GUEST CRITIC #19: Office Christmas Party

Say hello to Mr. and Mrs. Jake and Kimberly Narens! Kim is a former co-worker of mine from back in the day. She was the art teacher and I was a fourth grade teacher at the Lloyd Bond campus of Chicago International Charter Schools during its inaugural school year in 2009-2010. We have both moved on to other jobs since then and also become first-time parents. While I am still in Chicago, she and her husband now call the sultry heat of Chandler, Arizona home. I'm guessing they don't miss shoveling snow.

MOVIE REVIEW: Billy Lynn's Long Halftime Walk

There are commendable allegories bottled somewhere inside both Ben Fountain’s 2012 award-winning novel and Ang Lee’s adaptation of “Billy Lynn’s Long Halftime Walk.” However, knowing what we know now about “paid patriotism” since 2015, those morals, and any patriotic pride the fictional story’s grand setting can muster, have lost too much of their high ground to inspire. It is difficult to invest in a reflective film wrestling with disillusionment when too many current audiences already enter with the same feelings about the War on Terror. Disillusionment of disillusionment is a tough sell if the goal is the change minds.

MOVIE REVIEW: Hacksaw Ridge

It should come as no surprise to anyone who has followed the career path of Mel Gibson, either in front or behind the camera, that "Hacksaw Ridge" rings up the descriptor of "excessive" more than any film to date this year. "Hacksaw Ridge" is a war film of excessive violence operatically woven into a biopic screen story of excessive hero worship based on a true story of World War II Congressional Medal of Honor winner Desmond Doss. Both excesses are laid on very thick. Only half of one of them are worth it.

MOVIE REVIEW: Certain Women

Spareness and simplicity can either be a fountain of nuance and austerity or it can be a vacuum of plainness and lethargy. Filmmaker Kelly Reichardt is a celebrated torchbearer of the minimalist film movement and her newest feature, “Certain Women,” boast three strong female leads in Laura Dern, Michelle Williams, and Kristen Stewart. Despite that base of acting forte and the patronage of Todd Haynes as an executive producer, the void outweighs any wellspring.

MOVIE REVIEW: Beneath Disheveled Stars

Kevin Baggott’s darkly comedic film “Beneath Disheveled Stars" was a favorite of the Cork Indie Film Festival and Brooklyn Underground Film Festival. The film recently opened the 2nd annual Irish American Movie Hooley at the Gene Siskel Film Center in downtown Chicago. As a self-made film from a self-made man, there are qualities to appreciate from this quixotic wild goose choose.

MOVIE REVIEW: The Dressmaker

The quirk of the dark comedy genre comes from embracing absurdity and running with it. Small wrinkles of character traits and situational story elements get twisted for wry laughs and wicked surprises. One of Australia’s top films of 2015, “The Dressmaker” mixes high style in a setting of rubbish and romance with a cursed sense of revenge. Not all of the fits and starts of many, many dalliances of the film end up working, but the presence of Oscar winner Kate Winslet demands attention.

MOVIE REVIEW: Snowden

There was a time Oliver Stone took risks and punched harder with his filmmaking style and history-challenging investigation efforts through compelling dramatization. The 70-year-old self-described dramatist used to stir provocative emotions and drop jaws with grand revelations. Those days feel like a distant memory with "Snowden."

MOVIE REVIEW: War Dogs

You know the "Goodfellas" tropes: excessive narration, ordinary people getting rich or powerful doing extraordinary and often illegal activities played by colorful actors or actresses, dramatic license spinning a likely lesser true story, a kicking period soundtrack, pervasive drug use, freeze-frame shots to stamp moments, and a tidy epilogue of comeuppance. Imitation may be the sincerest form of flattery, but it is also lazily standing on the shoulders of giants. That’s the impact and existence of Todd Phillips’s “War Dogs” in a gun… err… nutshell.

MOVIE REVIEW: Jason Bourne

Here’s one word this writer never thought he would use to describe a Paul Greengrass-directed Jason Bourne film starring Matt Damon: FORMULAIC. After a tremendously successful trilogy (and not-so-successful spin-off) that had the right ending nine years ago, Greengrass and Damon were coaxed back into another cat-and-mouse spy game. Its rote construction and stakes that always feel like an arm-length away from stronger impact, “Jason Bourne” may be questionable enough to make us wonder if we’ve been seeing the same film four times now.

MOVIE REVIEW: Equals

Young writer-director Drake Doremus has carved out a reputable niche in the romantic drama department. Many of the Sundance darling's films feature a prominent theme of longing love. That motif is on full display and meshed with mindful science fiction in his new film "Equals." Starring Nicholas Hoult and Kristen Stewart and backed by Ridley Scott, the film is making a limited theatrical run alongside a full release on VOD marketplaces. Mindful doesn’t exactly equal poignancy on the scale of desired response.

MOVIE REVIEW: Independence Day: Resurgence

The advent of computer-generated visual effects in the 1990s raised the scope of what and how much disaster movies could destroy on screen. No better film encapsulated that new era than the raucous and wildly successful “Independence Day” from 1996 with aliens laying waste to world monuments and making a star out of Will Smith. In the twenty years since, the evolution of CGI filmmaking of bigger and more opulent destruction has elevated the craft to the moniker of “disaster porn.” Returning with the grand ambitious sequel “Independence Day: Resurgence,” the former standard-bearer enters a present day where audiences have been desensitized by asteroids, comets, natural disasters, monsters, Transformers, and superheroes dozens of times over. What was awesome the first time isn’t jaw-dropping anymore.

MOVIE REVIEW: X-Men: Apocalypse

After two movies of turn-back-the-clock course correction, it is fair to rank the "X-Men" series right next to "The Fast and Furious" as a film franchise that was derailed, left for dead, and since rescued with a filmmaking resurgence. "X-Men: First Class" introduced new youthful vigor and was followed by the return of original franchise steward Bryan Singer for the slate-wiping "X-Men: Days of Future Past." The latter film grossed more than double any of its franchise predecessors and enabled the series to pass the torch from the seniors to the juniors. Flush with success, good graces, and a new lease on life, "X-Men: Apocalypse" arrives with the goal to top everything that's been done in 20th Century Fox's offshoot shingle of a Marvel universe.

EVERY MOVIE HAS A LESSON

by Don Shanahan

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