Mechanic: Resurrection suffers from a storyline and script that strains credulity and insults intelligence even by the low bar set by the majority of contemporary…
Barbara Scharres is the Director of Programming at the Gene Siskel Film Center, a public program of the School of the Art Institute of Chicago.
In this capacity she is the artistic director for one of the largest cultural exhibition programs of world cinema in North America. She has published articles and criticism in film magazines and journals including American Cinematographer, Film Comment, Chicago Reader, Variety, and the Chicago Sun-Times, and has contributed to books including Hong Kong Babylon, edited by Fred Dannen.
Scharres was named a "Chicagoan of the Year in the Arts" by the Chicago Tribune three times, in 1989, 1991, and 1999. In 2006, the French government awarded her one of its highest honors by designating her a Chevalier de L’Ordre des Arts et des Lettres for her role in advancing French culture through cinema.
Barbara Scharres conveys her fourth day at Cannes, including screenings of "Saint Laurent" and "The Wonders," along with a press conference for John Woo's "The Crossing."
Another report on day 3 of Cannes 2014, featuring Winter Sleep and Wild Tales.
A report on the premiere screening of Atom Egoyan's "Captives".
Barbara Scharres reports on the second day of the Cannes Film Festival.
Barbara Scharres previews the 2014 Cannes Film Festival.
Barbara Scharres reports on the winners at the Cannes Film Festival.
It's time once again fro Barbara Scharres' annual award for Best Feline Performance of the Cannes Film Festival.
James Gray's "The Immigrant" maintains a tight focus on the Ellis Island experience, and Mohammad Rasoulof's "Manuscripts Don’t Burn" dramatizes the inside of the cruel Iranian secret service.
Alexander Payne's "Nebraska" brings black and white, to the competition, while "Omar" delivers moral shades of gray to the Palestinian/Israeli conflict and "Michael Koolhaas" looks good in the long shots, but needs more emotional subtlety.