The 61st Chicago International Film Festival

At first, I thought Adult Children was going to be a very standard family comedy. It has a typical dysfunctional family going through a myriad of life's challenges and getting through it. However, a sharp turn in act two left the film powerfully reflecting a personal experience of mine that I had never seen showcased on film. The script still suffers from being a bit too sentimental at times, but the strong performances from Ella Rubin, Betsy Brandt, and Aya Cash made this a strong indie film that really resonated with me. 

7/10

I should be the target audience of Alex Phillip's ode to horny schlock, but Anything That Moves feels more like a pastiche of the greats in the genre than anything else. I was not necessarily a fan of his first feature, All Jacked Up and Full of Worms, but I was hopeful for this due to its interesting concept. Ultimately, I respect the vision more than I like the film; I found the characters and plot lines to be surprisingly not compelling here and the gross-out nature of the film to be more annoying than actually transgressive. Just because you can does not always mean you should. There is one highlight of the film, however: the beautiful cinematography by Hunter Zimmy. 

4/10

I can also respect a lot within Arco, which has a unique vision for a children's animated feature, but unfortunately, I just am not the target audience here. The overall storyline feels clichéd of modern animation, and I did not find myself moved by any of the emotional moments. I will always support independent animation, as the capitalistic nature of the current artform is slowly killing it, but I also struggle getting behind films so obviously made with children in mind. 

5/10

I was pleasantly surprised by Eternity, a film I initially dismissed due to how generic I expected it to be. While Eternity is definitely a bit too cookie-cutter and predictable for its own good, I had a pretty good time watching this. Elizabeth Olsen is not convincing in the role of Joan, a woman forced with an impossible decision in the afterlife, but I did walk away a fan of Miles Teller. Eternity is made by Teller's performance, as it alternates quickly between self depricating humorous beats and traditional, romantically charged emotional ones. I, quite frankly, did not know he had this in him. Eternity is far too long and I constantly knew what was about to happen, but it is nonetheless a consistently funny, pleasant time at the movies. 

7/10

Frankenstein showed promise as the large-scale passion project of the legendary Guillermo del Toro, but it was unfortunately lackluster. The film suffers from being too long without ever diving into the thematic content, outside of heavy-handed dialogue that loudly explains the message of the film. Subtlety is surely a lost art here, with any symbolism being too in your face to make an impact. The Netflix influence is also strong, as the cinematography feels dry and the VFX is actively bad. The saving graces of the film are Oscar Isaac's amazingly pathetic performance as Victor and the beautiful costumes, specifically in the gowns worn by Mia Goth. I was also offput by the concept of ending an adaptation of one of the most important texts ever written, a legendary novel from a ground-breaking woman, with a quote from a man. Disappointing. 

5/10 

I did not know too much about The Girl in the Snow going in other than the central premise, but I can't tell if I was underwhelmed or just whelmed. French films about confusing sexual dynamics are my niche, and maybe I expected too much from the premise, but I was constantly waiting for something more to happen. The Girl in the Snow is a simple slow-burn with heavy emphasis on building up the snowy, isolated atmosphere. You never learn much about the characters nor the situation, but there is enough to keep you hooked the entire time. I was hoping there'd be a little something more by the end, but I have been left with a lingering impression of its themes, which I suppose is more than enough. 

6/10 

(North American Premiere)

I am not someone who likes to use hyperbole. So when I say that If I Had Legs I'd Kick You is the best film released this decade, I say that as a lifelong film fan who has been moved deeply by what Mary Bronstein and Rose Byrne accomplish in this unpleasant, heart-breaking experience. I have been a Bronstein fan since Yeast, but Legs takes her deeply nauseating direction and horrifically personal writing to the next level. The film soars to new heights thanks to an all-timer performance by Rose Byrne, who does work in minor scenes that other actors could not dream of accomplishing in their lifetimes as Linda, a mother on the verge of a nervous breakdown. This film gave me a visceral, full-body response on the spectrum of watching a David Lynch film and spending two hours in the pits of hell. Even as a hardcore horror film fan, no film has frightened me this thoroughly. Other shoutouts go to A$AP Rocky, who is sure to be a major movie star one day, Danielle McDonald as a struggling client of Linda's, and the hair-raising sound design. If I Had Legs I'd Kick You is a major picture about the impossible burden of existence. 

10/10 

As a staunch defender of Bradley Cooper's two other directorial efforts; I am excited to say I loved his third film just as much. Is This Thing On? is a tender and funny film about what it means to be in a relationship. It features an insane performance from Will Arnett, who delivers some of the year's best loud and quiet moments. The relationship between Alex and Laura Dern's Tess also feels so realistic and lived-in, lingering in my mind long after. The side plots felt a little underutilized, and there was not enough of Arnett's amazing stand-up sequences, but I loved this one. 

8/10

Jafar Panahi’s return to narrative cinema is with a bang. It Was Just an Accident is thrilling, tense, and wildly important. The film alternates between long moments of still quietness and rapid, non-stop dialogue, but every scene promises chest-racing anxiety. The entire ensemble is pitch-perfect, never missing a beat in what is both a revenge thriller and a contemplation on revenge itself, propagated by the Iranian regime. By the time the final, haunting scene hit, I was locked into my seat and did not realize I was holding my breath. When the credits rolled. you could hear an exhale from the entire crowd. It Was Just an Accident is stressful, stirring, and occasionally funny: all thanks to Jafar Panahi’s masterful direction. 

8.5/10

Miroirs No. 3 is simultaneously quiet and complex, focusing on the depths of human nature and relationships. Paula Beer's performance and the direction from Christian Petzold create haunting tension that leaves you bracing for the worst, even in the stillness. It is fairly obvious what is going to happen, and the movie never reaches the height of similarly conceptual films, but Miroirs No. 3 is affecting nonetheless. 

6.5/10

After watching Nouvelle Vague, I finally understand how cathartic new Spider-Man films must feel for comic book fans. I love Jean-Luc Godard and Richard Linklater, so this film feels custom-made for me. Sometimes the dialogue leans a bit too referential, but I cannot help but be endeared by references to my favorite filmmakers. Shot in the style of a French New Wave film, there is something so electric about watching this group of people make films. Zoey Deutch, one of Hollywood's future greats, plays a charming Jean Seberg. However, the real star of the show is Guillaume Marbeck as Godard, an exceptional find from the casting team. Marbeck shines as he portrays the good and the bad of Godard's personality, which ultimately led him to be the timeless icon he is today. Watching Linklater's energetic direction and Marbeck, Deutch, and Aubry Dullin's passionate performances remind me why I fell in love with the French New Wave and Jean Luc. It is the most warm I have felt in a cinema all year. 

8/10

Visually, Francois Ozon's adaption of Camus's The Stranger feels like a piece of classic cinema. The beautiful lighting and composition make you feel engrossed in every way. The plot feels like it was made for Ozon too in a sense, even as a Camus adaptation. There's his trademark quiet, melancholic sensuality, and then one scene of shocking violence that flips the plot. Alas, after a great first act is a very laborious second act. Benjamin Voisin dazzles in one of the year's best performances, and The Stranger is easily one of the best looking films in a while.

6.5/10

Despite the powerful storyline and intense emotions brought up in the Dardenne brothers' Young Mothers, I never found myself invested within this story. The way they shoot the film leaves a feeling of both intimacy and distance, as if you know the characters but do not know much at all about them.  The stress is present in this moving story of existence and resilience within wome. But while the topic is treated with intense sensitivity, I was never fully compelled by the filmmaking or performances.

5.5/10