It’s a sci-fi, Afrofuturistic story that is also a musical that takes place in the past, present, and future, while also spanning the wide depths of identity and innovation.
Marvel does a great job of spotlighting facets of American culture that often go underrepresented, and Ms. Marvel’s spotlight of Islam is incredibly well done.
In a time when the most banal information is up for debate, this fake documentary reads as much too real.
Hustle spins a familiar plot into a story that’ll keep you invested even if you don’t know a hoop dream from an embroidery hoop.
If you’re looking for something to watch this Pride Month, there are better queer movies—and probably better gay porn—than can be found here.
Over the course of 19 jam-packed minutes, Hanson plays with the storytelling conventions of rom-coms, reality dating shows, and pornography to tell a comedically rock ‘n’ roll story about unrequited love and some of queer culture’s unspoken taboos.
The recountal is tinged with documentary footage and nigh-experimental scintilla attempting to visualize the stuff of poetry that hint at this being something exceptional from a master’s intellect.
The Phantom of the Open is a biopic of a refreshingly under-told story of an amateur player that let nothing stop him from etching his name into golf history.
Somehow Cruise’s foray back into the danger zone will be remembered more than the original, setting a new standard in the era of reboots.
This month, Chicago filmgoers are lucky enough to experience not one but four genre-defining anime classics on the silver screen as part of Anime Auteurs, a series put on by Facets.
Heavily inspired by Jane Austen’s Pride and Prejudice, the romantic comedy follows a group of best friends as they enjoy a weeklong vacation on Fire Island, the famous hotspot for queer culture that’s located just off Long Island, New York.
The cinematic debut for the long-running animated series about a misfit family of restaurant owners brings all the quirks and quips of the original Bob’s Burgers.
Prison is a massive, racist source of violence and harm. A film about incarcerated people, especially one purporting to advocate for them, needs to engage with that fact.
Being the son of the great Iranian dissident filmmaker Jafar Panahi and the protege of the late master director Abbas Kiarostami can’t help but cast a shadow, but if this digressive and slyly weighty debut is any indication, Panah Panahi will have no trouble making his own voice heard. A family of four drives through […]
Unfortunately, what Juergens presents onscreen comes across more like a loose scrapbook or vlog than a film.