Movie theaters may not be an issue as detrimental as the inequalities that divide Chicago’s communities, but the waning of their presence mirrors larger issues of economic opportunity in the city, community investment, and access to recreation and culture throughout Chicago.
Brock Heasley’s The Shift is a remarkably incoherent farrago of sci-fi tropes and Christian proselytizing.
The Boy and the Heron is a flawed, yet magical semi-autobiographical tale that spins gold out of our collective dreams and nightmares.
This movie should be seen by anyone who’s interested in club history, AIDS history, East Village New York nightlife, goth shit, industrial music, David Bowie, aliens, disco, opera, or the triumphs and loneliness of being a beautifully singular weirdo.
May December is a slow burn—a film that, like an intensifying flame, becomes more scorching every second you grasp it, ultimately leaving you with searing imprints.
Like Aki Kaurismäki’s other films, Fallen Leaves is brimming with subtle whimsy and piercing humor, but throughout the 81-minute runtime, he never sells it.
Dream Scenario is truly something special, a playful and clever (but not too clever) comedy from Norwegian film director Kristoffer Borgli.
At long last, Suzanne Collins’s massively popular YA dystopian book series is returning to the big screen.
This year, Chicago Filmmakers celebrates its 50th anniversary, a landmark achievement in the history of any nonprofit, let alone one focused on the cinematic arts.
Common Ground uses the “spread the message” approach to advocate for regenerative agriculture.
Despite a measured performance from Fassbender and a clear vision/understanding of world-building in Fincher’s approach to visual storytelling, The Killer lacks any kind of teeth.
While the titular Marvels make for an endearing, women-centric found family, the film’s hyperawareness of its role in a larger universe is its downfall.
Easy targets for cheap shots are plentiful, but honestly, this is fine. It’s inoffensive Christmas movie shenanigans, and it’s breezy at 80 minutes.
George C. Wolfe’s Rustin leans firmly toward optimism. That’s understandable; this is the first film centering Bayard Rustin, a key civil rights organizer whose influence on the movement has been downplayed in part because of his homosexuality.
The film is successful because it manages to create its own logical, nonsensical rules, which love then snaps.