Reviews, profiles and news about movies in Chicago

All-American Slime: Steve Carell’s Found his Calling as Ornithologist, Philatelist, Philanthropist in “Foxcatcher”

Biopic, Drama, Recommended No Comments »

FOXCATCHER
By Ray Pride

I’m starting to like this guy Channing Tatum. And maybe this guy Steve Carell.

The faith of Steven Soderbergh and a few other directors in his innate charm, screen presence and acting chops gets another workout as Mark Schultz, one of two brothers who won Olympic Gold Medals. Tatum’s physical moves are crabbed and weighted as we see Mark move through the gloom of his day: he’s Sisyphus before the Xanax. And this Sisyphus needs it: he’s bearing the weight of a few worlds in dark, cold Wisconsin. Broke, lunching on ramen noodles, grappling with his wrestling-coach older brother, Dave (Mark Ruffalo), he’s only got the 1988 Seoul Olympics to look toward. (Ruffalo’s 1980s beard and balding hairstyle are another feat of heaviness.)

Steve Carell, he’s another story. I’ve missed a few movies he’s been in, have never seen more than a few seconds of “The Office,” and regret it for not a second. Voice and presence alike, he’s anti-screen charisma to my eyes and ears, a terrifying dark void in front of a camera. (There are some other actors like that; most moviegoers know a pill or two.)

But leave it to Bennett Miller, the director who made his friend Philip Seymour Hoffman, a bruiser of a man, into Truman Capote, to cast Carell ideally. As John Eleuthère du Pont, Carell embodies the dank side of privilege and money and American manhood gone to stinking rot in Miller’s bleak, harrowing, but thrilling true-life murder case from a heavily researched script by E. Max Frye (“Something Wild”) and Dan Futterman (“Capote”).

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Review: The Theory of Everything

Biopic, Drama, Recommended, Romance No Comments »

TTOE_D19_06191_R1409353879

RECOMMENDED

Eddie Redmayne twinkles and tickles the intellectual friskiness of Stephen Hawking in James Marsh’s lively, bright “The Theory Of Everything,” a brisk telling of the early years of the scientist, best-selling author and survivor of motor neuron disease related to ALS, as well as his all-important first marriage. (After a recent screening for him, Hawking waggishly said he found it “broadly true.”) Director James Marsh does well with another ginger trickster figure, as he did with Philippe Petit in “Man on Wire,” with Redmayne playing the most assured and most puckish moments we’d expect from a story about a scientist known for his mind but also for lifelong randiness. Redmayne has the best, fullest role he’s had since Tom Kalin’s “Savage Grace” (2007) and he manages to work his own charm and smile and even eyebrows into the slowly contracting figure of Hawking. James Marsh is a quietly fine director, in documentaries like “Man on Wire” and “Project Nim,” as well as other fiction features like “Shadow Dancer” and “Red Riding: 1980.” His knack for telling compositions and memorable images can’t be underestimated. And the script by playwright Anthony McCarten seldom stoops to sentimental stuff, despite its seeming pedigree as intelligently crafted, award-friendly British uplift. Read the rest of this entry »

Review: 20,000 Days on Earth

Biopic, Documentary, Recommended, World Cinema No Comments »

Nick_Typewriter_lowres

RECOMMENDED

Iain Forsyth and Jane Pollard’s “20,000 Days On Earth,” is stellar, a rich, luxuriant, calibrated auto-portrait of Nick Cave, not quite fact, not quite fiction, told as if it were taking place in a single day, in words, music, a first-time psychotherapy session, and personal hallucinations with former musical partners Kylie Minogue and Blixa Bargeld in his car as he drives alongside the sea near his Brighton, England home. It sounds like so much attenuated tosh, but this bold, unique gem is bright, funny, brooding, hopeful, momentarily visionary, a wounded beauty exploring the creative process in a fresh and oft-brilliant fashion. Read the rest of this entry »

Review: The Last of Robin Hood

Biopic, Drama, Romance No Comments »

