The Humbling
  • The Humbling

This week we’ve decided to open up our long-review space to a video-on-demand release, Barry Levinson’s screen adaptation of the Philip Roth novel The Humbling. We haven’t done much of this in the past, but there’s no denying that a growing number of indie releases are bypassing theaters (or, in this case, opening at the South Barrington 30 out in the ‘burbs) for the small screen. You can read our take on the movie here, and check it out on this very screen through Hulu, iTunes, Netflix, Amazon Prime, and other VOD platforms. Now please turn off your cell phone before I come over there and punch you.

  • R100

Also this week, we’ve got new reviews of: The Boy Next Door, starring Jennifer Lopez as a high school teacher stalked by an amorous student; Match, with Patrick Stewart as a Juilliard dance teacher who gets more than he bargained for after inviting two strangers into his home; opening night of the Onion City Experimental Film and Video Festival, Wednesday at Gene Siskel Film Center; R100, a kinky Japanese comedy from the director of Big Man Japan; Spare Parts, an inspirational-teacher drama about Hispanic kids at a Phoenix high school who go up against Massachusetts Institute of Technology in a robot-building competition; This May Be the Last Time, a personal-essay film about the Seminole Indian community in Oklahoma; and The Wedding Ringer, a comedy about a loser who hires a “professional best man” to be in his wedding.

  • Viridiana

Best bets for repertory: Jean-Luc Godard’s Band of Outsiders (1964), Saturday and Tuesday, and Pierrot le Fou (1965), Saturday and Thursday, at Gene Siskel Film Center; Ridley Scott’s Blade Runner: The Final Cut (1982), midnight Friday and Saturday at Music Box; Luis Bunuel’s Un Chien Andalou, screening with Jean Vigo’s Zero for Conduct (1933) on Sunday, and Viridiana (1961), on Thursday, at University of Chicago Doc Films; the Four Marx Bros. in Duck Soup (1933), late-night Friday through Monday at the Logan; Frank Capra’s Mr. Smith Goes to Washington (1939), with matinees Saturday and Sunday at Music Box; Chris Marker’s Sans Soleil (1982), Friday and Tuesday at Film Center; Alfred Hitchcock’s Strangers on a Train (1951), Friday and Sunday at Doc; and Robert Zemeckis’s Who Framed Roger Rabbit (1988), with matinees Saturday and Sunday at the Logan.