Reviews, profiles and news about movies in Chicago

Review: Stand Clear of the Closing Doors

Drama, Recommended, The State of Cinema No Comments »

Stand Clear Closing DoorsRECOMMENDED

Fragile, autistic thirteen-year-old Ricky (played by nonprofessional Jesus Sanchez-Velez, who himself has Asperger’s), prone to skipping class, takes off after one chiding from Queens’ Rockaway Beach to a circuit of the New York subway, encountering the proverbial mass of humanity even as “Superstorm Sandy” approaches landfall. Sam Fleischner’s “Stand Clear Of The Closing Doors,” shot guerilla-style, captures a rare, teeming intimacy while also invoking the real-life, larger disaster about to hit. (Fleischner’s own neighborhood was demolished by the storm three-quarters of the way through the planned shoot.) The individual behaviors caught and measured make for splendid orchestrated cacophony. Read the rest of this entry »

Review: Dormant Beauty

Drama, Recommended, World Cinema No Comments »

servillo-dormantRECOMMENDED

(Bella addormentata) The seventy-four-year-old Italian master Marco Bellocchio remains steeped in all the vitality and fury of life and politics in “Dormant Beauty,” a keenly etched tragedy based on an occasion where Italy was inflamed by the case of a woman in a coma and an ensuing public battle about euthanasia. Bellocchio twines four stories, each with their own moments of volcanic dramatic power, into one pulsing mosaic. Read the rest of this entry »

Review: Dawn of the Planet of the Apes

3-D, Action, Drama, Recommended No Comments »

DAWN OF THE PLANET OF THE APESRECOMMENDED

No big-budget action film about one kind of apocalypse or another is complete these days without a rapid-fire, melancholic montage at the beginning, invoking the present day, the beginning of these particular end times. “Snowpiercer,” “Edge of Tomorrow,” “World War Z,” and, of course, the end of “Rise of the Planet of the Apes” (2011). So it goes with “Dawn of the Planet of the Apes.” In a few fleet images atop a murmurous soundtrack, the deed is done, “simian flu” eradicates nearly all of mankind, and ten years have passed. A few humans, led by a former law enforcement officer played by Gary Oldman, are left in the center of San Francisco, while miles away, up in the mountains, under the trees, a civilization of super-smart apes begins to, well, dawn. Matt Reeves’ skills as a director, and orchestrator of talents, show a fantastic advance from “Cloverfield” and the fine “Let Me In.” Read the rest of this entry »

Review: Snowpiercer

Action, Drama, Recommended, World Cinema No Comments »

SNOWPIERCER_1RECOMMENDED

With “Snowpiercer,” the eminently talented South Korean genre-bender Bong Joon-ho (“The Host,” “Barking Dogs Never Bite,” “Mother”) aims beyond the fences again with his fevered free adaptation of Jacques Lob and Jean-Marc Rochette’s 1984 French graphic novel, “Le Transperceneige.” Bong and co-writer Kelly Masterson (“Before The Devil Knows You’re Dead”) get a running start, depicting a worldwide attempt to forestall global warming on July 1, 2014, an experiment that freezes the planet. “The rattling ark” of a visionary industrialist’s vast, perpetual motion train that makes a circuit of the globe once a year is then the film’s allegorical setting. (In the novel, the train is 1,001 carriages long, to throw in another allusion.) For seventeen years, the Snowpiercer has stayed in motion. The oppressed of the farthest reaches of the tail of the train are prepared to revolt, to make their way to the front of the train, to…? They know no other world, not even sunlight glinted off the expanses of barren snow and frozen cities they circuit past. Read the rest of this entry »

Review: A Hard Day’s Night

Comedy, Musical, Recommended No Comments »

71233CT28.1(CMYK)_3.tifRECOMMENDED

The greatest opening chord in movie history is followed by one of the great cut-up comedies in “A Hard Day’s Night,” combining the immense charm of the young quartet with the intense invention of a young Richard Lester. It’s one second, two seconds at the most, twannggg, and the screen floods with the Beatles, in trim, natty suits and thin ties and the, yes, Beatles haircuts, being pursued up a London side street by a loving, crushing crowd of fans. Those opening two minutes forty-five seconds are one of the most fantastic bursts of joy in any movie I know. And then, you know what? You still get to enjoy the sweetly absurd comedy of the rest of “A Hard Day’s Night.” Plus: weren’t they such pretty, lovely boys? (Even in the company of their friend, the cleanest “clean old man” of them all.) 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: Begin Again

Musical, Recommended, Romance No Comments »

BEGIN AGAINRECOMMENDED

Boy already met girl, girl already left boy, that was “Once.” What can a filmmaker do after a success like that? Writer-director John Carney doesn’t fully succeed Twice, but there are sweet and knowing moments throughout “Begin Again,” his latest romance about songwriting and a city, in this case, New York City in autumn. His script’s conceit is that Gretta, a young English songwriter (Keira Knightley) abandoned in New York by her rising-pop-star boyfriend (Adam Levine) would be discovered in an Arlene’s Grocery-like East Village music showcase by a just-fired, hard-drinking, burned-out music label co-owner named Dan (Mark Ruffalo), and record an entire album live on locations in Manhattan. (Accept the premise, you’ll like the smaller bits.) Read the rest of this entry »

Review: Transformers: Age Of Extinction

3-D, Action, The State of Cinema No Comments »

TRANSFORMERS: AGE OF EXTINCTION

 

Michael Bay and his backers have spared no expense with the latest “Transformers” movie, but he can’t help but fall afoul of genre conventions and his usual over-reliance on computer-generated special effects. “Transformers: Age Of Extinction” picks up four years after the big guys left Michigan Avenue and Streeterville in ruins. To keep this from happening again, the feds are now hunting all remaining transformers, good and bad alike. An injured Optimus Prime comes into the possession of financially struggling widower-inventor Cade Yeager, played by Mark Wahlberg. Cade repairs Prime, the government finds out, explosions ensue. We spend the rest of the movie’s punishing 165-minute running time tracking Wahlberg as he tries to keep his daughter (relative newcomer Nicola Peltz) safe from the elite CIA unit that’s hunting them down. Cue robots, car chases, space ships, massive explosions and over-elaborate action sequences. Read the rest of this entry »

Why Does Anyone Do Anything: Paul Haggis in the “Third Person”

Drama, Recommended, Romance 1 Comment »

PHM_7578.NEFBy Ray Pride

One of the most bittersweet end credits I’ve seen in recent movies comes at the end of Paul Haggis’ melodrama about jealousy and point-of-view, “Third Person”: “To all the Belgian tax shelter investors.”

Haggis laughs when I say this on a recent sunny Chicago afternoon resounding with fire trucks and ambulances on the street below the high-up hotel suite. “I had to leave this country to get financing for this film,” he says at a fast clip with a light Canadian cadence. “I knew it was going to be a European film in many ways, anyways. It’s a European sensibility, this film. Besides the fact that two of the cities, Paris and Rome, are European. That didn’t trouble me too much, but it is a shame. We didn’t even bother to think of taking this to studios. We didn’t even try. Why would we? This is nothing a studio would make today. The days of studios making adult dramas is, sadly, long past.”

The look and feel of the movie does hark back to multiple eras. “We shot a lot of interiors at Cinecitta [studios in Rome]. Some we built on locations,” he tells me. “All the hotel suites, the hotel corridors, everything’s built there. I wanted two hotels that had the same footprint exactly. It’s part of the story. Even though [production designer] Larry Bennett changed out the windows and the dressing and the coving and everything, I wanted them to feel like… ‘Is this the same place?’ No, it’s not. ‘Is it?’” 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 »