Now in its third phase, Marvel continues to take C-level and D-list comic book characters and titles, breath cinematic life into them with top-notch talent in front of and behind the camera, and turn the obscure in newly minted household names and merchandising windfalls. "Doctor Strange" continues the studio's blueprint of Midas Touch success while jubilantly kicking down the door for magic and mysticism in the MCU. You may not know him yet, but Stephen Strange is a major player and huge addition to an already-loaded heroic panorama.
Read More52nd Chicago International Film Festival U.S. Indies entry and presentation
“Middle Man” blends an acidic edge with showy panache that bleeds from every character, large and small. Credit the devious fun of Crowley for the snappy dialogue that pops from each character. The comedy is clever instead of coarse while maintaining its darkness. Nearly every speaking part of this colorful cast of funhouse mirrors nails a zinger or two that fits right into that line of taste.
Read More“In a Valley of Violence” lives up to the promised bloodshed suggested by its title and spins its own brand of tension and, best of all, a frank and bone-dry humor that blows into the whole film. You will either love the comedic edge or find it a distraction from the revenge. There is an undeniable panache to the absurdity that makes the film an absolute hoot. This is the giddy Western Quentin Tarantino wishes he could make while he wastes six hours of our time and stretched disbelief.
Read MoreAll eyes are on the hotly anticipated live-action "re-imagining" of Walt Disney Pictures' enormously successful "Beauty and the Beast" from 1991. That March 2017 sure-fire blockbuster will garner tremendous attention in its attempt to honor the animated Best Picture Oscar nominee and double Academy Award winner. In the meantime, the fairy tale's home country of France throws down its own gauntlet to give Gabrielle-Suzanne Barbot de Villeneuve's 1740 original story and Jeanne-Marie Leprince de Beaumont's abridged 1756 standard the grand, epic big-screen treatment it warrants. Let's just say the French sure know what they are doing.
Read MoreThere 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."
Read MoreTongues are inserted into cheeks at a rapid-fire pace in “Bridget Jones’s Baby. The euphemisms, drollery, puns, wild physical gags, and self-deprecating farce originate from all directions and target anyone with eyes and a smile. The writing is harebrained in the most smart and witty ways possible and, trust me, that is a compliment. Better yet, when it needs to, the movie turns off the jokes and hits you with the necessary heart to make all the silly stuff enormously endearing.
Read MoreCelebrated director Clint Eastwood is no stranger to biopics based on historical figures, making him an ardent practitioner of hero worship. Because the 86-year-old, four-time Oscar winner classically directs with a soft hand and a comely tone, his brand of adoration consistently lands on the veneration half of the definition. Combining forces for the first time with another hero worship professional in All-American leading man Tom Hanks on “Sully,” you have double the cinematic potential of cherished devotion.
Read MoreOne could say melodramas take preposterous human mistakes and play them for dramatic effect. They challenge the audience to interpret how you would act defiantly or morally differently in the same situation. These films do so while still compelling you watch in hope for any semblance of a happy ending. To understand “The Light Between Oceans” is to understand melodrama. The themes of melodramatic journeys are meant to be arduous. In the medium of film, the clinchers that aid in the ability to embrace and appreciate a melodrama are its tone and the acting performances. “The Light Between Oceans” flourishes to accomplish both benchmarks.
Read MoreLeave it to renowned filmmaker Werner Herzog to hit you with a buffet's worth of food for thought. His musings on the origins of the internet and its growing ramifications, both positive and negative, on this modern world are sternly served in his new documentary "Lo and Behold, Reveries of the Connected World." Scintillating one minute and sobering the next, this film is required viewing for anyone who has seen how far we've come with connectivity and wonders fearfully just how high this Icarus of technology can fly towards the Sun before it melts and crashes back to Earth.
Read MoreYou 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.
Read MoreBlooming out of a cradle of artistic and narrative perseverance, it is clear a philosophy of great care and pleasant patience was given to “Pete’s Dragon” by Lowery and company. The film enhances the magical charm audiences remember from the original with newly gained maturity to operate as a loving family drama and touching adventure of friendship. It is a welcome and calming addition of heft painted by that superb idyllic tone. The wonderment never overplays its moments.
Read MoreIn the words of professional wrestling Hall of Famer Razor Ramon, “Say hello to the bad guy!” Warner Bros. and their DC Entertainment wing need a rebound from the maligned “Batman v. Superman: Dawn of Justice” and are banking getting you to cheer for villains instead of heroes with “Suicide Squad.” Packed with a head-turning cast of wild cards and very little shame for spectacle, this film aims to combine the delicious referential villainy you loved in “Deadpool” with the anti-hero team dynamics of “Guardians of the Galaxy.”
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