Elegance Bratton’s autobiographical story The Inspection is one of learning to accept love on one’s own terms.
With The Last Manhunt, the epic story of Willie Boy the Desert Runner reclaims the narrative of a Native hero long portrayed by white men as a bloodthirsty child kidnapper.
The People We Hate at the Wedding, based on the book of the same name, tells the story of a blended family whose lack of communication leads to a whole big mess on the eldest daughter’s wedding day.
Will Tracy and Seth Reiss[‘s] time in Chicago helped inspire their view of fine dining, and several experiences they had in and around Chicago are actually reflected in The Menu.
The People Issue’s class of 2022 showcases folks from many walks of life. As subjects, their common thread is an incessant need to create welcoming spaces for other individuals like them, enact change, further their craft, do good, and in one instance, amplify the representation of stoner lesbians in graphic novels. Read profiles of 21 people by and as told to 15 Chicago Reader writers.
A thoughtful and mature exploration of communal grief in the Marvel Cinematic Universe, Black Panther: Wakanda Forever is a fitting tribute to the legacy of Chadwick Boseman.
The film’s playful parody of the genre is delightfully in tune with the legendary musician’s own work.
Aftersun, as a product, is meant to soothe. One uses it after a sunburn to avoid peeling. Aftersun, as a film, doesn’t have the same intention.
Reportedly based on director James Gray’s own childhood, the film traffics in broad-stroke ideas about racism, anti-Semitism, and class struggle.
A dour, paint-by-numbers contemplation on trauma and dislocation unfolds, and we see two actors capable of tremendous expression stuck in a place that won’t allow it.
Enola Holmes is back, and if it ain’t broke . . . don’t fix it!
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.