Review: Kenneth Branagh Returns To Agatha Christie, In Front of and Behind the Camera, for A Haunting in Venice
Based loosely on the Agatha Christie novel Hallowe’en Party and once again adapted by Michael Green, A Haunting in Venice…
Review: Christopher Nolan Gets Personal, Emotional and Political in a Sprawling, Engrossing Oppenheimer
Although it sometimes feels like we’re watching a history textbook or a lengthy biography, writer/director Christopher Nolan’s Oppenheimer is a…
Review: Hercule Poirot Returns in Death on the Nile, an Elevated, Elegant Mystery
Taking a slightly more serious, but no less stylized, approach to the crime-solving adventures of Belgian sleuth Hercule Poirot (played…
Review: Filmmaker Kenneth Branagh Makes His Best, Most Personal Film Yet in Belfast
If nothing else, Kenneth Branagh is a productive filmmaker. Of the 20-odd films he’s directed (many of which he’s also…
Dispatch: Week of Chicago Int’l Film Festival Features Filmmaker Tributes, Even More Compelling Cinema
The Chicago International Film Festival is well underway, with screenings happening at venues around the city and a full slate…
Interview: Chicago International Film Festival’s Mimi Plauché on a Hybrid Fest, Hidden Gems and Helping Audiences Connect to Films
With the city of Chicago—not to mention the world, the nation, and the movie-going public—in various stages of pandemic living…
Review: Visual Gymnastics, Laid-Back Cool and a Signature Grand Scale in Christopher Nolan’s Tenet
In many ways, writer/director Christopher Nolan’s latest blend of action, science fiction and all things massively scaled, Tenet, is a…
