An often-exquisite mess, Scott Coffey’s “Adult World” capably captures the pretensions and confusions of a certain age, in both fond and satirical fashion. Punchy and screwloose, his small satire follows Emma Roberts as virginal twenty-two-year-old college student Amy Anderson, modeling herself after Sylvia Plath, who seeks employment at a beat-down adult bookstore in Syracuse, while pursuing a mentor in the form of a beat-up punk poet played by John Cusack. “You can’t be a wunderkind after twenty-two,” Amy frets aloud. Read the rest of this entry »
“May he now get the answers he was always seeking,” Dan Aykroyd tweeted Monday, a few hours after the news of Harold Ramis’ death at sixty-nine.
I first met Harold Ramis back in the early 1990s through a friend from Second City, a writing partner, whom the older screenwriter-director had befriended when the younger man was a teenager in Los Angeles. But from our first extended conversation, around the time of “Groundhog Day,” it was clear that Ramis didn’t require an introduction or connection in order to be generous: raising the temperature of the room, as well as the conversation, working from the top of his intelligence, was just the order of things. Six-foot-two, smile-wincing behind an ursine beard in later years, “The Rabbi,” as his ex-wife called him (see below), was a natural mentor and teacher as much as the fertile comedy mind behind movies like “Caddyshack” and “Groundhog Day.” Whatever the subject, he had something to say, even talking around an unsuccessful movie like 2000’s “Bedazzled.” My conversation with Ramis from the 2005 release of “Ice Harvest,” which is below, holds several poignant and pertinent reflections in light of the Chicago icon’s passing.
“You want to be some combination of Cary Grant, Errol Flynn and Harpo Marx. That was my ideal,” he told Tad Friend in an essential 2004 New Yorker profile. Yet, even in the mediocre snapshot above, he rose above that hoped-for blend that would create the dashing clown: just look at the elemental generosity in his posture, leaning into a crowd of rapt listeners at a Columbia College event. In the New Yorker piece, director Jay Roach described the effect of Ramis’ best work: “You would watch people in the audience just lose their minds. Harold Ramis is the yardstick of what you want to reach for, of people’s bodies around you going into convulsions of joy while your brain is thinking and your emotions are deeply tied in to the characters, and you’re going, ‘Oh my God, This is the best two hours I’ve ever spent.’” Read the rest of this entry »
Sometimes scheduling keeps a reviewer from getting to a movie before it opens, and sometimes, that’s just Awesome. In the case of the exceptional “The Lego Movie,” from directors Phil Lord and Christopher Miller, getting to see their pyrotechnic computer-animated fantasia with a packed, thrilled, paying audience was a sweet treat, especially since its wall-to-wall Mad-magazine-like visual tapestry also draws subversively on any number of movies that would include but hardly be limited to the epic paranoia of John Carpenter’s “They Live” and “The Matrix,” as well as the Wachowskis’ most-misunderstood carpet-bombing of form, “Speed Racer.” (In the case of “The Lego Movie,” something is hardly rotten from the state of Denmark.) It’s not quite the communist insurrection that some commentators of predictable bent have called it, but it’s assuredly the most sophisticated release of the winter crop of new movies—simply cinema. Read the rest of this entry »
In the Georgia-shot thriller pastiche, “24 Exposures,” veteran Chicago writer-director Joe Swanberg again questions the role of the artist versus those who are depicted via the story of Billy, a death-fetish photographer (Adam Wingard) whose path crosses that of a suicidal solo cop (Simon Barrett). While Swanberg has invoked the example of 1960s Euro-thrillers, “24 Exposures” hews closer to other cited influences, 1990s “Skinemax” thrillers and the boldly colored and plainly sexual work of Zalman King and the breast-baring films of Russ Meyer. Swanberg’s attraction to bold fields of color, such as in one wall in a room painted a hot, unlikely color, is akin to King’s sweetly marzipan sense of design. And the skin—the skin in “24 Exposures” is ample, both in Billy’s grue-strewn shoots and in sexual encounters with his girlfriend and the model of the day. Read the rest of this entry »
“August: Osage County” began life as stories heard and scenes seen by a ten-year-old Tracy Letts in Oklahoma, then took shape as a Steppenwolf ensemble production in 2007 before moving on to Broadway, before taking the Pulitzer in 2008. Now, in time for the holidays, Letts has adapted his three-hour family meltdown barnburner for the movies, providing rare verbal-physical performance challenges for film actors like Meryl Streep, Julia Roberts, Julianne Nicholson, Chris Cooper, Margo Martindale, Juliette Lewis, Abigail Breslin and Dermot Mulroney.
