“When we go to a skate park, we take up space, and then all of a sudden you don’t see a bunch of guys trying to tell you to move out the way, ’cause we’re the majority now,” says Lid Madrid. “And we’re taking up space, and just changing the way that skate parks traditionally […]
The effort is appreciated as far as it goes. But it doesn’t matter how enthusiastically you dial if you end up with a bore on the other end of the line.
This is a skillful but flawed portrait of amateur sports on the global stage that doesn’t quite stick the landing.
Is this in any way, shape, or form defensible as meaningful art? Certainly not. Is it really cute? Yup.
Xavier Giannoli’s film is hilarious and always moving with vivid colors and rapid-fire narration that in another movie might feel heavy-handed but here is a guiding force that gives a fascinating quasi-history lesson.
What this surreal microcosm ends up conveying about the human experience extends past the frame and into viewers’ hearts and minds.
Baz Luhrmann’s Elvis is a maximalist dream.
In her debut documentary writer-director Rebeca Huntt examines the details of her Afro Latina heritage to provocative effect.
Floyd Webb is the curator of the Black Actors in Foreign Cinema screening series, co-presented by nonprofit media arts organization Chicago Filmmakers and his company, the Blacknuss Network.
From the comfort of your car or on a picnic with friends, Chicago’s outdoor movie screenings have resuscitated the alluring drive-in experience, so screentime can be spent with others all summer long.
Airport (1970) introduced many tropes so closely associated with the 70s disaster genre: the reverence for—and subsequent destabilization of—then-new technologies, in this case the Boeing 707; a miasma of soap-operaish subplots; and huge all-star casts slumming for easy paychecks.
Critics sometimes say that films like Running Man and Battle Royale implicate the viewer. When you watch them, you’re supposed to recognize the ickiness of your own enjoyment of uber-violence. But isn’t the ickiness also part of the enjoyment?
While there’s never really a sense of true danger for our heroes, we get just enough of the range of CGI dinosaurs and their weird traits to keep the film entertaining.
The clash between Thompson’s nervous widow and McCormack’s confident sex worker incites a dialogue that reminds us that it’s never too late to break out of our shells.
Charles has a mannequin head, rubber gloves for hands, and a washing-machine torso. But the rest of him is quite obviously human. His hodgepodge construction neatly describes the disjointedness of the film he’s in.