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“Infinity Pool” stretches its R-rating in terms of sexual content and bloody deeds. But this is confident, considered, mind-bending filmmaking. → Read More
If “Avatar: The Way of Water” and “Top Gun: Maverick” hadn’t broken the billion-dollar barrier, would they be in this year's best picture nomination bracket? Doubtful. → Read More
Nothing is simple or forgiving in this land, or in Jafar Panahi's remarkable lockdown feature "No Bears." The movie shifts planes of reality with uncanny effectiveness. → Read More
Tonight (Jan. 18), the Chicago Film Society opens its winter season with the 1927 gem "Sunrise"--"an avant-garde work," says CFS co-founder Kyle Westphal, "steeped in traditionalism.” → Read More
"Who gets to tell what story, who gets to make the movies, who gets nominated — they’re all part of it," says filmmaker Jennifer Reeder, on the ingrained sexism of her industry. → Read More
“We really love Wrigleyville,” says Alamo Drafthouse founder and executive chairman Tim League. “We love Chicago, period. It’s a fantastic film town.” → Read More
By the end of "Saint Omer," with Nina Simone’s version of “Little Girl Blue” accompanying images of the empty streets, filmmaker Alice Diop turns courtroom drama into poetry. → Read More
Not since “Poltergeist” has the family TV taken so prominent a role in a movie. "Skinamarink" is nothing grabby or pushy; it's more of a dreamlike reverie. → Read More
The writer Philip K. Dick once asked: Do androids dream of electric sheep? M3GAN, which stands for “Model 3 Generative Android,” looks as if she dreams only of Nicole Kidman in “To Die For.” → Read More
Brian Andreotti of the Music Box Theatre: "Cinema isn’t dying. But it’s more important than ever to have a formula that works." → Read More
In my eternal quest for cheese, Gerard Butler in "Plane" smells promising. Every winter movie season must make room for a title not even trying to be clever. → Read More
It’s not easy to send “Singin’ in the Rain” on a collision course with the Hollywood nighmare "The Day of the Locust." But "Babylon" tries. → Read More
Brendan Fraser always was a crafty character actor, often tucked in the not-fake prosthetics of male beauty. "The Whale" relies on something different. → Read More
Tribune film critic Michael Phillips on the best/worst of 2022: "There’s more to cinema than the business of cinema. The artists may not run the show, but they're everything. Everywhere. All at once." → Read More
Co-writer and director Jerzy Skolimowski has managed something quietly remarkable in this animal tale. → Read More
Nina Menkes' "Brainwashed” draws on a mountain of come-hither evidence to make a point: Shot design, and who's behind the camera, is as gendered as anything in our culture. → Read More
"Emancipation" treats the photo that inspired it as a hook for its action-movie inventions. By the end, we get a rousing climax not even the filmmakers seem to believe. → Read More
For some, David Harbour’s sodden gravity and sneaky levity will be enough. He does get to stab a bad guy in the eye with a Christmas tree star, for a start. → Read More
"Nanny" star Anna Diop carries every scene here with aplomb. This is a truly character-driven psychological thriller. → Read More
“My mother LOVED John Ritter,” says "Nanny" star Anna Diop. "‘Three’s Company’ was a huge part of our welcoming into this country." → Read More