CHICAGO – The power of creativity, and the risk of live theater, is all on display through Nothing Without a Company’s latest amazing journey, “Down the Moonlit Path.” The interactive stage experience refreshes the soul and realizes the joy of life.
CHICAGO – If there is any genre of film that needs a good blasting, it is the romantic comedy. These silly fantasies practically seem like satires anyway, so when the comic genius of writer/director David Wain ponders them, and casts Paul Rudd and Amy Poehler as the “couple,” the funny will fly.
CHICAGO – There was a point in “We’re the Millers” when the story fell off the table like a Slinky from a mountaintop. It’s as if other writers took over from a far superior dark comedy, and injected “heart” and middle age “stripping.” This all adds up to a difficult 110 minutes of lost life time.
CHICAGO – With a lazy, over-plotted story, and a cast that are desperately going through the motions, “The Hangover Part III” is the latest example of a contract obligation disguising itself as a movie. Writer/director Todd Phillips sluggishly pounds out another one, with simply no originality.
CHICAGO – After it made a relative fortune at the box office (its number six on the year in terms of domestic gross and has made more than $300 million worldwide), I was eager to revisit “Dr. Seuss’ The Lorax” on Blu-ray to se if I missed anything in my initial 2.5-star review. Maybe I was just in a bad mood that day. Nope. The movie just doesn’t hold up on a storytelling level and it’s even more deeply flawed on repeat viewing. It’s only entertaining to littlest ones in your family and even they would be better served by a reading of the great source material. A trio of mini-movies on the Blu-ray help make the package more enticing but can’t dismiss the film’s flaws.
CHICAGO – While the man-child archetype has been cheerfully skewered and celebrated by Apatowian comedies ranging from “The 40-Year-Old Virgin” to “Step Brothers,” this year has so far produced two intriguing indie comedies that take a somewhat more serious look at a developmentally arrested psyche. Neither film is flawless, but they sure would make a superb double feature.
CHICAGO – Writer/directors Jay and Mark Duplass clearly love their characters. Whether it’s the awkward man-child at the center of “Cyrus” or the title character in their new dramedy “Jeff, Who Lives at Home,” there’s a charming affection for these people. I really enjoyed spending time with the quartet of well-drawn, well-acted people in “Jeff,” which makes the fact that their story is less-structured and sloppier than it should be to be effective all the more frustrating. I SO want to love “Jeff, Who Lives at Home,” but this dude is too often stuck in the creative basement.
CHICAGO – The brother directing team of Jay and Mark Duplass have been climbing the success ladder since starting their careers as independent film darlings in 2002. After winning acclaim in 2010 with the offbeat “Cyrus,” they are back with “Jeff, Who Lives at Home,” featuring Jason Segel, Ed Helms, Judy Greer and Susan Sarandon.
HollywoodChicago.com Hookup: 40 Pairs of Chicago Passes to ‘Jeff, Who Lives at Home’ With Jason SegelSubmitted by HollywoodChicago.com on March 7, 2012 - 3:56pm
CHICAGO – In the latest HollywoodChicago.com Hookup: Film with our unique social giveaway technology, we have 40 admit-two movie passes up for grabs to the advance screening of the new comedy “Jeff, Who Lives at Home”!
CHICAGO – “Dr. Seuss’ The Lorax” certainly isn’t an awful film by any stretch of the imagination. It features some solid voice work, a few lessons worth learning by the iGeneration, and some nifty visuals. It’s also pretty damn boring. Even the little ones at the family screening I attended seemed to lose interest in how this timeless story has been stretched to the demands of a modern family film. It just never quite connects in the way fans of this legendary character hope it would.
CHICAGO – Todd Phillips has huge balls. Never before has a sequel hit SO many of the exact same beats as its predecessor. More of a remake of the film that came before than most slasher franchises, “The Hangover Part II” is the definition of more of the same. You can see Phillips going through the motions — they liked the first one, let’s give it to ‘em again with a bit of Thai flavor and more Ken Jeong. The result is a film that feels remarkably familiar with a few laughs, some decent comedic chemistry, and some daring humor, but a work that just reeks of lazy filmmaking.