The Festival au Cinéma will take place from August 26 to 28 at Haven’s resident home, the Den Theatre. The festival is three days and three nights, featuring a full schedule of events such as cocktail mixers, a boozy brunch, and an award ceremony on Saturday, August 27.
At Destroy Your Art, taking place this year at the Music Box Theatre on Thursday, August 25, at 7 PM, the four invited filmmakers will each screen a film they made specifically for the event; after that, they’ll burn the flash drive on which it’s contained in front of the audience using a blowtorch.
She-Hulk is the kind of smart, funny production that proves that like Ms. Marvel, Thor: Ragnarok, or Guardians of the Galaxy, Marvel is at its best when it combines self-conscious humor with great storytelling.
Ultimately, Day Shift feels like it has more in common with a video game than a movie.
Wanuri Kahiu’s Look Both Ways in other contexts might simply be a fairly inoffensive feel-good romance riff. As it is, though, the film’s lack of courage is painful and unforgivable.
Produced by Beti Films, Any Given Day follows the story of three Chicagoans struggling to succeed despite mental health challenges.
That’s what makes the Pioneers of Queer Cinema series at Gene Siskel Film Center this month a true event “for the culture”: it’s a broad survey of movies made by queers, for queers that offers at least one tasty morsel for every kind of Letterboxd gay.
It’s been a few years since Noir City: Chicago emerged from dark alleyways celebrating film noir, movies that embody the seedier side of everyday life. The pandemic paused the festival . . . but this year it’s back at the Music Box Theatre.
Film historian, author, and Film Noir Foundation treasurer Alan Rode hosts Noir City: Chicago August 29 through September 1 at the Music Box Theatre.
It’s a small story whose roots and branches radiate in all directions.
I’m sure Bodies Bodies Bodies will have many enthusiastic fans. I’m just at the stage in life where I don’t take much pleasure in watching the kids hurt themselves.
Bullet Train’s biggest feat is its own understanding of merging its chaotically Looney Tunes-level of violence with some genuinely interesting storytelling turns, and its use of Brad Pitt’s comedic sensibilities to their utmost.
A few scenes evince a unique aesthetic for this type of film, and the lead actresses give stand-out performances.
It’s a story about a storyteller who is creating a story about how mythology (stories) are created. It is also an acute reminder of how easy it can be to hide secrets in plain sight.
Filmmaker Danny Cohen gave Barnett a Dictaphone and asked her to talk into it as she traversed the world on tours over three years, in support of her celebrated second album in 2018, and onward.