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Thomas Kretschmann

World War II Gets the ‘300’ Treatment in ‘Stalingrad’

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

CHICAGO – It does not take even a high school history class to understand the liberty used in “Stalingrad’s” presentation of its title siege. Boasted as the highest-grossing Russian movie ever, this IMAX 3D event is the country’s own adaptation of the hero glorification seen in “300”, complete with copious slow motion and overflowing testosterone. Made with great pride but also a somewhat goofy sense of war, “Stalingrad” is as irreverent with its filmmaking style as it is reverent to the country’s glory.

Despite a Ferrari Predecessor, ‘Cars 2’ is a Honda Requiring Repair

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

CHICAGO – “Cars 2” is an unequal Pixar blend for adults and kiddies that never evolves into the storytelling success of its predecessor. The film, which draws thematic elements from “The Bourne Identity,” “Beverly Hillbillies” and “Transformers,” is a Honda needing a body shop as compared to the pristine Ferrari that was “Cars”.

Bryan Singer’s ‘Valkyrie’ With Tom Cruise Mistakes Morose For Intense

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

CHICAGO – Tom Cruise can be a powerfully vibrant actor in the right material but he’s horrendously miscast in Bryan Singer’s “Valkyrie,” a decision amplified by poor direction that drains this true story of an assassination attempt on the life of Adolf Hitler of its inherent power.

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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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