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Tilda Swinton

Amy Schumer Way Too Conventional in ‘Trainwreck’

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

CHICAGO – In one of the most anticipated comedies of the summer, Amy Schumer breaks out of her edgy role as a stand-up and sketch artist to put her spin on the film universe in “Trainwreck.” She plays the lead role, is directed by the comic-reputable Judd Apatow, and she wrote the script. Why is it so “meh”?

‘The Grand Budapest Hotel’ is Built by Wes Anderson

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

CHICAGO – The distinct and strangely-alluring style of director Wes Anderson is on opulent display in “The Grand Budapest Hotel.” In what is an eccentric, European style fairy tale, Anderson creates a legend that is forged in his signature, along with the performances of a brilliant cast.

Wes Anderson’s ‘Moonrise Kingdom’ Delights with Clever Tale of Young Love

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

CHICAGO – Wes Anderson’s “Moonrise Kingdom” is a true delight — a fun, clever, and, of course, whimsical tale about the days when love seemed worth running away from home over and getting a scout badge meant the world. Easily Anderson’s best film since “The Royal Tenenbaums,” “Moonrise” is arguably the most tonally consistent film he’s made to date, a thoroughly enjoyable endeavor that one would have to be pretty cynical to dismiss entirely.

Oedipus Wrecks Tilda Swinton in ‘We Need to Talk About Kevin’

HollywoodChicago.com Oscarman rating: 4.0/5.0
Rating: 4.0/5.0

CHICAGO – The mother and son relationship is perhaps one of the most complicated ever invented. In giving birth to an opposing gender, the woman must then deal with a maturation process foreign to her own, with all the potential psychosis attached. Tilda Swinton and Ezra Miller play the game in “We Need to Talk About Kevin.”

‘I Am Love’ Offers Scintillating Showcase For Tilda Swinton

HollywoodChicago.com Oscarman rating: 4.0/5.0
Rating: 4.0/5.0

CHICAGO – “I Am Love” is the type of visceral tone poem that requires its audience to feel more than think. As the end credits roll, viewers may find themselves going over the plot in their heads, and discovering its inherent shallowness. It’s only after we wake up from a dream that we discover just how silly or inexplicable it all was.

Packed With Picturesque Majesty, ‘The Chronicles of Narnia: Prince Caspian’ Fights Nobly For ‘PG’ Rating

HollywoodChicago.com Oscarman rating: 4.5/5CHICAGO – For the life of me, I couldn’t exorcise it from my head. Amid all the splendor of such a picturesque film, this one question was like a gnat I couldn’t swat: “Is this really rated ‘PG’?” Indeed, “The Chronicles of Narnia: Prince Caspian” is rated “PG”. But that didn’t come without great scrutiny and much editing.

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  • Sherlock Holmes with David Arquette (teaser)

    CHICAGO – Different isn’t bad and might be great, but you’d better have an irrefutable reason to change what was never broken. Campy being the only word to accurately convey this alternate-reality version of Sherlock Holmes with an original script, writer Greg Kramer and director Andrew Shaver try too hard to be different without ever figuring out why.

  • Merry Widow, The

    CHICAGO – Standing up at the Lyric Opera house in Chicago is unusual before a show. But in this case, it was the night after a tragedy, and the operetta “The Merry Widow” – set in Paris, France, in 1905 – was about to unfold. The orchestra struck up La Marseillaise, a reminder that we’ll always have Paris.


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