CHICAGO – Like the awesome Engine Who Could, the mighty Nothing Without a Company stage crafters have constructed another triumph at their new home in Berger Mansion on Chicago’s north side. “The Kid Thing” – written by Sarah Gubbins – is a terse, convincing and emotional play about fear, identity and breeding, and it is performed by its cast of five with utter authenticity. The show has a Thursday-Sunday run at the Berger North Mansion through April 15th, 2017. Click here for more details, including ticket information.
CHICAGO – Using Chicago as a backdrop has rarely been as kinetic and exciting as under the direction of Marie Ullrich. Expanding upon a short film she produced in 2010 called “Faster,” about a bike messenger in the Windy City, Ullrich went for a grittier and more emotional look at that world in “The Alley Cat” in 2014. The film was released on Blu-ray and DVD on August 16th, 2016.
CHICAGO – Browsing Dostoyevsky titles with consideration for proper roles for Mark Wahlberg, one might expect the Beantown hero to take on an adaptation of “The Idiot” before anything like “The Gambler.” After all, while Wahlberg has proven to be a diverse screen force - one who has well-grown past his Funky Bunch days - he often leans towards goofy men, or at least goofy men in goofy movies.
CHICAGO – Far more marvelous than imperfect, “Interstellar” is the answer for moviegoers who have lost the zeal for massive films, citing a lack of ideas, heart, or general passion for filmmaking. Director Christopher Nolan’s 2014 space odyssey is an event of beauty, with the rare experience of showing viewers something they haven’t seen before.
CHICAGO – Chris Rock isn’t a huge writer/director, but when he does make a film, it’s an event to consider. For example, he made black president tale “Head of State” long before then-senator Barack Obama was even considered for the real-life role, and whether behind the stand-up mic or in an interview, he’s a voice to be reckoned with.
CHICAGO – In “Men, Women & Children,” director Jason Reitman not-so-audaciously reflects onto viewers their world of silent screens and awkward impersonal interactions. As many stories (“Don Jon,” “Disconnect”) have taken on the torch of showing how we are, gasp! — connected to the world yet disconnected from those close to us — Reitman’s tale is just another one for the batch.
CHICAGO – When people yawn about the dullness of movies based on life stories, they are certainly referring to films like “Get On Up,” an absurdly uninteresting portrait of a key figure of music, or so this movie claims. From the “The Help’s” vanilla visionary Tate Taylor, this 140-minute ode to James Brown is a half-assed argument about his nonpareil greatness, and full evidence that the biopic may be the weakest genre in film.
CHICAGO – I remember when Richard Linklater’s “Boyhood” was just a rare credit on IMDb, a project listed as “in production” for many years, while the director’s other completed work passed through. The curiosity of Linklater’s unparalleled experiment was certainly fulfilled by its release, which comes full circle today as it hits home video, an award season epilogue in sight.
CHICAGO – As the classification of “cult hit” becomes a progressively mainstream notion considering the multitude of “The Room” screenings across our great nation every weekend or the universal quotability of “Troll 2,” “The Guest” arrives. It is a movie made with the degree of madness often found only at midnight, usually at film festivals, or during special events at indie movie houses like Chicago’s Music Box Theater.
CHICAGO - Look past the cheesy carbs and b-boy poses, this shiny mo-cap reboot of cartoon juggernaut “Teenage Mutant Ninja Turtles” offers slick entertainment that makes for a welcome surprise for middle school fare. Proving that executive producer Michael Bay has both grown up but it still frightfully in tune with what jazzes teens, this surprise box office hit is indeed a nice slice of a blockbuster spectacle, whether or not a viewer cares about the turtles or not.
CHICAGO – Dwayne Johnson slams and jams in the bland “Hercules,” the “Space Jam” he never made when known as a brow-raised wrestler under his birth name “The Rock.” This ferociously generic take on the mythological hero focuses on Hercules with a group of mercenaries (played by Rufus Sewell among others) as they train a group of gee-shucks farmers to become warriors, while they project legends of immortality onto Johnson’s secretly mortal hero.