The Last Of Robin Hood

“The Last Of Robin Hood,” directed by Richard Glatzer and Wash Westmoreland (“Quinceañera,” “The Fluffer”) is a genteel swatch of Todd Haynes-lite, appropriate considering that Haynes is one of the fifteen credited producers, along with Killer Films’ Christine Vachon and Pamela Koffler. (A&E Networks and Lifetime are behind the production.) A decade-long project, “The Last” portrays the February-December romance between fading swashbuckler Errol Flynn (Kevin Kline) and fifteen-year-old aspiring actress Beverly Aadland (Dakota Fanning), facilitated by her stage mom Florence (Susan Sarandon). Glatzer and Westmoreland explain their approach: “We made no justification for it and neither did we want to pass judgment. We simply wanted to show what Beverly experienced and what Florence and Errol went through—their understandings, delusions, manipulations, flaws, hopes, dreams and fears.” Methodically, coolly, that’s just what the film does, never rising to full fever. Where melodrama should be indicated, we’re only offered mellow drama. Read the rest of this entry »

The Journey Of Roger Ebert: Ray Pride Remembers His Colleague and Talks to “Life Itself” director Steve James About a Life in Search of Candor, Intimacy and Truth

Biopic, Chicago Artists, Documentary, Recommended 1 Comment »

By Ray PrideRoger Ebert & Gene Siskel

“If you could’ve found out what Rosebud meant, I bet that would’ve explained everything.”
—“Citizen Kane,” Orson Welles and Herman Mankiewicz.

INT. VIRGINIA THEATRE, CHAMPAIGN, ILLINOIS – DAY

Here is one of the most chilling and thrilling sounds I have ever heard in a movie theater, from a Sunday afternoon in the spring of 2012. Everyone in the 1,500 or so seats knew the attraction: a projection of the Blu-ray of “Citizen Kane,” on the big screen, with Roger Ebert’s time-honed commentary playing over the soundtrack. Roger hadn’t spoken since his surgeries of 2006. Heavy red velvet curtains part and the words “An RKO Radio Picture” appear—a radio tower girdling the globe and transmitting worldwide—with the words: “This is Roger Ebert, watching ‘Citizen Kane’ with you.” And Roger was watching “Citizen Kane” with us, from a lounger seat at the back of the auditorium. But it was the simple manifestation of that stilled voice—chummy, smart, ready to entertain and edify, that made the heart jump for just a second. Ebert’s two-hour weave of history and insights rushed forward, a dispatch from a friend long unheard-from. The last words spoken from the screen: “I’m Roger Ebert. I hope you’ve enjoyed seeing ‘Citizen Kane.’” The curtains close, the lights rise, the room rocks with stifled sobs and fills with honest tears. Read the rest of this entry »

Review: Jersey Boys

Biopic, Comedy, Drama, Musical No Comments »

JERSEY BOYS
Beneath Clint Eastwood’s easygoing, even somnolent direction of “Jersey Boys” lies a wittily constructed screenplay by Marshall Brickman and Rick Elice, based on their book to the 2005 Broadway musical (Brickman’s other co-writing credits include “Annie Hall,” “Manhattan” and “Manhattan Murder Mystery”). But the small strokes of dialogue and rhyming bits of business are smothered by deadly pacing, among other things, including the whisper of “Goodfellas” at its back.  The latest of eighty-four-year-old Eastwood’s late career surprises harks back to a filmmaking era that never existed, a backlot-driven, quiet, even spectral elongation of the terse framing and blocking of his mentor, Don Siegel (“Dirty Harry”). The combination of the gentility of the settings, sometimes-slapstick comedy, shameless profanity, casually staged musical numbers and erratic casting make for an eccentric, underwhelming, but intermittently eye-opening failure. Read the rest of this entry »

