Reviews, profiles and news about movies in Chicago
This week: “Roy’s World: Barry Gifford’s Chicago” at Chicago Filmmakers; “Losing Ground” at Chicago Film Society; “Clash of the Wolves” and “Point Blank” at Doc Films; “Detention” and “Cade—The Tortured Crossing” at Drafthouse; “Kokomo City” and “A Compassionate Spy” at Siskel; and “Kokomo City” also at Music Box.
Sachs says “Passages” is about “love and its complexity and intimacy” with his trio of characters caught up in a bisexual triangle.
This week: “Play It As It Lays” at Doc Films; “Superbad” a Drafthouse; Hong Kong Summer series, a Camille Billops and James Hatch retrospective, “20 Days In Mariupol,” and “Ghosts Of The Void” at Siskel; and “That Boy” at Music Box.
Noir City, more Adrian Tomine and the Titanic all float in August.
Nolan says he wrote his screenplay, drawn from the pages of Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” from the perspective of his protagonist, the man who assembled the bomb that “would preface the firestorms over Hiroshima and Nagasaki…” For lack of a keener phrase, this is an intimate epic.
This week: “Anime Auteurs” series with “Cowboy Bebop” at FACETS; “Beyond The Valley Of The Dolls” at Doc Films; “Quince Tree Sun” at Chicago Film Society at NEIU; “Earth Mama” at Siskel; “Oppenheimer” at Music Box; and Joe Swanberg presents “Cuddly Toys” at The Davis.
“Barbie” is clever. Dauntingly, remorselessly clever. Plus, there’s a prime message: “Because Barbie can be anything… little girls can be anything.”
This week: “Finntastic: New Films from Finland” at FACETS; “Frances Ha,” “Tenet,” “Interstellar” and “Small Soldiers” at Alamo Drafthouse; “Welcome To L.A.” at Doc Films; “Monsieur Verdoux: A Comedy Of Murders” at Chicago Film Society at NEIU; “Contempt,” “20 Days In Mariupol” and “Hong Kong Summer” at Siskel; “New Adventures In 70mm” at Music Box.
A breezy, unstoppable slab of summery entertainment, the superb “Mission: Impossible – Dead Reckoning Part One,” or “Tom Cruise, Running,” is upon us.
The grand corpus left by German filmmaker Rainer Werner Fassbinder at the age of thirty-seven—over forty films and television projects, plus plays in a decade-and-a-half of cold fury—is the subject of Ian Penman’s short, sharp shock of “Fassbinder: Thousands Of Mirrors.”
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