That’s what makes the Pioneers of Queer Cinema series at Gene Siskel Film Center this month a true event “for the culture”: it’s a broad survey of movies made by queers, for queers that offers at least one tasty morsel for every kind of Letterboxd gay.
It’s been a few years since Noir City: Chicago emerged from dark alleyways celebrating film noir, movies that embody the seedier side of everyday life. The pandemic paused the festival . . . but this year it’s back at the Music Box Theatre.
Film historian, author, and Film Noir Foundation treasurer Alan Rode hosts Noir City: Chicago August 29 through September 1 at the Music Box Theatre.
It’s a small story whose roots and branches radiate in all directions.
I’m sure Bodies Bodies Bodies will have many enthusiastic fans. I’m just at the stage in life where I don’t take much pleasure in watching the kids hurt themselves.
Bullet Train’s biggest feat is its own understanding of merging its chaotically Looney Tunes-level of violence with some genuinely interesting storytelling turns, and its use of Brad Pitt’s comedic sensibilities to their utmost.
A few scenes evince a unique aesthetic for this type of film, and the lead actresses give stand-out performances.
It’s a story about a storyteller who is creating a story about how mythology (stories) are created. It is also an acute reminder of how easy it can be to hide secrets in plain sight.
Filmmaker Danny Cohen gave Barnett a Dictaphone and asked her to talk into it as she traversed the world on tours over three years, in support of her celebrated second album in 2018, and onward.
Chicago audiences love the Music Box and Film Center, so, naturally, I wanted to ensure that MUBI GO is as exciting a premise for them as it is for viewers.
It’s unlikely that someone’s going to see The Reef: Stalked and go out and murder a bunch of sharks. But the fact that we tend to see nature as victimizing us rather than the other way around does have an effect on the present and future of the planet.
Perea’s career is almost certainly going to hit another echelon now that Nope has hit cinemas. For the time being, though, he just hopes that audiences are thoroughly entertained by Peele’s dynamic storytelling and filmmaking.
Wrong Place is a convoluted mess that struggles to connect disjunctive plot points as they dawdle their way to the movie’s inevitable conclusion.
Nope is still too fun and has too many effective sequences to be considered a disappointment. It’s just not as resoundingly impressive as we’ve come to expect from Peele.
It succeeds in highlighting this tenet of their work, making it a valuable introduction not just to their unique lives and groundbreaking studies, but also to their own singular artistry.