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CHICAGO – Easter has just passed, and one of the film traditions during that holiday is the musical “Godspell.” This 1973 classic retells the story of Jesus from the Gospel of St. Matthew, through a group of hippie performers, including Victor Garber as Jesus. Robin Lamont sings the signature song in the show, “Day by Day.”

CHICAGO – Patrick McDonald of HollywoodChicago.com appears on “The Morning Mess” with Scott Thompson on WBGR-FM (Monroe, Wisconsin) on February 25th, 2021, reviewing the 1970 film “Watermelon Man,” currently streaming on Amazon Prime Video.

CHICAGO – Robert Redford has slowly become that grandfatherly figure who spends his time in the corner at family gatherings, lecturing nearby whippersnappers on the importance of challenging authority, while reminiscing about the war protests of generation’s past. He’s a well-meaning guy, but his crusty words of wisdom could use a shot of adrenaline.

CHICAGO – I suppose it was only a matter of time before Sebastián Silva delved into the brooding waters of psychodrama. There are countless moments in his previous pictures—from Catalina Saavedra’s piercing Bette Davis stare in “The Maid” to Michael Cera’s hallucinogenic agony in “Crystal Fairy”—that threaten to spiral into horrifying derangement.

CHICAGO – After acknowledging that the rewards of reality are infinitely preferable to the shallow pleasures of a nostalgic dreamworld in his Oscar-winning crowd-pleaser, “Midnight in Paris,” Woody Allen’s tirelessly neurotic psyche appears to be more calm and serene than ever before. Perhaps his compulsion to make one picture a year has finally brought him some sort of therapeutic catharsis.

CHICAGO – What sins can a man commit and manage to live with for the rest of his days? Can he enjoy the rewards of unearned praise and adoration? These provocative questions could easily serve as the basis for a compelling thriller, as proven by a multitude of titles including Woody Allen’s “Crimes and Misdemeanors” and “Match Point.”

CHICAGO – Meryl Streep and Tommy Lee Jones are actors capable of conveying a richly layered inner life without uttering a single word. They have a miraculous method of making silence speak volumes. It’s in the lingering pauses and sudden hesitations between words where the story truly resides. I can’t picture two actors better suited to work together onscreen.

CHICAGO – 2012 contained three great Tommy Lee Jones performances, and one of them was delivered by Josh Brolin. Whereas Jones himself was flat-out brilliant in “Hope Springs” and “Lincoln,” he was assigned the thankless task of playing second (or third) banana to the wisecracking, increasingly Bugs Bunny-like Will Smith in Barry Sonnenfeld’s wholly unnecessary third installment in the “Men in Black” franchise.

CHICAGO – Gritty realism proves to be a perfect fit for some superhero franchises, but “Spider-Man” isn’t one of them. The more grounded and practical the world of Peter Parker becomes, the sillier the whole thing gets. Sam Raimi’s trilogy flourished precisely because it resembled a cheerfully vibrant comic book come to life. In contrast, “The Amazing Spider-Man” is a bore.

CHICAGO – Tanya Wexler’s “Hysteria” is a feel-good movie about the dawn of an invention that redefined the meaning of “feel-good.” As America continues to harbor simultaneously puritanical and adolescent attitudes toward sex, films like “Hysteria” continue to be as vital as they are entertaining. In a way, the picture is as old-fashioned as any Hollywood crowd-pleaser, aside from its eyebrow-raising subject matter.