Noah Taylor

CHICAGO – The Dwayne Johnson formula is what it is, as it seems for about three to five films a year. A disaster strikes, but the Johnson character has loved ones among the victims, and in his background (military, police, mercenary) there is enough expertise to rescue them. “Skyscraper” is the latest.

CHICAGO – In a film that had a sassy, arbitrary perspective on its own flipped-out story, “Free Fire” sought to out-Quentin Tarantino in freaky funny characters and ammo-splurging gun battles. Director Ben Wheatley (“High-Rise”) took an ensemble cast to rarified heights of insult comedy, revenge dynamics and bullets that hit the bone.

CHICAGO – One of the more lovely examples of pure cinema – if that description can be given to a film with nearly constant gunplay – is in the upcoming release of “Free Fire.” Director Ben Wheatley (“High-Rise”) constructs a dark and funny scenario within one room, and fills it with symbolism and homage to other movies.

CHICAGO – “Predestination” is a time travel game of limited pieces, in which two beings are not who they seem. Twists abound in a story that gets credit for jarring narrative directions, but this adaptation of Robert A. Heinlein’s “All You Zombies” remains limited in its potential, especially as it fails to evolve past its spiritual predecessors “Source Code” and “Looper.”

CHICAGO – “Edge Of Tomorrow” is a high concept, fast of foot popcorn movie that knows how to deliver the goods. While this futuristic sci-fi take on “Groundhog Day” doesn’t break any new ground, it does see that intriguing concept through to a fulfilling and crowd pleasing conclusion.

CHICAGO – In the latest HollywoodChicago.com Hookup: Film with our unique social giveaway technology, we have 40 admit-two movie passes up for grabs to the advance screening of the new crime/drama “Lawless”!

CHICAGO – Too many critics have casually dismissed Richard Ayoade’s directorial debut, “Submarine,” as a mere Wes Anderson imitation. Yes, the picture is chockfull of arty hipster posturing: chapter breaks, deadpan cutaway gags and hapless adults viewed by a sullen 15-year-old protagonist forever cloaked in a large black toggle coat. He’s like Bud Cort fused with the hyper-articulate eccentricity of Max Fischer.

Rating: 3.5/5.0

CHICAGO – Richard Ayoade’s debut comedy “Submarine” has such an incredibly strong first half that it almost makes the relative disappointment of the second half even more disappointing by comparison. A super-smart ending saves the piece from going out on the wrong note completely and the overall piece bodes well for whatever this talented director does next. Whatever flaws the film may have, it’s certainly unlike anything else in theaters right now and yet will likely remind certain viewers of beloved films like “The Graduate,” “Harold and Maude,” and “Rushmore.”

CHICAGO – There are few modern horror films that possess the power to shock an audience into a state of dazed, mouth-gaping awe. Audiences of increasingly young ages are well-accustomed to copious amounts of blood and gore. The excess of violence quickly and irrevocably numbs the senses. That may be why Simon Rumley’s “Red White & Blue” works so well. It plays on the mind rather than the gag reflex.

CHICAGO – The scariest aspects of a Simon Rumley picture aren’t in the form of ominous monsters or buckets of blood. They are instead hidden within the corners of a tormented human psyche. It’s the impulse for destruction that haunts every one of his characters in “Red White & Blue,” a deeply unsettling drama that transforms into a galvanizing horror film during its final act.