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Christopher Walken

‘Jersey Boys’ Can’t Escape Its Broadway Roots

HollywoodChicago.com Oscarman rating: 2.5/5.0
Rating: 2.5/5.0

CHICAGO – Director Clint Eastwood’s “Jersey Boys” suffers from the same inherent fundamental flaw in all of these so-called Jukebox Musicals – their stories are mere afterthoughts. You come for the songs, and suffer through the story. They have the narrative equivalent of chicken wire and chewing gum, patchwork filler to tie the songs together.

‘Stand Up Guys’ Worst Waste of Talent Since Booth Shot Lincoln

HollywoodChicago.com Oscarman rating: 1.0/5.0
Rating: 1.0/5.0

CHICAGO – Three actors, with three Oscars and an astounding 14 nominations between them, obviously have lost the ability to read a script late in their careers. That or the producers had dirt on them. There is no other reason why Al Pacino, Alan Arkin and Christopher Walken would be the “Stand Up Guys.”

‘A Late Quartet’ is Passionate Symphony of the Human Condition

HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – Those who know the language of music at its highest levels seemingly know the secret of the world. But as “A Late Quartet” demonstrates, they also possess the same human foibles as the rest of us. Philip Seymour Hoffman, Catherine Keener and Christopher Walken portray maestros at an emotional crossroads.

Colin Farrell, Sam Rockwell in Fun ‘Seven Psychopaths’

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – Is there room for vengeance if you believe in Heaven and Hell? How do we suppress our need for moral and even physical justice if we believe that violence leads to damnation? Is there a chance to…oh, never mind. Let’s just blow someone’s brains out. That’s essentially how “Seven Psychopaths,” the clever new action comedy from Martin McDonagh (“In Bruges”) works in that it has a number of interesting ideas that aren’t fully developed even if the movie is fun enough to be considered a sin.

Todd Solondz’s ‘Dark Horse’ Brilliantly Deconstructs Man-Child Pathology

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – Todd Solondz has always been prone to making films about people that most filmmakers wouldn’t touch with a ten-foot pole. His characters crave love but are the opposite of lovable. They inspire the sort of laughter spawned not from amusement but from discomfort, sadness, and occasionally, recognition. It’s refreshing to see characters utterly devoid of pre-packaged, studio-approved appeal.

‘Kill the Irishman’ Offers History as Explosions

HollywoodChicago.com Oscarman rating: 2.0/5.0
Rating: 2.0/5.0

CHICAGO – The amalgamation of big time unions and organized crime in post-WW2 industrial America is as enlightening as any struggle for power. Cleveland, Ohio, in the 1950s thru the ‘70s was both on the waterfront and had the East Coast influence of New York City’s most notorious crime families. That history is wasted in “Kill the Irishman.”

Despite Rollercoaster Energy, ‘Mamma Mia!’ Bellows Beloved ABBA Vocals With Feel-Good Appeal

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – While it’d be embellishment to say you’d have the time of your life at the new musical film “Mamma Mia!,” any dancing queen or an admirer of seeing Pierce Brosnan croon a tune instead of trigger James Bond destruction can at least have some of the time of your 108 minutes.

‘Balls of Fury’: Thank You; Try Again

Rating: 2/5CHICAGO – Thank you. Try again. When your sell is entirely dependent on being utterly hi-lar-ious, you’d better trigger unruly body spasms.

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  • Knick, The

    CHICAGO – Cinemax’s ominous new series “The Knick” is a hospital drama that’s very much in the voice of its director, Steven Soderbergh. Set in New York City at the turn of the 20th century, the series presents the medical world as it inches closer and closer to modernity, while making contemporary parallels to the desperate hustle by surgery room clients and their doctors alike regarding treatment of the human body. What has changed in the politics of medicine? What hasn’t?

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