Reviews, profiles and news about movies in Chicago

News: Nicole Bernardi Reis On Revitalizing IFP/Chicago

Chicago Artists, Events, Festivals, Film 50, News and Dish No Comments »

joe-mazza-bave-lux-chicago-new-3572676260-OIFP/Chicago, one of the city’s oldest organizations to support independent filmmakers, has kept a low profile for several years, but is about to launch an ambitious roster of programs, inspired in part by the success of May’s Chicago Underground Film Festival, presently one of the Independent Filmmaker Project’s most prominent enterprises. Other support programs and networking events have grown up around the city since their founding, such as the long-running first-Tuesdays Midwest Film Festival and more recently, the new sip-and-grip comradeship CCCP, the Chicago Creatives Cocktail Party, which IFP co-sponsors.

After three years or so of dormancy, Nicole Bernardi-Reis, an independent producer and president of the board of directors (and 2014 Film 50 subject) sees now as a time for IFP to bloom. “The community changed a lot during that time, as did the resources available to filmmakers,” she says. “Currently, the film and television industry is seeing an influx of productions and revenue due to the Illinois Film Tax Credit. Hollywood is back in Chicago. Business is booming, again. Outside productions have always been an important part of sustaining the film community in the Midwest, but they are just a part.”

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Review: She’s Funny That Way

Comedy, Romance No Comments »


A generic title to suit a generic result, seventy-six-year-old Peter Bogdanovich’s seventeenth feature, “She’s Funny That Way,” was once entitled “Squirrels to the Nuts,” a reference to the film “Cluny Brown” that’s repeated like the dropping of an anvil about fifteen times in the finished product. (The press kit repeatedly cites “Lubitch” as the director of that film, a misspelling that suggests a clever, if frustrated intern back at the production office.)

They all yawned: “SFTW” is a brave, if eminently foolhardy try to recapture a lengthy career, as Bogdanovich leans for his first feature in fourteen years on a screenplay written at least a dozen years ago, for John Ritter, by himself and his ex-wife, Louis Stratten. A dozen or so characters want to fuck, but are prevented by meretricious complication atop meretricious complication, from fucking the ones they truly want to fuck. Owen Wilson, a playwright whose character names run to “Hal Finnegan,” pulls a favored stunt with Izzy, a cartoon prostitute played by a likably eager Imogen Poots. He has a history of relating a dumb story about “squirrels to the nuts” and “nuts to the squirrels” to his escorts, then gives the young women $30,000 if they’ll forsake the profession. Uh-huh. Poots’ New York accent is insufferable, part Judy Holliday, part Bogdanovich impersonating Judy Holliday, with more than a soupcon of Linda Manz, and oh, the Scarlett Johansson from Woody Allen movies. The backdrop for the marital militating and sexual slavering of the oh-too-many characters is the casting and rehearsal of a banal, 1970s-style sex farce. Bogdanovich strains for screwball, with indifferently blocked physical action in wide frames, and much repetition of the patter of puss-pokes by femme-fists upon put-upon men.

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Review: Grandma

Comedy, Recommended No Comments »


In Paul Weitz’s smart, elemental comedy “Grandma,” Lily Tomlin plays, yes, a seventy-year-0ld grandmother, Elle Reid, who’s also a mother, a gay woman who’s dumped her younger girlfriend (Judy Greer), and perhaps most perceptively, a career writer. The other characters include a wooly-foxy Sam Elliott as a wealthy former flame, Marcia Gay Harden as her more-pissed-than-pistol executive daughter and a winningly winsome Julia Garner as “Sage,” her curlilocked granddaughter trying to scratch up $600 for an abortion before sundown, which sets their miniature, day-long journey into motion. Read the rest of this entry »

Review: Learning To Drive

Drama, Recommended No Comments »



“Learning To Drive,” directed by veteran Spanish director Isabel Coixet (“My Life Without Me,” “Elegy”) and adapted from a Katha Pollitt story by Sarah Kernochan (“Marjoe,” “9 ½ Weeks”), is a modest, near-timid cross-cultural drama enlivened by two of the most live live-wires of modern movies, Ben Kingsley and Patricia Clarkson. The duo take the day. In modern-day New York, Kingsley plays Darwan, a Sikh political refugee and naturalized citizen. Clarkson plays Wendy, a book critic whose husband has left her for a younger woman. When Wendy looks for post-marriage driving lessons, she happens upon Darwan, and cultural conflict occurs, of course, as well a genteel romance of the mind and a few lovingly barbed blurts from Clarkson’s fantastically articulate mouth. Read the rest of this entry »

Review: We Come As Friends

Documentary, Recommended, World Cinema No Comments »
Hubert Sauper © Ray Pride copy

