from the talent and the trueness coming together for the given story. Filmmaker Drake Doremus presents another striking, bare, and brave movie in the form of Endings, Beginnings. If you have the capacity to wallow along, you will be impressed. Plenty won’t and that’s too bad.
Read MoreIt is very relevant and very opportune how the true-to-life main character’s last name fittingly became a perfect title for this kind of movie. Call it telling. Call it fate even. One could also call it a warning. Burden is as dramatic and uncomfortable as the many layers of the namesake word itself. The winner of the U.S. Dramatic Audience Award at the 2018 Sundance Film Festival finally makes its theatrical bow nearly two years after its praised debut.
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