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Rainn Wilson

Loathsome ‘Hesher’ With Joseph Gordon-Levitt, Natalie Portman

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

CHICAGO – “Hesher” ends with a middle finger and I shot one right back to the screen. Rarely has a film so completely misunderstood the grieving process and played faux tough in an attempt to be edgy instead of heartfelt. Like a knock-off of Chuck Palahniuk produced by people raised only on Sundance films, “Hesher” is a mess.

James Gunn’s Memorable ‘Super’ With Rainn Wilson, Ellen Page

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

CHICAGO – A much darker cousin of Matthew Vaughn’s “Kick-Ass” by way of “Taxi Driver,” James Gunn’s “Super” is a tonally inconsistent comedy that nevertheless features one of my absolute favorite performances of the year so far and enough interesting ideas to warrant a look. If only those ideas were shaped into something a bit more coherent. “Super” could have lived up to its title.

‘Transformers: Revenge of the Fallen’ is Galaxies Away From its Predecessor

HollywoodChicago.com Oscarman rating: 1.5/5.0
Rating: 1.5/5.0

CHICAGO – There are often many reasons sequels should not be made. “Transformers: Revenge of the Fallen” is one of them.

Seeking that “Allspark” exhilaration pumped into many of us from the original “Transformers,” moviegoers will flock to the sequel with anticipation.

DreamWorks’ ‘Monsters vs. Aliens’ Has Great 3D Concept, But Falls Flat

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

CHICAGO – Hasn’t Pixar proven that animation can be more than just concept and celebrity voice work? The problem with “Monsters vs. Aliens” is that the team behind it clearly prioritized nearly every element of the film over actual storytelling.

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  • Sherlock Holmes with David Arquette (teaser)

    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.

  • Merry Widow, The

    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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