The small break of new releases at the start of the new year allows for a much less stressful, and sometimes even more enjoyable, media binge: a crop of Chicago-made web series that can be viewed from the comfort and safety of your home.
In his explicitness about one thing, it seems Almodóvar is reluctant to be less explicit about the others, unwilling to sacrifice shock in support of a larger, more heartrending awe.
I’d kill to live in a universe written and directed by Paul Thomas Anderson.
Disney used to be best known for its children’s animation. But over the last decade the House of Mouse has become the House of Hulk. Princesses and neotenous animal companions haven’t vanished. In terms of market share and screen dominance, they’ve been shouldered aside by the thundering pectorals and power beams of the Marvel Cinematic […]
Here’s a brief history of the last 40 years of the film industry in Chicago, reflections from IATSE organizers, and a look toward the future of work for people who are thinking of getting in on the action.
It’s star-studded, and the edits often wink at the audience, but it’s not so fun being in on the joke this time around.
The plot is basically, “Hey kids, let’s put on a show!,” but with marvelously anthropomorphized animals and Vegas-worthy production values.
The film presents a beautifully bleak vision of doomed political ambition which ultimately shows that, even when fascists are incompetent, their ruthlessness creates irredeemable suffering.
What del Toro so strikingly presents is a morality tale of how the desire to rectify the past can overwhelm our best judgment in the present, leading to disastrous consequences.
The Matrix Resurrections is a breath of fresh air in a time when reboots are a dime a dozen.
It’s a rather glorious mess of a film.
The result is an often frustrating, convoluted vérité-style documentary that conflates access with intimacy. Stans may be wooed by the promise of never-before-seen footage, but anyone unfamiliar with Jarad Higgins and his music will likely be lost.
What it dispenses in salaciousness fails to account for the lack of any meaningful undercurrent that might make the vulgarity interesting.
Lauren Hadaway’s The Novice is a powerful look at compulsion.
Paolo Sorrentino has made more luscious films, but he’s never made a more personal one.