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Jessica Alba

More Risqué ‘Sin City: A Dame to Kill For’ Doesn’t Dare to Trailblaze Again

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

CHICAGO – Sex sells, sure, but the film-noir sequel “Sin City: A Dame to Kill For” makes you feel dirty if you’re left thinking that’s enough.

Nine years since the visually groundbreaking, avant-garde hit “Sin City,” Frank Miller and Robert Rodriguez’s biggest mistake with their next incarnation is replacing the first film’s bloodthirsty impact with too much nudity.

‘Sin City: A Dame to Kill For’ Breaks No New Ground

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

CHICAGO – When the first “Sin City” (2005) was released – based on the graphic novels by Frank Miller – the conversion of a film to a noir-like comic book atmosphere was pioneering. The sequel “Sin City: A Dame to Kill For” has heightened that look, but this time has much less to say.

Hilarious Cast Elevates Mediocre ‘A.C.O.D.’

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

CHICAGO – The incredibly talented men and women who make up the cast of “A.C.O.D.” make the relative failure of its script easier to bear. Just hearing brilliant actors like Richard Jenkins and Catherine O’Hara at each other’s throats or watching remarkably likable stars like Adam Scott and Mary Elizabeth Winstead figure out their relationship has enough charm to get one from lights down to credits roll.

Robert De Niro, Ben Stiller Seem Bored in Tepid ‘Little Fockers’

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

CHICAGO – The Law of Diminishing Returns is alive and well in the “Meet the Parents” Franchise, as the third film in the series, “Little Fockers,” has a lazy, we-did-it-for-the-money veneer. They got the gang back together, Robert De Niro, Ben Stiller, Owen Wilson, Barbra Streisand and the rest, but with few exceptions they all seem bored with it all.

Robert Rodriguez’s ‘Machete’ Pushes Excess Past Breaking Point

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

CHICAGO – Not everything should be filet mignon. Sometimes you just want a greasy, delicious cheeseburger. Now imagine eating ten of those cheeseburgers in a row. Robert Rodriguez’s “Machete” starts as a wonderful gore-fest but falls victim to its creator’s inability to realize he doesn’t need to answer to every violent vision he can dream up. The film is proof that even extremely over-the-top films can be monotonous in that their one tone is “ARGH!”

‘The Killer Inside Me’ a Study in Sociopathic Blandness

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

CHICAGO – Michael Winterbottom’s ’50s-era neo-noir “The Killer Inside Me” creeps up on you in the creepiest possible way. Just as I was ready to write it off, I ended up caving in to its charms, or lack thereof. This film often seems as utterly cuckoo as its central antihero, and that’s what makes it so darn mesmerizing. Sure, it’s sort of a mess, but boy is it engrossing, with a strong emphasis on the gross.

Uproarious, Talent-Packed ‘The Love Guru’ a Script of Destiny From Funnyman Mike Myers

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

CHICAGO – Commendably co-written by Mike Myers (who also wrote characters for 2002’s “Austin Powers in Goldmember” and 1999’s “Austin Powers: The Spy Who Shagged Me”), you know lines like “sheket bevakasha” came directly from his bowels.

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  • Kid Thing, The

    CHICAGO – Like the awesome Engine Who Could, the mighty Nothing Without a Company stage crafters have constructed another triumph at their new home in Berger Mansion on Chicago’s north side. “The Kid Thing” – written by Sarah Gubbins – is a terse, convincing and emotional play about fear, identity and breeding, and it is performed by its cast of five with utter authenticity. The show has a Thursday-Sunday run at the Berger North Mansion through April 15th, 2017. Click here for more details, including ticket information.

  • Wiz, The

    CHICAGO – When stage theater can cause outbreaks of elation, celebration and joy, then it must be due to Kokandy Productions’ revival of “The Wiz.” The urban reinterpretation of “The Wizard of Oz” story – told through tuneful euphoria and jubilant dance – is ecstatically produced, in every morsel of its stagecraft.

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