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Clint Eastwood

Strange ‘15:17 to Paris’ Can’t Make the Connection

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

CHICAGO – What’s up with Clint Eastwood, and why in the Sam Hill did he attach himself as director to this film? Also, why was the decision made to use the actual rescuers as the actors in a true terrorist train incident? Nothing adds up in the strangely disconnected “15:17 to Paris.”

Sofia Coppola Creates a Masterwork with ‘The Beguiled’

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

CHICAGO – The human-ness of being human never changes, fundamentally. The mating season arrives, and the effect makes for both great connections and bad decisions. Director Sofia Coppola emphasizes this in a reverent film production of the story called “The Beguiled.”

Tom Hanks is Solid, But ‘Sully’ Never Really Soars

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

CHICAGO – “Sully” is a solid effort from Director Clint Eastwood, but it never really soars the way its supposed to. It’s a good story, helped immeasurably by Tom Hanks low key performance, but it feels unnecessary. The problem may be that the story of the pilot who pulled off the so-called “Miracle on the Hudson” is so well known, the movie can’t really add anything to it.

Bradley Cooper’s ‘American Sniper’ is Entertaining, One-Sided American Propaganda

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

CHICAGO – I understand why they did it. But that doesn’t make it right to do.

In order to earn sign-off from Chris Kyle’s family and the U.S. Navy – and to appease the patriotic American public – “American Sniper” needed to make the U.S. military’s most lethal sniper nicer than he actually was and generalize a people as people you should hate.

Lack of Full Disclosure Trips Up ‘American Sniper’

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

CHICAGO – A straightforward story about the military marksman Chris Kyle is pretty much told in “American Sniper,” by director Clint Eastwood. But what is left out of the movie – Kyle’s right wing politics and a depiction of his fate – is more curious than what is actually presented.

‘Jersey Boys’ Can’t Escape Its Broadway Roots

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

CHICAGO – Director Clint Eastwood’s “Jersey Boys” suffers from the same inherent fundamental flaw in all of these so-called Jukebox Musicals – their stories are mere afterthoughts. You come for the songs, and suffer through the story. They have the narrative equivalent of chicken wire and chewing gum, patchwork filler to tie the songs together.

Clint Eastwood Whiffs in ‘Trouble with the Curve’

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

CHICAGO – Clint Eastwood keeps going and going. His reputation as an actor is secure in a long career, and his power as a director is Oscar worthy. His ability to recognize a limp script? Not so much, if “Trouble with the Curve” is a gauge. Amy Adams and Justin Timberlake are along for the pitch.

Leonardo DiCaprio Embodies the G-Man in ‘J. Edgar’

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

CHICAGO – Much of history is determined by the petty quirks and strange psychosis of “great leaders.” J. Edgar Hoover, FBI director for 48 years, worked hard to hide his very nature by squelching the nature of others – enemies, friends and perceived enemies. Leonardo DiCaprio is Hoover in “J. Edgar.”

Clint Eastwood, Matt Damon Deliver Poignant ‘Hereafter’

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

CHICAGO – Clint Eastwood’s “Hereafter” is a dramatic examination of a subject rarely dealt with in American cinema with even an ounce of honest emotion: What happens after we die.

Clint Eastwood, Morgan Freeman Deliver Predictable Drama With ‘Invictus’

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

CHICAGO – Director Clint Eastwood has given up on subtlety, choosing instead to tell old-fashioned, direct stories with as much technical skill and dramatic competency as possible. There’s nothing particularly wrong with the legendary director’s “Invictus,” but it’s also not nearly as memorable or thrilling as it could have or, given the true story that it tells, should have been.

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  • Speech & Debate (stage play)

    CHICAGO – “Speech & Debate,” the latest production from the mighty Brown Paper Box Company, continues their tradition of thinking outside that “box” in presenting storefront theater that makes a statement and a difference. “Speech” goes inside America by showcasing the outsiders… those who create art because they can’t get it right in real life. This non-equity Chicago stage play premiere is finely tuned and wonderfully acted, and runs through March 4th, 2018. Click here for more details, including ticket information.

  • We're Gonna Be Okay

    CHICAGO – The 1960s were a time of historical social transition. The movements – civil rights, feminist, gay rights – all had roots in that tumultuous decade. The Chicago premiere of Basil Kreimendahl’s “We’re Gonna Be Okay” echoes all of those movements in its characters, and collides them against the October 1962 Cuban Missile Crisis. The show has a Thursday-Sunday run at the American Theater Company through March 4th, 2018. Click here for more details, including ticket information.


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