Try as she may, though, I look at the woman playing Princess Diana, even with all the clear personal commitment, and all I see is Kristen Stewart. Thanks to her own natural twitches under her blonde helmet of hair, Stewart’s same agape expressions and same exasperating line deliveries land a lip bite or two away from showing us it’s more her than who’s she playing.
Read MoreIt is also through her side of the story, clearly a huge product of Holofcener’s storytelling contributions, where the historical behaviors in The Last Duel accurately yet problematically fly against our still-evolving modern attitudes. While Scott’s film may follow the charted multiple perspectives of Jager’s well-researched novel, folding its painful and triggering trauma three times makes for an exorbitant and unsettling movie experience.
Read MoreFrom dramas and thrillers to documentaries and comedies, the 57th Chicago International Film Festival presents an outstanding diversity of offerings. As in other years, their competitive categories and programs include Cinemas of the Americas, International Comedy, Women in Cinema, OutLook, After Dark, the 25th anniversary of the Black Perspectives focus, and the City & State program highlighting films made in Chicago and throughout Illinois.
Read MoreLast year’s Drive-In offerings for the 56th Chicago International Film Festival were a big success at the ChiTown Movies location in the Pilsen neighborhood. Continuing that success, the Drive-In program has returned with its classic format for the upcoming 57th Chicago International Film Festival. Five drive-in features will be presented at 2343 South Throop Street. Tickets to the Chicago International Film Festival drive-in screenings, and the full program and drive-in schedule are available online now.
Read MoreThe prestigious 57th Chicago International Film Festival will run from October 13-24. Spinning out of a virtual 2020 year of limited online screenings, drive-in accommodations, and a limited slate, this year’s festival roars back to expand across the city. After many years centered at the AMC River East homebase location, the 57th CIFF is branching out across the Windy City. Film events will also be hosted by The Gene Siskel Film Center, the historic Music Box Theatre, the returning drive-in ChiTown Movies in Pilsen, and neighborhood pop-up screenings at Bronzeville’s historic Parkway Ballroom. This proud festival finally has the full coverage across the city it has long deserved.
Read MoreThe answers to those measured questions are what makes Surge starring the award-winning Ben Whishaw so alarming and downright terrifying. Set over the course of just under two days in London and shot guerilla-style with handheld cameras that weave through the crowds and shifting locations, Surge careens through one man’s unpredictable downward spiral and the isolated damage it causes. These kinds of movies are certainly not for everyone, but this one is a fascinating test of stamina and understanding.
Read MoreFolks, it’s been a year, but fortunes and health are looking up enough to maybe get back to some good old fun. As the Irish say, when a party gets rowdy, they call it a “hooley.” For movie fans, I think it’s high time we mix a little whiskey with our night out. As the Irish like to say, when a party gets rowdy, they call it a “hooley.” With that vibrancy in mind, the 7th annual Irish American Movie Hooley returns to the Gene Siskel Film Center in Chicago this weekend. This resident Chicagoan with Irish roots has you covered.
Read MoreWebMD will tell you that selective listening involves “consciously or unconsciously choosing to listen to what is relevant to you and ignore what isn’t.” Marinate on that for a moment, especially the second part, and then apply that notion to the talking heads and one-track minds of the spiritually devout you see leading cameras and congregations of people with loose wallets and even looser gullibility. That’s the misplaced morality at the center of Michael Showalters’ The Eyes of Tammy Faye.
Read MoreNow, judging by storied perception of the “Louisville Lip” and his towering ego on the biggest night of his young career, one might expect One Night in Miami to set off a boastful barnburner of boozy partying and liberating frolic. The result is quite the contrary. There are no bars, no girls, no flashbulbs, and no hanger-on fans. It is just these four influential men and the hotel spaces before them as they wrestle with the gravity of the moment and share the ongoing bigotry they have experienced on different levels and from different sources. To celebrate here is the exhale and vent, not dance and prance.
Read MoreThere is a very good chance that “shocking” will be the first and most basic reactionary word to come out a viewer’s dropped jaw after seeing Promising Young Woman, the holy-f—king-shit movie of 2020. If someone isn’t shocked, there’s something wrong with them. If anything, the predicament of self-examination will be which condition of shock they’re carrying as they come down from the buzz of this movie.
Read MoreMany existential movies that kick around the questions of life, death, and afterlife dangle the idea of revision. From It’s a Wonderful Life to The Tree of Life, characters alive, dead, or somewhere in-between are presented visions or exercises of how their lives could have been different with wholesale changes or tangential opportunities. Those musings often steer them to accepting their life as it was, pitfalls and all. The new drama Wander Darkly from Tara Miele working the festival circuit goes there not with an eraser, but with a red pen instead. Channeling my school teacher day job, Wander Darkly, in an interesting way, is about proofreading life more than revising it.
Read MoreThat said, this odyssey has highs and lows for Fern living among the saguaros, grasslands, or rocks across the American West. No matter how much she has learned to take care of herself, painful solitude creeps in. Self-reliance only fulfills so much enterprising spirit. Courage can only stave off so many endangering risks faced by a woman her age alone. In many ways, Chloe Zhao’s film, her follow-up to The Rider before going Marvel with The Eternals, has the same range of stamina and lethargy. Unvarnished prestige too has its limits.
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