The discolored and dingy tile grout at the bottom of a swimming pool and the imagery effect of rippling water seen under the surface bending the images above perspective starkly symbolize the many warped dimensions of Liquid Truth. The truth in the title is as slippery as the water in director Caroline Jabor’s simmering social commentary. The film may be foreign from Brazil, but it typifies all too many social media ills that would explode in a parallel fashion here in this country.
Read MoreSimon Curtis’ Goodbye Christopher Robin is a cinematic quilt collecting experiences from many different narrative themes. A few patches carry the pattern of biographical films, chronicling life’s highlights and lowlights within a well-to-do family and their hired caretaker. Others carry the created images of a writer’s world-building legend. The threads binding those quilt pieces are a woven blend of the barbed wire of post-traumatic stress disorder and the smoothly silken cords of childhood whimsy. The experience of snuggling up with the Goodbye Christopher Robin blanket of testimony and memories is as affectingly dramatic as it is comfortably warm.
Read MoreThe character of James in Message Received, played by David Chin, is a married man whose extramarital activities has been discovered by a mystery person. His actions that follow in the taut 11-minute short demonstrate how desperation can make that downward cycle even more steep and slippery. Things get worse instead of better and he has no one to blame but himself.
Read MoreChasing the Blues is a dark comedy through and through. Director Scott Smith and his co-writer Kevin Guifoile crafted an engaging yarn of hijinks and hilarity. Their narrative might feel like something out of a Coen brothers rough draft, but this film sides with a far less gonzo approach that suits its shrewder stature. Like the musical genre at its core, patient storytelling is at the forefront. Could it use a stiffer punch or two? Maybe, but then it wouldn’t be the blue and not everything has to be shock cinema. Waiting for the payoff in this tidy 77-minute film is an easy and worthwhile short hike to climb.
Read MoreThe banter and B.S. traded back and forth between Alex Murphy and Chris Walley is as hysterical as it is pleasurably uncouth. It’s an absolute wonder to realize that The Young Offenders is mutually their first on-camera film roles. Alex and Chris’s chemistry through sarcasm and shared shenanigans feels and looks effortless. Flabbergasted energy blasts out of both of them and it’s a hoot to watch. Seeing the two young actors operate these over-the-top losers with reckless abandon while still injecting a little coming-of-age heart for good measure, makes the film highly entertaining.
Read MoreI joined Jeff York recently as his guest for a special 20th-anniversary 35mm screening of 1997's Oscar-winning L.A. Confidential at the storied Music Box Theatre as part of the Noir City Chicago Festival. As an added treat, author James Ellroy was in the house to kick things off with an expletive-laden bang. After the screening, he and I hunkered down in Frio Gelato near the theatre to share our admiration and examination of Curtis Hanson's masterpiece.
Read MoreWeinstein writes and directs what constitutes as a love letter to a culture, a community, and to the essence of fatherhood. The lead’s personal plight is a compelling one done with grace and admiration for attaching the right layer of empathy. It’s not overly heavy in any particular way, but Menashe carries enough honesty, enough will, and enough power to break any father’s heart. There’s strength to be found in that.
Read MoreWelcome to the polarizing gamut of engagement, acceptance, and disquiet of A Ghost Story. This is a wholly original film that takes preparation, patience, absorption, and reflection that some, or even many, may not be ready for. Presented in the rounded and claustrophobic corners of a centered 1.33:1 aspect ratio, it is safe to say, you will see nothing like this all year and maybe several more.
Read MoreOver 40 feature-length and short films, many of which making their Chicago premieres, graced the main screen of the Music Box Theatre this past week-and-change as part of the fifth annual Chicago Critics Film Festival. It was an honor and pleasure to be be granted press credentials to cover the event. Here are my collected capsule reviews of the feature-length films.
Read More2017 Chicago Irish Film Festival: Short Program II
Kids not only say the darndest things, but do the darndest things too. “The Debt” is a highly charming short film illustrating a child’s view of courtship and love. The romantic ways of the world are foreign to the young, so they make up their own ideas. Engaging and well-acted by youth performers, this short film will charm you to pieces.
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Six very different people are stuck in an elevator, or “lift” if you will, as it is called across the Atlantic in Dublin. One of the occupants just beat lumps into a security guard and the rest are stuck fearing for their safety. This isn’t the most ideal place to find comedy, yet “Lift” fires a few quips at the expense of this predicament.
Read MoreIn front of and behind the camera, you will find creative people that deftly understand and properly tap into the spirit and flavor of the classic genres and eras they are blending. Breathing jazzy life into a Hollywood musical set in the present day of Priuses and iPhones, Damien Chazelle’s follow-up to “Whiplash” is a modern cinematic masterpiece. It is the kind of film where you will remember where you were when you first saw it. You will not find a more jubilant, romanticized, or flat-out entertaining film this year.
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