The plainspoken forty-eight-year-old Letts recently won a Tony in the role as George in the Broadway revival of Edward Albee’s “Who’s Afraid Of Virginia Woolf,” and dared the early December Chicago cold to talk about the craft behind the adaptation of his sweltering familial meltdown. An early grace note at the top of the movie is a whiff of the great Sam Shepard, puttering around the house as a lost-to-fog alcoholic poet. “Nice, huh?” Letts says with a pleased smile. “He’s pretty good, that Sam. He’s pretty good. If he had never been a playwright, I think he might have been a good movie star anyway.” Letts has quoted the great American playwright as answering the question, “Why family as a subject?” with “What else is there?”
Letts laughs. “I don’t know if that story is true or not, but…” But you said it was. “Yeah. No, it’s a quote I love to take and credit to Sam. Did you like the movie?” Read the rest of this entry »
In the many years I’ve known Bill Siegel, I can’t remember a time he wasn’t talking or thinking about Muhammad Ali. Working as a researcher on Leon Gast’s 1996 “When We Were Kings,” as well as other projects like the six-hour-plus “Muhammad Ali: The Whole Story” (also 1996) that involved the three-time heavyweight champion, the Chicago-based documentary filmmaker became an expert on not only his athletic victories, but his political activism and commitment. Siegel was Oscar-nominated for the 2002 film, “The Weather Underground,” which he and Sam Green co-directed, and that film is sharp about political engagement and conviction, about idealism and legacy. Read the rest of this entry »
By Ray Pride
Even without previewing most of the titles, the schedule of the thirty-first edition of Reeling looks like a perky, provocative package, its seven days filled with gay, lesbian and transgender films with edge and humor, including the Midwest premiere of “Black Box,” Chicago filmmaker Stephen Cone’s follow-up to “Wise Kids,” a range of documentaries, including Jeffrey Schwarz’s “I Am Divine,” and “Interior. Leather Bar.,” Travis Mathews and James Franco’s multi-meta imagining of a re-creation of as well as the apocryphal “lost footage” from William Friedkin’s “Cruising.” (The “contemporary” footage being rehearsed by Franco plays largely like a student-film conceit; the sexually explicit, music-driven montages as an extension of what Mathews has already accomplished with editing in his personal, sexually explicit work.)
After taking 2012 off to regroup, this year’s festival, Chicago Filmmakers executive director Brenda Webb told me recently that the eight days of programming, centralized at the Logan Theatre will be “tighter, with higher-profile films in a wider range of slots than before.” Reeling will use two 170-seat screens. “At the Landmark, Century we were in a 260-seat theater and a 100-seat theater, so we were able to program shows against each other that would appeal to very different audiences and we could take risks in the smaller theater because we didn’t need to attract a large audience. The programming is probably more evenly weighted for each screen and, therefore, the audience is going to have to make some very difficult choices. Read the rest of this entry »
Our City of Lights: Filmmaker John Rangel’s “The Girls on Liberty Street” is a Love Letter to Hometown AuroraChicago Artists, Festivals No Comments »
By Eric Lutz
“My friends and I would always kind of half-joke about how in our class, more kids went to jail than went to college,” filmmaker John Rangel tells me over coffee on a sunny Friday morning in Logan Square.
