Based on Priscilla Presley’s memoir, Elvis and Me, Priscilla isolates a portion of the Elvis mythology, reframing it from the perspective of his wife.
As the Chicago International Children’s Film Festival celebrates its 40th year, festival program director Deidre Searcy wants people to know it offers something for everyone.
The Holdovers blends feel-good and sorrowful themes thoughtfully to make a rewatchable flick. But the next watch will likely be over the holidays.
There’s enough backstory here for, say, a dozen movies (wink).
Fellow Travelers (adapted from Thomas Mallon’s novel of the same name) chronicles a decades-long gay love story set deep in the heart of McCarthy-era Washington, D.C.
Justine Triet is challenging us, in a suspenseful frenzy, by interrogating what we believe “truth” really means.
Scorcese studies evil’s facade and then peeks inside. To no one’s surprise, it’s an ugly truth.
The film is ultimately a mixed bag of social commentary that mistakes being cranky for being compelling.
If rats can’t get fair treatment in the court of public opinion, they can at least get justice from the next best judicial institutions: Hollywood movie studios, where people treat each other right.
Chicago playwright Brett Neveu’s 2002 play Eric LaRue is one of the most haunting and bleak experiences I’ve had in the theater, with final moments that have never left my memory. The film version (directed by Michael Shannon, Neveu’s fellow ensemble member of A Red Orchid Theatre, in his feature directing debut) keeps that same […]
She Came to Me chugs for 102 minutes, but Rebecca Miller’s rom-com strains to pick up steam.
Vera Drew has described the film as a coming-of-age story with parallels to her own, and while the people’s Joker needed to escape Smallville, Drew sought refuge in Chicago.
Nothing about the sequel is anywhere near as compelling, surprising, or even as mildly interesting as the pups’ first movie, which, let’s be honest, already wasn’t Citizen Kane.
Though fans of The Boys may enjoy this new perspective in a familiar universe, Gen V is too hesitant to find an identity outside of the formula that made The Boys so popular.
Though it pales in comparison to its parent films, The Continental maintains the classic John Wick house style and is sure to sate the appetites of franchise devotees.