CHICAGO – Patrick McDonald of HollywoodChicago.com audio review for the streaming series “Emily in Paris” the adventures of Emily Cooper and her fanciful/fashionable Paris friends and lovers, now in its fourth season. Episodes 1-5 currently on Netflix.
Stieg Larsson
David Fincher’s Stunning ‘The Girl with the Dragon Tattoo’
Submitted by BrianTT on December 14, 2011 - 3:21pm![]() Rating: 5.0/5.0 |
CHICAGO – David Fincher’s “The Girl with the Dragon Tattoo” comes with waves of expectations from fans of the Stieg Larsson books, the Swedish original films, the director’s previous beloved works, and even drama over a certain national outlet breaking an agreed-upon embargo. Could it possibly live up to the hype? If you can let it go and just appreciate the film for what it is — absolutely.
‘The Girl Who Kicked the Hornet’s Nest’ Underlines Franchise Limitations
Submitted by mattmovieman on October 29, 2010 - 7:12am![]() Rating: 3.0/5.0 |
CHICAGO – Now that the third and final installment of Stieg Larsson’s posthumously published, phenomenally popular book series has been turned into a feature film, the questions emerges: ‘Was it worth it?’ To the worldwide box office and the creatively bankrupt Hollywood, of course it was. But were moviegoers truly satisfied by the experience?
‘The Girl Who Played With Fire’ Snuffs Out Potential
Submitted by BrianTT on July 9, 2010 - 9:31am![]() Rating: 2.5/5.0 |
CHICAGO – Movie trilogies often are judged on the strength of their middle chapters. The “Star Wars” franchise wouldn’t have been continually embraced by new generations if “The Empire Strikes Back” hadn’t deepened the characters to such an extent that they became more than mere Jungian archetypes. If “Empire” jettisoned the franchise’s potential, “Attack of the Clones” brought it in for a crash landing.
‘The Girl With the Dragon Tattoo’ Entertains Rather Than Exhilarates
Submitted by BrianTT on March 19, 2010 - 2:13pm![]() Rating: 3.5/5.0 |
CHICAGO – Literary mysteries are harder to adapt for the big screen than one might assume. The trick is to make audiences feel like they’re discovering secrets right alongside the characters. We want to share in their exhilaration, their terror, their epiphanies.
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