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.
CHICAGO – Director Jay Roach loves his work, heading into another phase of his successful career. The man who directed the first two “Austin Powers” films is now taking on movie and American history with “Trumbo,” featuring Bryan Cranston (“Breaking Bad”) as the 1950s blacklisted screenwriter Dalton Trumbo.
CHICAGO – Browsing Dostoyevsky titles with consideration for proper roles for Mark Wahlberg, one might expect the Beantown hero to take on an adaptation of “The Idiot” before anything like “The Gambler.” After all, while Wahlberg has proven to be a diverse screen force - one who has well-grown past his Funky Bunch days - he often leans towards goofy men, or at least goofy men in goofy movies.
CHICAGO – Gritty, funky and quote-worthy, this re-imagining of “The Gambler” – from a 1970s source film – is one of Mark Wahlberg’s best performances. His addicted-to-gaming soul has roots in other frustrations, and the actor is willing to communicate the whole range of emotions.
CHICAGO – In the latest HollywoodChicago.com Hookup: Film, we have 100 pairs of advance-screening SUBURBAN CHICAGO movie passes up for grabs to the new film “The Gambler” starring Mark Wahlberg!
CHICAGO – I’ll say this for “Transformers: Age Of Extinction,” it’s the most tolerable Transformers movie Michael Bay has ever made. The substitution of Mark Wahlberg for Shia LaBeouf is a big part of that – and for its first two hours at least, Bay realizes less is more.
CHICAGO – In the latest HollywoodChicago.com Hookup: Film, we have 20 pairs of advance-screening IMAX movie passes up for grabs to the highly anticipated new film “Transformers: Age of Extinction” starring Mark Wahlberg and Nicola Peltz!
CHICAGO – “Inside Llewyn Davis” shows the strength of the Coen brothers’ authorship, and the vitality their vision gives to different time periods, locations, and life experiences. This freewheelin’ bildungsroman of destiny? coincidence? trails a scraggly singer/songwriter (Oscar Isaac as the title character), daring to spread olden tunes in a period of American artistry that is pre-Dylan.
George Clooney’s “The Monuments Men” is processed cheese. It is a film that has been rewritten, edited, and refined until it has lost all sense of purpose or identity. There’s no flavor left. It is a film that defies genre; not quirky enough to have a comedic personality despite a cast that almost always supplies edge and not engaging enough to work as drama or thriller.
Films about musicians are remarkably common. Artists from one medium have always loved to put themselves in the well-worn shoes of craftsmen from another. Most of them are stories of an underrated talent rising to the top of his profession, designed for both audience and filmmaker to live vicariously through the protagonist’s success.
CHICAGO – One of more memorable performances of 2013 is from an actor who has been a bit under the radar – Oscar Isaac. After character parts in several familiar films, like “The Nativity Story,” “Sucker Punch” and “The Bourne Legacy,” Isaac steps out as the lead in the new Coen Brothers film, “Inside Llewyn Davis.”