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Adam Scott

Johnny Depp is Ghoulish in Mob Saga ‘Black Mass’

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

CHICAGO – “Black Mass” is a well crafted, if somewhat conventional crime tale. It won’t win any awards, but it’s entertaining enough. The story of real life Boston crime boss “Whitey” Bulger has no shortage of juicy details, and while the saga of this mob boss slash FBI turncoat falls short of greatness, Johnny Depp turns him into an otherworldly presence.

Back to the Funny in ‘Hot Tub Time Machine 2’

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – The concept is a hot tub, that also acts as a time machine. It practically writes itself! The too-meticulous plot of “Hot Tub Time Machine 2” still delivers a decent amount of laughs, although most of them fall under the crude and rude category. Better a cheap laugh than no laugh.

Frustrating Journey Into ‘The Secret Life of Walter Mitty’

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

I so want to love Ben Stiller’s “The Secret Life of Walter Mitty.” Stiller’s directorial work on films like “The Cable Guy” and “Tropic Thunder” was underrated, the source material is great, the message of living in the moment has more value in an increasingly cluttered world, and the time seems right for an imaginative journey into the mind of a likable protagonist like Mr. Mitty.

Hilarious Cast Elevates Mediocre ‘A.C.O.D.’

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – The incredibly talented men and women who make up the cast of “A.C.O.D.” make the relative failure of its script easier to bear. Just hearing brilliant actors like Richard Jenkins and Catherine O’Hara at each other’s throats or watching remarkably likable stars like Adam Scott and Mary Elizabeth Winstead figure out their relationship has enough charm to get one from lights down to credits roll.

Kirsten Dunst, Lizzy Caplan in Mediocre ‘Bachelorette’

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

CHICAGO – “Bachelorette,” now playing On Demand (and doing quite well on that format) and opening in theaters tomorrow, is a modestly successful comedy with some very talented stars stuck with an incredibly inconsistent script. The performers do their best and there are some scenes that work but the overall piece is remarkably forgettable, reminding viewers of “Bridesmaids” and “The Hangover” while failing to match either in terms of laughs.

Jennifer Westfeldt, Jon Hamm Consider ‘Friends with Kids’

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – Jennifer Westfeldt created a distinct movie persona in her debut in 2001 in “Kissing Jessica Stein,” but she has been generally off the radar since then. Her choice for a major film re-emergence is as a nebbish career woman with less memorable character traits. She also directs Jon Hamm, Kristen Wiig, Chris O’Dowd, Megan Fox and Maya Rudolph in “Friends with Kids.”

Ridiculous ‘Piranha 3D’ Attempts Record For 3D Gore

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – With a record-setting approach to bare breasts and bloodied bodies, Alexandre Aja’s “Piranha 3D” is a ridiculous gore-fest that falls completely flat in terms of character, dialogue, and logic but pops off the screen in the areas in which it really counts for a movie about prehistoric man-eating fish. It’s far-from-perfect and could have been with a few tweaks but “Piranha 3D” is off-the-rails crazy in all the ways that someone buying a ticket to a three-dimensional gore-o-rama wants what’s presented to them to be off-the-rails crazy.

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    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.

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    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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