For better or worse, Brad’s Status, speaks from a very insulated and ostentatious point of view, that of the taboo term of “white privilege.” Even dramatized for soft realistic fiction, Mike White’s feature directorial debut tries to be a wakeup call of sorts. The dramedy carries a message, a fair and good one mind you, but one that will, unfortunately, fall on multiple deaf ears.
Read MoreThe most superlative aspect of Viceroy’s House and its chronicle of national history for the countries of India and Pakistan is the personal passion behind the project. Bend it Like Beckham and Bride and Prejudice director Gurinder Chadha is the granddaughter of family displaced by the largest migration of people in recorded human history that occurred during the Partition of India of seventy years ago. There is an undeniable core of importance and respect present in the film that shows the great care of Chadha and all involved.
Read MoreGrant Focus Features, director Colin Trevorrow, and debuting feature writer Gregg Hurwitz all the balls in the world for putting out a movie this daringly original during the summer marketplace. Ambition notwithstanding, the extreme tonal shifts, while effective at keeping you invested in The Book of Henry to see what happens next, only half work in totality.
Read MoreRoger Michell stiffens his upper lip from his Love, Actually and Notting Hill fare to tackle a costume drama with My Cousin Rachel. Oddly enough, this film can stake a serendipitous claim as the second Michell-directed film about “kissing cousins” after Hyde Park on the Hudson. Unfortunately, more than a little uncomfortable laughter of preposterousness pokes out of this film while trying to portray itself as flowing romantic drama. That’s not going to sweep anyone.
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More often than not, the label of “private family matter” spells doom and gloom. A good time is not going to be had. That’s the unfortunate impetus that brings two disunified brothers and their wives together for “The Dinner.” Compressing layers of familial discontent and rancor thinly-masked by the repulsive worst of white privilege, the tightly-wound urgency and shattering purpose of this titular meeting reveals itself over the film’s two hours.
Wars transform the soldiers that participate in them. Men and women in combat can be broken down, built up, or both in positive and negative ways. Because the young tend to serve, their stories, and the films that tell them, can mirror a late-term version of the “coming-of-age” archetype. The fingerprints of forced maturity appear all over the likes of “The Deer Hunter,” “Platoon,” “Jarhead,” and dozens of other films. In all honesty, the trope is overused and over-familiar and that’s the first mistake of “Sand Castle.”
Read More“The Sex Addict” is tailor-made to serve comedy fans that soak up humor akin to “The Office” and “Parks and Recreation.” The humor is naturally vulgar and dark, which isn’t everyone’s cup of tea. The crowd that will be repulsed can be replaced by those rolling on the floor laughing. “The Sex Addict” is a ways away from the supreme mockumentary exemplars of Christopher Guest, but that’s the perfect plane for Amir Mo and company to aspire to.
Read MoreThe most crucial dramatic trait for films about exploration is a drawing a strong reaction to the unknown from the audience. Whether it’s a historical story or a fantastical one of fiction, the film has to evoke awe, be that stirring swells of inspiration or jarring feelings of danger. It has to move you, not bore you. If a film can’t achieve that quickened pulse or heavy heart, it’s little better than a travelogue on cable television or a curriculum video they show soon-to-be-bored high school students in Social Studies class.
Read MoreIsolated survival films have an immense draw. Our self-preservation instincts kick in and we, as the audience, cannot help but hypothetically put ourselves in the same conundrum as the main character. Often these films delve into the preciousness of the life and dabble in the “what does it all mean” direction to pull even more thought and emotion. A few metaphors dipped in symbolism make for nice touches. Regrettably, the peril grinder of “Mine” pounds its not-so-thinly-veiled metaphors repeatedly and insufferably into the ground.
Read MoreIf the Windy City can show us anything, it’s that die-hard Chicago Cub fans come in all shapes, sizes, and ages. More so, fans come from different walks of life, waving flags of different colors, including, best of all, the rainbow-colored variety. “Landline,” from local do-it-all filmmaker Matthew Aaron, is a fun-loving LGBTQ+ comedy merging ardent North Siders with snappy musings on our societal obsessions with technology, all in proximity to the heavenly palace that is Wrigley Field.
Read MoreYou’ve seen bits and pieces of this human buffet and interstellar peril before in the likes of superior films like “Alien,” “Gravity,” and more. To its credit, the dour tone frames “Life” as a straight-shooting creature feature trading camp for tension and thrills, plenty of which elicit sly pleasures. Nonetheless, what separates the spectacular from the mediocre in this science fiction subgenre is the monster and the creative uses by which it is employed. This one goes derivative.
Read More2017 Chicago Irish Film Festival: Shorts Program I
Diverting from the other short films in this program at the Chicago Irish Film Festival, “Blackbird” leans to the existential and experimental. The abstract feel and weighty themes are in place to knock one’s socks off. However, in an ironic fashion, this is a short film that feels too short.
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