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Carey Mulligan

‘Inside Llewyn Davis’ Resonates Like Long-Lost Folk Masterpiece

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

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. “Inside Llewyn Davis,” the latest masterpiece from Joel & Ethan Coen, is not one of those stories.

Hollow ‘The Great Gatsby’ Mistakes Glitz For Passion

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

CHICAGO – There’s a scene in “The Great Gatsby” in which Jay Gatsby (Leonardo DiCaprio) is gleefully throwing multi-colored clothes down upon a smiling, spinning Daisy Buchanan (Carey Mulligan). While she seems happy at first, she ends up covered in colored fabric and crying. I knew how she felt.

Michael Fassbender Stars in Riveting, Daring ‘Shame’

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

CHICAGO – Steve McQueen’s “Shame” is a daring examination of isolation and addiction with the best performance of the year courtesy of Michael Fassbender and one that nearly matches it from the always-stellar Carey Mulligan. This is dark, confrontational material of the kind that too few major filmmakers are willing to tackle and it will haunt you for days after you see it. Don’t miss it.

Ryan Gosling Stars in Instant Classic ‘Drive’

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

CHICAGO – Nicholas Winding Refn’s “Drive” is an amazing thriller, a modern examination of heroism filtered through the fairy tale culture of the underbelly of the movie machine that is easily one of the most memorable and effective films of not just this year but the last several.

Shia LaBeouf, Michael Douglas Drive Energetic ‘Wall Street: Money Never Sleeps’

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

CHICAGO – After a string of disappointments that include “Alexander,” “World Trade Center” and “W,” one of the best directors of the 1980s and 1990s at least draws closer to form with the entertaining “Wall Street: Money Never Sleeps”. The film is a great vehicle for Shia LaBeouf, Josh Brolin and Michael Douglas that occasionally disappoints but crackles more often than it fizzles.

Touching ‘The Greatest’ With Carey Mulligan Transcends Melodrama

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

CHICAGO – The surprisingly good “The Greatest” opens and closes with two very different car rides — one silent and mournful and one loud and full of laughter; one on the way from death and one on the way to life. They are bookends for a well-performed tearjerker of the kind that mostly transcends its melodramatic set-up to become something genuinely moving.

Jake Gyllenhaal, Tobey Maguire, Natalie Portman Not Relatable in ‘Brothers’

HollywoodChicago.com Oscarman rating: 2.0/5.0
Rating: 2.0/5.0

CHICAGO – The transition from hot young actor to the domestic picket fence is about ten years and a shadowy crow’s foot. One day you’re a galaxy queen, superhero and Donnie Darko, next you’re playing house in “Brothers.”

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  • Drunk History Seasons 1 & 2, 2014

    CHICAGO – The awesomeness of history loses any of its stuffiness with the incredibly fun, indeed educational show “Drunk History” from Comedy Central, its two seasons now released on DVD. Hosted by its creator Derek Waters, the show is a celebration of various historic figures and their under-appreciated true tales, as expressed by funny people narrating in the universal language of inebriation; their recounts are then reenacted by famous actors working with their given dialogue, dressed with the comic cheapness of a bloated biopic.

  • Happy Christmas

    CHICAGO – “Drinking Buddies” director Joe Swanberg’s latest release of the same star wattage is “Happy Christmas,” an even lower-fi story than the Olivia Wilde beer comedy, steered even more by the casting that it was able to assemble. However, with this movie Swanberg doesn’t so much worry about having a story that could be confused with a more mainstream romantic comedy if it were to have a bigger budget.

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