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Sam Mendes

Kevin Spacey on Power of ‘NOW: In the Wings on a World Stage’

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

CHICAGO – “Hi-diddle-dee-dee, the actor’s life for me!” Kevin Spacey, who took a considerable break from movie acting to become Artistic Director of the Old Vic Theater in London, puts the fruit of those labors in a new documentary, “NOW: In the Wings on a World Stage.” The film chronicles the international tour of Spacey and the troupe performing William Shakespeare’s “Richard III.”

James Bond Returns in Stunning, Spectacular ‘Skyfall’

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

CHICAGO – “Skyfall” is a gorgeous, action-packed, superbly structured piece of modern filmmaking. It is not only one of the best James Bond movies in the five-decade history of the beloved character but it’s one of the best action movies of the last decade. Sam Mendes’ film is smart, sexy, dangerous, and, most stunningly of all, beautiful.

‘Away We Go’ From Sam Mendes a Slightly Bumpy Trip Worth Taking

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

CHICAGO – Has life always been this difficult? Doesn’t anybody ever stay together anymore? Have the pressures of modern times turned the majority of us into screw-ups?

“Away We Go” is a chronicle of couple – Burt and Verona (John Krasinski of NBC’s “The Office” and Maya Rudolph of “Saturday Night Live”) – attempting to resolve just that.

Great Performances Wasted in Sterile ‘Revolutionary Road’

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

CHICAGO – Frank (Leonardo DiCaprio) and April Wheeler (Kate Winslet) refuse to believe that they’re like everyone else in the 1950’s suburbia of Sam Mendes’ frustrating “Revolutionary Road”. They may go to the same jobs and travel in the same social circles, but, unlike the bored housewives and husbands around them, they haven’t given up on their dreams.

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    Looming over “Bad Words” is the potential it could have had, as is, were it released ten years ago. With its focus of R-rated behavior poking at the projected innocence of children, along with the couple of chromosomes that keep Bateman’s Trilby from being a Vince Vaughn character, this movie is certainly a product of the comedies that have sculpted out the manchild story in the past decade.

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