We’re talking about Aurora, Illinois, his hometown and the setting of his brilliant new movie, “The Girls on Liberty Street,” which opens at the Chicago International Film Festival October 12.
“When I was in grade school, there were gangs and they would fight—they would fist-fight,” he says. “By the time I got to middle school, people started getting shot. And then by the time I was graduating high school, it was machine guns and pipe bombs.”
Growing up, Rangel wanted nothing more than to get out of town. Read the rest of this entry »
The Chicago International Film Festival is ripe, as always, with the first public showings of movies that will be highlights of the lurching-toward-Oscar adult movie season, including Alexander Payne’s black-and-white generational road movie, “Nebraska,” starring Bruce Dern, and the latest from the Coen brothers, “Inside Llewyn Davis,” a beloved-by-critics Cannes debut about the 1960s Greenwich Village folk scene, a missing cat and the cost of an abortion. One of the most exciting, as well as unexpected attractions, is the Opening Night film, the sturdy and underrated filmmaker James Gray’s turn-of-the-twentieth century drama, “The Immigrant,” starring Marion Cotillard, Joaquin Phoenix and Jeremy Renner. Steve McQueen’s “12 Years A Slave” debuts, as well, the subject of fervent praise and an almost-as-fervent backlash after making its North American debut a couple weeks ago in Toronto. The Cannes Palme d’Or winner is also on hand, Abdellatif Kechiche’s 179-minute, NC-17 “Blue Is the Warmest Color: Adele Chapters 1 & 2,” with highly regarded performances by Léa Seydoux, Adèle Exarchopoulos in a romantic drama of teenage lesbian love. Last-minute additions: Jason Reitman’s latest, “Labor Day,” and Ti West’s try at found-footage horror, “The Sacrament.” Read the rest of this entry »
Or more appropriately in our age of image making by everyone, what is “film”? YouTube claims 144,000 hours of video are posted every single day. (A woman who reaches the age of eighty has lived 701, 280 hours: hardly even five YouTubeDays.) And how many hours in a life are there to produce, consume, examine, remember film? (One definition, esthetically, could be: looks like life, feels like a dream.)
Chicago’s film profile was elevated from the 1980s forward by movies like “Hoop Dreams,” “Risky Business,” “Ferris Bueller’s Day Off,” “The Fugitive,” “The Dark Knight” and decades of great documentaries and experimental work by many important figures whose history is still being written. But the link between Chicago and film is more expansive than that, starting with the movie industry: who shoots them, who finances them, who writes them, who finds locations. Then there is the increasingly large number of students in the city, studying some form of film or television or media. The number of students specializing in some kind of media studies or media production at Chicago’s many universities is enormous, from Columbia College, Northwestern, the School of the Art Institute, the University Of Chicago, DePaul, Tribeca Flashpoint, and so on—a shocking number next to the number of films of any shape or size that even the most devoted of us are about to enjoy in any given year. “Film”? It used to be just something you loved seeing on the big screen with the smell of fresh popcorn in the darkness. Even universities are changing the names of their programs in fast-changing times: DePaul, for instance has its “School of Cinema and Interactive Media.” Then there’s “transmedia” and the selling: What stories do we have to tell about the stories we have to tell?
The work goes on. But what is the “work” in a time of “creative destruction” when all models for financial return have gone out the window? In the lists we compiled, we were looking for people who aren’t isolated or cloistered, but who are working, and putting work out into the world. This list is in no way exhaustive nor is it a list of up-and-comers—a groundbreaking image, narrative, economic model could be hatched tonight and launched tomorrow, gone viral quicker than flu itself—but it’s more of a list of those who have found ways to continue their practice, exert their personalities and offer a few examples, both young and long-lived, for the world in ways that are impeccably Chicagoan: rough and ready, come what may. (Ray Pride)
Film 50 was written by Ray Pride and Brian Hieggelke Read the rest of this entry »