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.
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.