Hubert Sauper/Photo: Ray Pride


“We Come As Friends,” Hubert Sauper’s teeming, Breughel-and-Bosch-pursuing documentary portrait of chaos after colonialism in battle-torn South Sudan is more eye-widening, surreal, sorrowful and anarchic than his earlier “Darwin’s Nightmare.” Read the rest of this entry »

Review: In The Game

Chicago Artists, Documentary, Recommended, Sports No Comments »



Faux-uplift sports movies are $144 a dozen, slipped-and-slid into multiplexes on far too many weekends: sports is sports, and depicting the rush of a play, the massed hysteria of a shared moment, is just as conceptually fraught as the depiction of live music performances. And all those poor underdogs of the world of mass-marketed movies! But when a movie attains its own heart and soul by watching that dream in motion—think “Hoop Dreams”—the result can be magical. The first glimpse I had of Maria Finitzo’s wondrous “In The Game,” about fifteen minutes of a 2014 cut, was a contained little knockout. (I was pleased to weep.) The feature, gentle, assured, compassionate, left me softly thunderstruck. For four years, Finitzo follows a girls’ soccer team at Brighton Park’s primarily Latino Kelly High School, with an eighty-six-percent poverty level and a $4 million budget cut during the course of her observation. Read the rest of this entry »

Review: Digging For Fire

Chicago Artists, Comedy, Drama, Recommended, Romance 1 Comment »



With “Digging For Fire,” Joe Swanberg extends his run of intimate backyard moviemaking to an actual backyard at a summer rental, where a gun, a bone and a telescope set intrigue (and extended conversation) into nifty (if slow-burn) motion. Mid-thirties-life-crisis strikes for Tim (Jake Johnson), a teacher still not settled into the truth that he’s been a father for three years. Rosemarie Dewitt plays his witty wife, Jude Swanberg the son, natch. The estimable critic Bérénice Reynaud has aligned the latest Swanberg with Rohmer, and “Digging” extends his streak of pictures that stream with genial dialogue, superficially breezy, yet where emotional currents deepen. Read the rest of this entry »

She Is Multitudes: Afloat On The Comic Tributaries Of “Mistress America”

Comedy, Recommended No Comments »

By Ray Pride

In “Mistress America,” Noah Baumbach turns muse-partner-fellow screenwriter Greta Gerwig into a delightful, deliquescent, never-defeated and never-deflated Jean Arthur for the twenty-first century, as another incarnation of her energy and off-kilter wit is unleashed upon a Manhattan-Brooklyn of the romantic mind. (You could see the legacy of the great dames like Carole Lombard and Judy Holliday, if you’re so inclined.) “Mistress America,” indeed.

For my money, or at least my mood the night I saw it, “Mistress America” landed like ten-thousand dollars of finely focused therapy. (So this is narcissism!) Gerwig’s Brooke is akin to many modern Manhattanites of the past fifty years: from somewhere else but born to the island. Or at least to the lure of the lore and the lingo. From a Times Square red-carpet entrance to late-night laughter in the warm embrace of the East Village’s Veselka Ukrainian restaurant, Brooke is many tributaries. Her finger’s in pie after pie, her identity known to all but herself, a regular whirla-Zelig-gig. She’s a perpetual-posture machine, who says things not to hear herself talk, but to offer the soft sizzle of a second’s affirmation to her listener, even if what she says is errant nonsense or rank absurdity. (How do they know this woman so well?) Read the rest of this entry »

Review: The Iron Ministry

Comedy, Documentary, Drama, Recommended, World Cinema No Comments »



J. P. Sniadecki’s clamorously atmospheric doc, “The Iron Ministry,” was shot across three years of the infernal, eternal expansion of the vast Chinese rail system. As the railways expand, Sniadecki rides the rails from 2011-2013 and traffics in sensory reportage as he meets passengers in the cramped confines, who bear blunt, wry attitude about class and cash under his direct cinema-styled eye—“What if you do have a ballot, and the choice is one more sonofabitch?” Then he assembles the travels as if we were all on a single, swift journey. Where are they headed? Where are we headed? Coolly formal yet ceaselessly tactile, his film works from lovely visual abstraction to the most material of physical concerns. Read the rest of this entry »

Review: Ten Thousand Saints

Comedy, Drama, Recommended No Comments »


In “Ten Thousand Saints,” adapted by writer-directors Robert Pulcini and Shari Springer Berman (“American Splendor”) from a novel by Eleanor Henderson, Asa Butterfield (“Hugo,” “Ender’s Game”) and Hailee Steinfeld (“True Grit”) are siblings destined to come-of-age in the late 1980s propelled by more-dramatic-than-melodramatic circumstances from the care of their hippie mother (Julianne Nicholson) in Vermont to their pot-dealing father (Ethan Hawke) in New York’s Lower East Side. Performances are stirring all-round in this Sundance 2015 entry, especially the vigorous Butterfield and Steinfeld, who enliven the comic family dysfunction and lighten the teen pregnancy subplot. Read the rest of this entry »