The slogan of Spike Lee’s long-time production company 40 Acres and a Mule Filmwork is “by any means necessary,” a tagline that could not be more fitting of the urgency and purpose of Spike’s works. Nothing he puts his effort into ends up empty or meaningless. His lightning rod flair singes silver screens again with Cannes Film Festival Grand Prix prize winner BlacKkKlansman, stoking a p
Read MoreWriter-director Robert Schwentke has boldly moved away from schlock (R.I.P.D., RED) and softness (The Time Traveler’s Wife) for something visceral and chillingly raw. As Herold shows no quarter, neither does Schwentke and this film’s penchant for discomfort. The events portrayed are so imprudently berserk that it borders on unbelievable farce, despite its cited historical inspiration of the man who performed these acts before he was even 21 years old.
Read MoreYou will color yourself impressed by the unexpected power of this independent to subvert expectations with such cunning dexterity. No matter if it’s zero budget devil-may-care freedom or a nine-figure open blockbuster checkbook, few movies on any level could ever dream a way this damn good to marry and blend stoic manliness and a whimsical romance on top of the lurid exploits its title advertises. The Man Who Killed Hitler and Then The Bigfoot punches with pulp and grinds gravitas rather than gore.
Read MoreIf you didn’t know it, you would think this film is a slice-of-life documentary, giving the film similar striking authenticity and power as Chloe Zhao’s celebrated spring film The Rider. En el Séptimo Día presents an empathetic and beautifully rendered microcosm of the American Dream. Between the recent World Cup and our country’s ever-present immigration debate, a tender and compassionate allegory such as this could not be more soothing cinematic balm and satisfying experience.
Read MoreTurning 64 this year, Denzel Washington’s eyes may be heavier and his body might be softer than before, but it’s what’s between his ears and trumpeting out of his mouth that are truly ageless. For The Equalizer 2, all four years has done is make this man-of-action more methodical and calculating with this ass-kicking punishment and sin-correcting righteousness. This twisty sequel takes the temperature and weight of the cold lead hammer that is Denzel and heats it with anger and stakes to match the hot lead being shot around him.
Read MoreThe Incredibles 2 may not pack the usual signature “Pixar Punch” that sends stock in Kleenex skyrocketing, but the movie’s themes are formulated with deft wit, proper prudence, and enough meaningful magic. These heady motifs are supported well with the slick and swanky musical energy of Michael Giacchino, now complete with catchy character theme songs playing through the end credits. The power of it all starts at the top and on the written page.
Read MoreMaking its Chicago premiere this weekend playing for a run at the Gene Siskel Film Center, Pablo Solarz’s film earns every measure of its stirring dedication. The Last Suit has an approachable and undeniable warmth beneath that thorny senior center masterfully played by Miguel Ángel Solá. The writer and director himself will join audience discussion on the Friday and Saturday evening showings. Keen audiences looking for an empathetic elixir would do well to absorb and appreciate this film at the Siskel.
Read MoreWith First Reformed from A24, veteran writer-director Paul Schrader has crafted another startling and fascinating cinematic gem on his favored topic of self-destruction. The escalating tension is phenomenal, guiding heavy lessons and postures, all led by quite possibly the best performance to date from Ethan Hawke. Discerning audiences will find much to dissect and discuss as they process First Reformed.
Read MoreNo matter what, all of Deadpool 2 is nonsensical, of course, and there was no way this movie wasn’t going to be exactly what it is: FUN. That part doesn't go away. Folks can try to champion the first film and this one as anti-comic-book-movie movies, but, make no mistake, both of these blockbusters end up becoming comic book movies anyway just with more willingness and success to subvert the formula. However, that ridiculous energy is precisely the charm people are flocking and paying to see over in this
Read MoreAcademy Award-winning writer Diablo Cody has an unparalleled gift for the sardonic. She knows just the right rhythm of mockery and skepticism to twist mundane circumstances into something both witty and affecting. When combined with director Jason Reitman (Juno and Young Adult) and his sensibilities wired to much the same wavelength, the results are gleefully glorious. With their latest collaboration Tully, the writer-and-director duo have done it again.
Read MoreThis man is a cowboy. Normally, that’s all you have to say and the portrait of toughness is painted, but therein lies the mystery within the mundane of The Rider. Populated by untrained actors and inspired by true events of these rookie performers, Chloé Zhao’s sophomore feature film stands on that determination only to slowly reveal the internal aches underneath the grizzled exteriors of hat brims, denim, and vices.
Read MoreThe intensity of the torrid on-screen affair in Disobedience is as strong as the rhetoric of oppression that simmers under the surface of the characters and the community they occupy. Sebastián Lelio’s follow-up to his Academy Award-winning foreign language film A Fantastic Woman teems with deeply stirring passion. Performed to a level of high commitment by Rachel Weisz and Rachel McAdams, the film repeatedly demonstrates that one of the best ways to build passion in a film is to present the implicit unspoken in a manor to outweigh explicit expression.
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