There are plenty of film podcasts out there that focus exclusively on the plot or style. Neither Mallory nor I is an aspiring filmmaker or film historian; we’re just two friends talking.
Why did it have to be snakes? I don’t have especially strong feelings about them, and yet in the last few years I’ve accidentally become an expert on the deranged world of snakesploitation horror cinema.
Adam Carston created Windy City Ballyhoo on Facebook, Instagram, and Twitter. It’s a repository of Chicago movie ads, photographs, and film reviews from the last century.
As soon as the trio turn up, Hocus Pocus 2 immediately becomes compelling and enjoyable.
Had the movie embraced its creepier glimmers, Lyle, Lyle, Crocodile may have been an appropriately horrific October release. Instead, it bears only the suggestion of such a thing and never finds distinction.
Any thoughtful or true exploration of mental illness and how it manifests is cast aside in favor of the increasingly gory encounters that torment Rose.
Tár is mesmerizing. Cate Blanchett’s masterful performance captivates the screen for nearly three hours as the principal character precipitously heads toward her downfall or strings together her magnum opus.
Director, editor, and producer Maria Breaux taps into the bratty ferocity and cries for revolution of the 1990s riot grrrl movement with her crowdfunded feature film Vulveeta, premiering as part of the 40th iteration of Reeling: The Chicago LGBTQ+ International Film Festival.
Sierra Pettengill’s disquieting documentary uses only archival footage shot by the military and clips from period news coverage to explore this uncanny episode in the country’s history.
Bros is a genuinely funny movie with nuanced emotional heft.
Syms’s work—which ranges from performance art to gallery installations to this more straightforward narrative endeavor—is compelled by a preternaturally propulsive energy that sustains its momentum even as she explores various forms of expression.
I sat down with [Billy] Eichner and costar Luke Macfarlane to discuss the joy of the theatrical experience, bringing the film from idea to reality, and the exuberant messiness of loving both complicated people and communities.
Marilyn Monroe is the American public’s white whale, that which we seek to dominate and claim as our own.
Is it a good message to send young girls that they can be bad and do what they want for a little while but when the rubber hits the road they must toe the line?
The saying goes that all press is good press, but how true can that be if alleged drama surrounding a film overshadows the merits of the film itself?