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Hayden Panettiere

Ryan Reynolds, Julia Roberts Trapped in Dull ‘Fireflies in the Garden’

HollywoodChicago.com Oscarman rating: 1.0/5.0
Rating: 1.0/5.0

CHICAGO – It’s always risky for a screenwriter to craft a film about a family of writers in that when the result is a script so generically awful as that for “Fireflies in the Garden” it’s going to stick out even more prominently. After sitting on the shelf for years (it played festivals in 2008 and was supposed to be released that year) and reportedly undergoing some reshoots, this stale drama is finally getting a limited release and will prove just how limited it is to the poor saps who pay to see it.

Wes Craven Returns to Form With Entertaining ‘Scre4m’

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

CHICAGO – Wes Craven’s legendary franchise returns this weekend with a decade since its last installment and to a genre that has been almost entirely bereft of creativity since its director started to lose his prominence as one of its best. Can “Scre4m” rejuvenate the slasher genre like the first film did or will it fall victim to the rule that horror sequels almost always suck?

‘I Love You, Beth Cooper’ Inspires Hatred For the High School Genre

HollywoodChicago.com Oscarman rating: 1.0/5.0
Rating: 1.0/5.0

CHICAGO – In what could be the worst mainstream release of the summer, “I Love You, Beth Cooper” wastes talent, production values and ultimately time in a cliché-ridden mess that produces little or no real love.

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TV, DVD, BLU-RAY & THEATER REVIEWS

  • Book of Merman, The

    CHICAGO – One potential theater-goer loves the “The Book of Mormon.” The other would rather stay home and watch old Ethel Merman YouTube videos. Pride Films & Theater offers the ultimate solution by combining both in a campy musical, “The Book of Merman.” Yep, two Elder characters from The Church of Jesus Christ of Latter-Day Saints meets foghorn singer Ethel Merman.

  • Men, Women & Children with Kaitlyn Dever

    CHICAGO – In “Men, Women & Children,” director Jason Reitman not-so-audaciously reflects onto viewers their world of silent screens and awkward impersonal interactions. As many stories (“Don Jon,” “Disconnect”) have taken on the torch of showing how we are, gasp! — connected to the world yet disconnected from those close to us — Reitman’s tale is just another one for the batch.

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