Review: The Wind Rises

Animated, Biopic, Drama, Recommended, World Cinema No Comments »

yoko_outRECOMMENDED

(Kaze tachinu) “Airplanes are beautiful dreams.” Possibly the last film by seventy-three-year-old Japanese master animator Hayao Miyazaki, the sober, regret-steeped “The Wind Rises” is a period drama, a dreamily romantic recounting of the life of Jiro Horikoshi, the aviation engineer who designed the Zero fighter, the plane that Japan thought would win them World War II, and was used for kamikaze attacks and at Pearl Harbor. It’s an honorable treatment of a subject that drew some fervent criticism early in the awards season. Fire and firestorm, wind and clouds and windstorms, sky and planes, are all gorgeously rendered in the fine line of Miyazaki’s virtuoso hand-drawn style. (The sound design, as always, is as gorgeous as the images.) The savor that remains after is the unique look and feel of Miyazaki’s work, but also the pungency of the portrait of the dreamer who sees only his dream, and not always the presages of the world falling down around him. Read the rest of this entry »

Review: The Wolf of Wall Street

Biopic, Comedy, Drama, Recommended No Comments »

THE WOLF OF WALL STREETRECOMMENDED

Since the sixth word of the movie is “cocksucker,” and soon enough someone’s straw-snorting coke in proximity to a hooker’s upturned anus, so “The Wolf Of Wall Street” is not shy about extending its paw for a frantic shake straightaway.  The rise and rise and fall and fall of a convicted late-1980s stock-trading fraudster, of course, makes for incendiary, insidious sensationalism. The rush of narration rolls on: “I use Xanax to stay focused, Ambien to sleep, pot to mellow out, cocaine to wake up and morphine… because it’s awesome.” All manner of powder and power: white and green are the warmest colors. The litany about the virtue of drugs in the accumulation of money and power seethes, “See? Enough of this shit will make you invincible. Money is the oxygen of capitalism and I wanna breathe more than any other human being alive.” It is a sustained shock that a seventy-one-year-old filmmaker, even Martin-fucking-Scorsese (and dedicated editor Thelma Schoonmaker), can heighten the hyper character of a “Casino” or “Goodfellas” on a wholly other topic and surpass himself in vitality and insurgent hallucinogenic energy, and at a 179-minute duration that does not flag, laden with what feels like huge passages of inspired improvisation. Read the rest of this entry »

Review: Mandela: Long Walk To Freedom

Biopic, Drama No Comments »

MANDELA: LONG WALK TO FREEDOM

Nelson Mandela had been in fragile health for years, so his recent death was no surprise, yet the timing of his passing—announced during the London premiere of “Mandela: Long Walk to Freedom”—would seem to make the circumstances around the release of the PG-13 biopic potentially uncomfortable. Those concerns disappear once you see the film: it’s not good. But while the work of British director-actor Justin Chadwick (“The First Grader,” “The Other Boleyn Girl”) isn’t the inspired (or even incendiary) portrait one might hope from a rich life full of upheavals and reversals, the performances by Idris Elba as Mandela and Naomie Harris as Winnie are worthwhile. Read the rest of this entry »

Review: The Fifth Estate

Biopic, Drama, Recommended No Comments »

THE FIFTH ESTATE

RECOMMENDED

Or, “WikiLeaks, The Antisocial Network,” or, perhaps, considering the no-man’s-land “The Fifth Estate”’s subject still lives in, “Too Soon.” Simultaneously depicting the actions of Julian Assange and WikiLeaks as noble and virtuous and Assange as a solitary paranoid, Bill Condon’s restless, righteous movie is passionately described and fictionalized inside baseball, studded with pungent images, beautiful Euro-gloss design and an ultimately reductive script. The acting is stingingly good, and small physical details are lovingly detailed. While the interiors of the reportedly $26-million production could have been shot anywhere, a canny hodgepodge of locations like Reykjavik’s Austurvöllur Square, Berlin under snowfall and the London exterior of the Guardian newspaper offices offer kaleidoscopic satisfactions of a dynamic international thriller. While moving like a bracing, poppy mix of “Hackers,” “All The President’s Men,” “Run Lola Run” and a tickle of “Brazil,” with “The Fifth Estate,” one man’s thrill may well be another man’s pill. Read the rest of this entry »