Where using a composite character gets dicey is when they are made the lead because their fictional presence can outweigh the history and accuracy around them. Too much can be skewed to suit a character that doesn’t exist. That is exactly what occurs in “Patriots Day,” Peter Berg’s third consecutive collaboration with Mark Wahlberg. The makings for a stocked and stacked ensemble drama are dismantled by the misplaced hero worship that becomes little more than a vanity project.
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 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 MoreThere are commendable allegories bottled somewhere inside both Ben Fountain’s 2012 award-winning novel and Ang Lee’s adaptation of “Billy Lynn’s Long Halftime Walk.” However, knowing what we know now about “paid patriotism” since 2015, those morals, and any patriotic pride the fictional story’s grand setting can muster, have lost too much of their high ground to inspire. It is difficult to invest in a reflective film wrestling with disillusionment when too many current audiences already enter with the same feelings about the War on Terror. Disillusionment of disillusionment is a tough sell if the goal is the change minds.
Read MoreIt should come as no surprise to anyone who has followed the career path of Mel Gibson, either in front or behind the camera, that "Hacksaw Ridge" rings up the descriptor of "excessive" more than any film to date this year. "Hacksaw Ridge" is a war film of excessive violence operatically woven into a biopic screen story of excessive hero worship based on a true story of World War II Congressional Medal of Honor winner Desmond Doss. Both excesses are laid on very thick. Only half of one of them are worth it.
Read MoreSpareness and simplicity can either be a fountain of nuance and austerity or it can be a vacuum of plainness and lethargy. Filmmaker Kelly Reichardt is a celebrated torchbearer of the minimalist film movement and her newest feature, “Certain Women,” boast three strong female leads in Laura Dern, Michelle Williams, and Kristen Stewart. Despite that base of acting forte and the patronage of Todd Haynes as an executive producer, the void outweighs any wellspring.
Read MoreKevin Baggott’s darkly comedic film “Beneath Disheveled Stars" was a favorite of the Cork Indie Film Festival and Brooklyn Underground Film Festival. The film recently opened the 2nd annual Irish American Movie Hooley at the Gene Siskel Film Center in downtown Chicago. As a self-made film from a self-made man, there are qualities to appreciate from this quixotic wild goose choose.
Read MoreThe quirk of the dark comedy genre comes from embracing absurdity and running with it. Small wrinkles of character traits and situational story elements get twisted for wry laughs and wicked surprises. One of Australia’s top films of 2015, “The Dressmaker” mixes high style in a setting of rubbish and romance with a cursed sense of revenge. Not all of the fits and starts of many, many dalliances of the film end up working, but the presence of Oscar winner Kate Winslet demands attention.
Read MoreThere was a time Oliver Stone took risks and punched harder with his filmmaking style and history-challenging investigation efforts through compelling dramatization. The 70-year-old self-described dramatist used to stir provocative emotions and drop jaws with grand revelations. Those days feel like a distant memory with "Snowden."
Read MoreYou know the "Goodfellas" tropes: excessive narration, ordinary people getting rich or powerful doing extraordinary and often illegal activities played by colorful actors or actresses, dramatic license spinning a likely lesser true story, a kicking period soundtrack, pervasive drug use, freeze-frame shots to stamp moments, and a tidy epilogue of comeuppance. Imitation may be the sincerest form of flattery, but it is also lazily standing on the shoulders of giants. That’s the impact and existence of Todd Phillips’s “War Dogs” in a gun… err… nutshell.
Read MoreHere’s one word this writer never thought he would use to describe a Paul Greengrass-directed Jason Bourne film starring Matt Damon: FORMULAIC. After a tremendously successful trilogy (and not-so-successful spin-off) that had the right ending nine years ago, Greengrass and Damon were coaxed back into another cat-and-mouse spy game. Its rote construction and stakes that always feel like an arm-length away from stronger impact, “Jason Bourne” may be questionable enough to make us wonder if we’ve been seeing the same film four times now.
Read MoreYoung writer-director Drake Doremus has carved out a reputable niche in the romantic drama department. Many of the Sundance darling's films feature a prominent theme of longing love. That motif is on full display and meshed with mindful science fiction in his new film "Equals." Starring Nicholas Hoult and Kristen Stewart and backed by Ridley Scott, the film is making a limited theatrical run alongside a full release on VOD marketplaces. Mindful doesn’t exactly equal poignancy on the scale of desired response.
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