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.
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.
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.
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.