CHICAGO – The issue of gender identity, especially for those who are born with a vagueness as to what to call themselves between/beyond boy and girl, has come front and center in the U.S., both with the legalization of gay marriage and the callous repudiation of identity by trying to pass laws dismissing it (the North Carolina “bathroom” laws). The performance companies of The Living Canvas and Nothing Without a Company is currently staging “[Trans]formation,” which presents gender identity art by six performers, who perform most of the play in the nude.
Steven Soderbergh’s film “King of the Hill” is an essential one to understanding his career simply for the way it displayed the range we would come to admire in one of our best filmmakers. Soderbergh is one of the most important directors of the last quarter-century, in no small part due to the incredible range he has displayed throughout his career. His current-century work has been defined by an incredible attention to detail but his 3rd and 4th films, “King of the Hill” and “The Underneath,” which is included on this Blu-ray in its entirety, bear the mark of a man still honing his craft. And he’ll be the first to tell you that.
CHICAGO – It feels like when any studio besides Walt Disney or Pixar does an animated film with celebrity voices, there is a little less lacquer on it. What the other two remember, and others forget, is that it starts with a script. All the toon landscapes in the world can’t fix a dull story.
CHICAGO – Family 4-packs! In the latest HollywoodChicago.com Hookup: Film with our unique social giveaway technology, we have 10 family 4-packs (40 seats in total) up for grabs to the new animated 3D film “The Nut Job” with Will Arnett and Katherine Heigl!
CHICAGO – “The Big Wedding” begins with Robert De Niro performing a particular love making maneuver on Susan Sarandon, and is caught in the act by Diane Keaton. What could have happened in a cutting-edge indie feature in 1981 is the basis of a lame bit in 2013, and so it goes for the rest of the film.
CHICAGO – With each passing year, Katherine Heigl’s claims about Judd Apatow’s sexism appear increasingly absurd. While Apatow is producing A-grade work from female filmmakers, such as “Bridesmaids” and HBO’s “Girls,” Heigl is portraying shallow ditzes who are susceptible to chauvinistic, overgrown adolescents. “The Ugly Truth,” “Killers,” “Life as We Know It” and “New Years Eve” is not a track record worth bragging about.
CHICAGO – By now, you’re surely aware of the general hatred for Garry Marshall’s horrendous ensemble romantic comedy “New Year’s Eve.” HollywoodChicago.com said ““New Year’s Eve” is so garish and manipulative that it doesn’t really qualify as a film – it’s a product, no more an actual movie than a Hallmark card is a piece of poetry.”
CHICAGO – Just under five years ago, Katherine Heigl became a decently known actress in the film world for her role as Alison in the Judd Apatow film “Knocked Up.” After having been in the show “Grey’s Anatomy” for a few years, Heigl had finally broke into the world of cinema, and seemed to have a decent amount of comedy acting skills.
CHICAGO – “New Year’s Eve” is so garish and manipulative that it doesn’t really qualify as a film – it’s a product, no more an actual movie than a Hallmark card is a piece of poetry. It is corporate junk at its worst, so shallow that it’s almost remarkably thin, as if director Garry Marshall were trying to win a contest for lack of subtlety.
CHICAGO – I recently made a reference to Katherine Heigl being the symbol of the modern decline of the romantic comedy and was reminded that she’s done good work on “Grey’s Anatomy” and was actually quite good in “Knocked Up.” Then why has she made such horrible films since then? Why have we had to suffer through “27 Dresses,” “The Ugly Truth,” “Killers,” and, now, “Life As We Know It,” recently released on Blu-ray and DVD and a film that doesn’t break her downward slide even if it does slow it a bit.
CHICAGO – Since her breakthrough “comic” role in “Knocked Up,” Katherine Heigl has a line-up of titles that almost reads like parody – “27 Dresses,” “The Ugly Truth,” “Killers” – but there had to be some audience or they really wouldn’t exist. She makes just enough box office to keep working, which explains the latest and maybe worst of the bunch, “Life As We Know It”