CHICAGO – Let’s face it, life does suck. But what can we do about that? How do we survive? Lookingglass Theatre Company’s latest stage presentation tries to answer those thorny questions through a group of fellow travelers, flung together at a cabin retreat, trying to figure out why (indeed) “Life Sucks.”
CHICAGO – One of the indications of how the story depicted in “Truth” still resonates was that the CBS Network refused to show advertising for it. The film is a lesson in messing with true power – CBS News went after the ruthless Bush administration during an election year, and they went down.
CHICAGO – It was Monday, Nov. 3, 2014 at 10:15 p.m. Leaving Navy Pier IMAX, I was driving north on Lake Shore Drive – a constantly busy, multi-lane highway that hugs the east of Chicago and separates it from water.
CHICAGO – It is most likely that movie goers were asking the same question of Stanley Kubrick’s “2001: A Space Odyssey” in 1968, but Christopher Nolan’s “Interstellar” belongs to its own category of what-is-the-meaning, because it tries to combine pseudo-science with psycho-babble, which clashes into meaninglessness. But the visuals are stunning, and there are moments of fulfillment, especially in a big screen IMAX format.
CHICAGO – “Interstellar” is easily director Christopher Nolan’s worst film. It contains much of the ambition and striking visuals that have endeared him to audiences, but for large chunks of the movie his own worst tendencies towards bombast, self-importance, and hippy dippy dialogue threaten to overwhelm his dandy space sequences entirely.
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 – Don’t let the awful title fool you — “The Giant Mechanical Man” is not sci-fi. This cute dramedy tackles well-trod ground in the world of indie film but Lee Kirk conveys enough honest affection for his well-crafted characters that the piece works.
CHICAGO – Avid moviegoers like to pride themselves on their ability to predict twists and turns prior to their occurrence in a script. This is often the result of formulaic writing and creaky clichés, but in the case of Michael Brandt’s “The Double,” no exemplary knowledge of cinema is necessary to foretell every last plot point. Only functional eyesight and an IQ above zero are required.
CHICAGO – As his excellent “Haywire” plays in theaters and his even-better “Contagion” was recently released on Blu-ray and DVD, one is reminded of the incredible talent of Steven Soderbergh, one of the best living directors. But “Contagion” and “Haywire,” while enjoyable, don’t hold a candle to this incredible filmmaker’s best films, which include “Sex, Lies, and Videotape,” “Out of Sight,” “Che,” and, recently released on Criterion Blu-ray and DVD, the Oscar-winning “Traffic.” This is one of Criterion’s best releases for one of the ‘00’s best films.
CHICAGO – It’s ironic that a film called “The Double,” starring Richard Gere & Topher Grace, would remind one of so many superior thrillers. It is in itself a double, a carbon copy of better films that focuses on all of the wrong elements, thinking that audiences are still dumb enough that just throwing twist after twist at them will keep their head spinning enough to not realize that what they just saw not only makes no sense at all but wasn’t even remotely entertaining.
CHICAGO – Most comedies feature a few key decisions or even just a few moments where you, the viewer, know someone made the wrong choice. Whether it’s something as small as thinking that a punchline works when it doesn’t or something major like the wrong casting decision, modern movie goers are smart enough to tell when they’re watching something dumb. “Take Me Home Tonight,” recently released on Blu-ray and DVD is very, VERY dumb.