The new foreign-backed "Clouds of Sils Maria" is the latest film to challenge the parallels of a performer channeling what may or not be a version of themselves. Written and directed by Olivier Assayas, "Clouds of Sils Maria" premiered in competition at last year's Cannes Film Festival and worked the film festival circuit last winter, including stops in Toronto, New York, and the 50th Chicago International Film Festival. The film finally makes its limited U.S. theatrical release on April 10th. Honed down to a serious scale far smaller and more intimate than the likes of "Notting Hill," the cinematic star in the center of this solar system microcosm is Academy Award winner Juliette Binoche. As a gracefully aging actress of peripheral prominence playing a fictional one of the same sort in a different situation, we are taken inside a phenomenal character study. "Clouds of Sils Maria" is a fascinating actor's showcase that deserves and earns your attention for the behind-the-scenes tribulations of acting and the livelihood attached to that career.

MOVIE REVIEW: The Salvation

American Westerns have become a lost art and a dying breed. So much has been done that it's hard to find a fresh take. If you have felt that loss and need a jolt, an extremely taut and good homage to the American Western has emerged in "The Salvation," playing now in limited release and Video on Demand, from Danish filmmaker Kristian Levring. Headlined by Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, and Jonathan Pryce, the film moved the needle a bit during the 2014 film festival circuit, including a pair of screenings at the 50th Chicago International Film Festival last October (where yours truly caught the ride).

MOVIE REVIEW: The Last Five Years

When a strikingly and surprisingly good movie musical does comes around and impress, the only thing to do is shout and sing its praises from the proverbial mountaintops, just as the main characters would have the proclivity to do. Well, we've got one right here, so cover your ears, and hear me roar! "The Last Five Years," the adaptation of Jason Robert Brown's Off-Broadway hit, is a new movie musical that makes this website's handful list of true gems and delightful keepers. This is the real film the date movie crowd should be seeking out this Valentine's Day weekend instead of the whips-and-chains-handcuffs of some certain monochromatic thriller. This film simply soars in every way!

MOVIE REVIEW: Two Days, One Night

With Cotillard commanding the screen and using none of her looks and star power, the Dardennes have created an intentionally minimalistic film that packs a punch without the need for gaudy theatrics. If this was a Hollywood film, this storyline of encounters would be backed by over-acted reactions, flashy star cameos, unrealistic results, a ticking clock like a "24" episode, and a heaping pile "Norma Rae"-level workplace politics and finger-pointing backed by some sweeping musical score that crescendos to a predictable and manufactured happy ending. A Hollywood film would beat those themes of confidence, sympathy, and pity to death with syrup and imposed drama. What started as realistic and approachable would be rendered melodramatic and fake. Because of the focused simplicity and plainness of this story and the artistic intent of the Dardenne brothers, none of those mistakes of over-indulgence occur.

MOVIE REVIEW: Wild

When I call "Wild" a "chick flick" of the highest order, I don't mean the tropes, cliches, and stereotypes. I mean the label from the empowerment and importance standpoint. "Wild" is the positive kind of "chick flick" that isn't made enough and is drowned out by other crappier efforts targeted at women. With its true story tale, "Wild" is a strong and substantial film for female audiences. I do not say this next statement lightly. "Wild" is truly a film that every woman should see and one they should put on a more preferred pedestal for ideals compared to the "chick flicks" that ruin women's good sense. Better yet, it's an accessible film for all movie-going clientele, not just the ladies.

ADVANCE MOVIE REVIEW: The Imitation Game

This year, the annual Weinstein push will be given to "The Imitation Game." The film checks all of those boxes of "Oscar bait" qualities. You have a war-time period story of great significance, a central biographical figure, and a top-notch cast of revered pedigree. Most important of all, "The Imitation Game" checks the box about being worthy in the first place. The film is tailor-made for awards season and borders on greatness. "The Imitation Game" is better than "The King's Speech" from three years ago and deserves every single over-indulgent and self-glorifying piece of shameless Oscar campaigning that it is going to put out there. This one is worth the hype, folks.

MOVIE REVIEW: Birdman

When Keaton's perfection is combined with the film's bracing, topical, and strong social commentary on Hollywood, Broadway, acting, fame, and celebrity for this different modern world, "Birdman" becomes even larger of an achievement for Mexican director and Academy Award nominee Alejandro Gonzalez Inarritu. Subtitled "The Unexpected Virtue of Ignorance," this new film will earn a high place on many year-end lists for one of the year's best.

MOVIE REVIEW: St. Vincent

Bill Murray, at his age and at this end of his career reinvention as a serious actor over the last two decades, has reached the point where he is unarguably great in everything he touches, right down to silly cameos and web videos. In his new film, “St. Vincent” his powers of talent and charm have merged and reached a new peak.

CAPSULE REVIEWS: My slate from the 50th Chicago International Film Festival

In accordance with the rules placed on me with my press credentials, I am not allowed to publish and post full reviews of the films I saw until their official U.S. distribution and release date. For some movies, that's happening now with the festival itself and for others that holding stretches into 2015. I would love to lay out everything, but I can't and you have to be patient. What I am allowed put out are capsule reviews: brief takes and short critiques that offer a taste of the full meal. Here are capsules for all of the films I attended from the 50th anniversary schedule. Each are listed with their anticipatory U.S. release dates for when you will find my review.

COLUMN: Award recipients named for the 50th Chicago International Film Festival

In its banner 50th anniversary year, the Chicago International Film Festival welcomed another deep field of cinematic competition spanning feature films, local works, animated efforts, international selections, numerous documentary films, and vast number of short films. On Friday, October 17th, the festival held its annual awards banquet. The ceremony and festivities were hosted by Fox News Chicago entertainment reporter and Chicago Sun-Times columnist Bill Zwecker. Awards were given out in the following categories: International Feature Film Competition, New Directors Competition, Roger Ebert Award, Chicago Award, Q-Hugo Award, DocuFest and Shorts

COLUMN: 50th Chicago International Film Festival special events

Since starting in 1965, the Chicago International Film Festival has operated as the country's oldest competitive international film festival. Following "Miss Julie" and the Opening Night Gala, two films will be featured as the Festival Centerpieces. Both films will screened on Wednesday, October 15th. Over the course of the two and a half weeks that follow, over 300 more films and events will take place primarily at the AMC River East 21 theater on 322 East Illinois Street. Best of all, this whole extravaganza is open to the public. For this watershed anniversary, several special presentations are planned.

ADVANCE MOVIE REVIEW: Miss Julie

Two-time Academy Award-nominee Liv Ullmann brought her new film, “Miss Julie,” to serve as the opening night film of the 50th Chicago International Film Festival on Thursday, October 9th. “Miss Julie” is based on the 1888 August Strindberg play of the same name and stars two-time Oscar nominee and rising star Jessica Chastain (“Zero Dark Thirty”), Golden Globe winner Colin Farrell (“In Bruges”), and fellow two-time Oscar nominee Samantha Morton (“Minority Report”). Both Ullmann and Farrell attended the Opening Night Gala in Chicago.

EVERY MOVIE HAS A LESSON

by Don Shanahan

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