The 28th Black Harvest Film Festival, hosted at the Gene Siskel Film Center, invites Chicago to experience a rich selection of films devoted to amplifying Black storytelling and promoting the careers of young filmmakers.
It’s oddly fitting that the touring, Los Angeles-based Eyeworks Festival of Experimental Animation went on hiatus during the dog days of the pandemic.
Halloween Ends is notable mainly for its cockamamie plot and its reverence for the original.
The Banshees of Inisherin is an elegy to friendship.
Rarely do we feel like we are experiencing the thing itself, but rather a setup for a different, later event, which will probably not be the real thing either.
Much like its purported star—heartthrob Harry Styles—British director Michael Grandage’s adaptation of Bethan Roberts’s 2012 novel is wantedly handsome and genially bland.
It’s a fine enough movie to fritter away a couple hours with, but don’t expect it to stick around in your consciousness for too long.
J.C. Cricket’s Sex Demon is not for the faint of heart—it’s for the depraved of mind, and Chicago is blessed to have it showing one night only at the Music Box on October 26.
Till is a film that covers important events, but doesn’t quite feel like it adds enough to the story to be an important film.
Decision to Leave is a subtle masterpiece from Park Chan-wook, braiding a heart-stirring tenderness into a murderous thriller.
Despite Ruben Östlund’s shortcomings and imprudent tropes, Triangle of Sadness is harrowing, consistently funny, and packed with surprises.
Pride Film Fest showcases LGBTQ+ shorts and features a diverse mix of riveting stories told across the LGBTQ+ spectrum.
Local Band is a feature film about a fictional band that, like their real-life Chicago counterparts, still give it their all despite feeling doomed to fall through the cracks.
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.