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Brad Pitt

Metaphor is Message in Violent ‘Killing Them Softly’

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

CHICAGO – If there ever was an industry that deserved a good metaphor bashing, it would be the financial sector. “Killing Them Softly” does a hit-over-the-head with the symbolism, but at the same time delivers a gritty and literate parable, featuring Brad Pitt, James Gandolfini and Ray Liotta.

Fate Doesn’t Fail Them Now in ‘Happy Feet Two’

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – Dancing animated penguins, a tradition dating back to Disney’s “Mary Poppins” and brought to further life in the first “Happy Feet” movie, finds more stepping pep in “Happy Feet Two.” Robin Williams and Elijah Wood return to lend their vocal talents in this enjoyable sequel.

Brad Pitt, Baseball Evolve in Magnificent ‘Moneyball’

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

CHICAGO – Using sports, especially baseball, as a metaphor for life can get dicey – sometimes the symbolic pieces don’t fit universally for everything. But “Moneyball, ” starring Brad Pitt, hits a grand slam with this old allegory, and educates regarding the true nature of modern large dollar sports.

‘The Big Uneasy’ Unleashes Maddening Flood of Vital Information

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

CHICAGO – Some of the best documentaries are spawned directly from the raw outage of a filmmaker intent on sharing vital truths with the unenlightened public. Every frame is fraught with a sense of urgency that keeps viewers on the edge of their seat much like an engrossing popcorn thriller. Yet great passion alone does not make for great cinema.

Terrence Malick’s Captivating Meditation on ‘The Tree of Life’

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

CHICAGO – I’ve seen Terrence Malick’s “Tree of Life” twice now and I still struggle with how to put my reaction to it into words. The film almost defies typical critical discussion with its lack of narrative thrust and a structure that makes it far closer to a poem than a piece of prose. How do you even begin to talk about a piece that works with emotions instead of plot twists?

‘Megamind’ With Will Ferrell, Brad Pitt Barely Wins Animated Fight

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

CHICAGO – Being a super-villain is apparently going out of style as “Megamind” follows relatively quickly on the heels of “Despicable Me” and both tell the story of a bad guy realizing that it’s more fun to be good. The title character of “Megamind” (Will Ferrell) is a nefarious super-powered fellow who has just barely lost every fight he’s had with the beloved Metroman (Brad Pitt).

Quentin Tarantino’s ‘Inglourious Basterds’ With Brad Pitt Lives Up to Expectations

HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – What truly distinguishes Quentin Tarantino’s “Inglourious Basterds” from the cookie-cutter marketplace also makes its impact incredibly difficult to put into words. It’s a film that’s impossible to pin down - a thriller, drama, comedy, action film, and a slice of revisionist history played as modern revenge fantasy. And it’s a total blast.


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  • Jack Reacher with Tom Cruise

    CHICAGO – “Jack Reacher” doesn’t work as an action movie. However, if you approach the mannered dialogue and dark storytelling as a noir, which is what I believe the writer and director (if not the marketing team at Paramount) intended, then there’s a lot to like here. It’s a stylized, slick, well-made ride with some crackling dialogue, charismatic performances, and heavy doses of style.

  • Safe Haven

    CHICAGO – At its best, Lasse Hallstrom’s “Safe Haven,” based on the book by the insanely popular Nicholas Sparks, is merely safe, Lifetime Channel TV Movie junk. At its worst, it’s pretty offensive and exploitative of women actually stuck in abusive situations and men forced into single parenthood after losing a spouse. As he has done before, Sparks takes real-world issues and turns them into manipulative devices. Hallstrom (“Chocolat”) has enough filmmaking skill to keep it from getting too boring despite the attempts on the part of the two remarkably dull leads to put you to sleep.

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