
The Unloved, Part 70: We Are What We Are
A video essay by Scout Tafoya celebrating Jim Mickle’s maligned 2013 masterpiece, We Are What We Are.
A video essay by Scout Tafoya celebrating Jim Mickle’s maligned 2013 masterpiece, We Are What We Are.
A video game review of the hit Borderlands 3.
A personal response to It: Chapter Two and an exploration of its themes.
Veronica Cartwright on “The Field”; Musso & Frank turns 100, Silent films’ universally accessible power; ‘Mrs. Maisel’ actresses battle restraints on women; In defense of “The Fanatic.”
A compilation of some of Roger’s reviews, celebrating the work of Hispanic filmmakers.
An essay on the Elaine May film A New Leaf, as excerpted from the latest issue of Bright Wall/Dark Room.
As a boy in Mexico City whose parents struggled to get by, the United States carried such magical connotation in my imagination.
An article about the re-release of Gregory Nava’s “El Norte” on Sunday, September 15th, kicking off a week of special coverage in honor of National Hispanic Heritage Month.
Underrated in the manner of so many Steven Spielberg historical dramas, “The Post” is a journalism thriller that doubles as a stealth portrait of the media’s responsibility in the age of Trump.
The Chicago Film Critics Association is saddened to report the loss of two of our members, David Schultz and Andrea Gronvall.
An article about the second annual Ebert Symposium, “Creating an Inclusive Cinema and Media Ecosystem,” scheduled for Friday, September 27th at the University of Illinois in Champaign-Urbana, Illinois.
An interview with the writer/director of Squirrel, and a presentation of the short film.
An in-depth preview on the classic noir films that will be playing at Chicago’s Music Box Theater from Sept. 6-12.
A review of a new cinematic video game, Man of Medan.
Floor Adams on “Mind My Mind”; Alex Thompson and Kelly O’Sullivan; Movie Spoilers; Julia Louis-Dreyfus on “Veep”; Magic of the McHenry Outdoor Theater.
An appreciation of three films that opened on Labor Day 2006 that weren’t screened for critics but have developed quite a following of their own.
A personal essay on loss and horror films as part of the grieving process.