User:2qrsaxon3jp
2qrsaxon3jp (Talk | contribs) (Created page with "He said he’ll remain CEO and stay on top of Chicago operations from St. Louis. He also said the Chicago International Social Change Film Festival, which he founded, will con...") |
2qrsaxon3jp (Talk | contribs) |
||
| Line 13: | Line 13: | ||
<li>Bill retro new jordans.< li> | <li>Bill retro new jordans.< li> | ||
| + | |||
| + | < ul> | ||
| + | |||
| + | There's very little plot machinery. The title character played by Shults' aunt, Krisha Fairchild, has been away for 10 years on a zigzag path of self-discovery. We first see her on screen in an unblinking tight shot. She regards the camera, as it encroaches. Her forest of wild gray-white hair frames a pair of bright but somehow tragic eyes. This is who she is; "Krisha" shows us how she got there. Krisha is in charge of cooking a turkey large enough to be a "mutant," as she calls it. Her sister's house, to which Krisha has brought a single piece of wheeled luggage and her dog, bustles with noise and activity; her sisters' boys rarely quit arm-wrestling or tackling each other long enough to pay attention to this stranger in their midst. We learn in dribs and drabs that Krisha has struggled to get sober, while inching toward the idea of reconciling with her now-grown son Trey (played by the filmmaker). Years earlier Krisha parked him with relatives for safekeeping during her long, long lost weekend and subsequent rehab. Back in the family fold, however uneasily, Krisha tells her brother-in-law Doyle (Bill Wise, sympathetic one minute, needling the next) that she has been concentrating on "finding a peaceful person inside me." She knows all too well that in this family, she's what she calls "the eggshell one." 'Batman v Superman' review: Yawn of justice Michael Phillips A near-total drag, ??Batman v Superman: Dawn of Justice?? plays like a loose, unofficial quarter-billion-dollar remake of ??The Odd Couple,?? in which Oscar and Felix are literally trying to kill each other. I kid. A little. This certainly is not true of director Zack Snyder??s solemn melee. The movie... A near-total drag, ??Batman v Superman: Dawn of Justice?? plays like a loose, unofficial quarter-billion-dollar remake of ??The Odd Couple,?? in which Oscar and Felix are literally trying to kill each other. I kid. A little. This certainly is not true of director Zack Snyder??s solemn melee. The movie... (Michael Phillips) To her face, in a disarmingly fragmented backyard chat surrounded by barking dogs, Doyle one-ups that assessment. "You're heartbreak incarnate," he says. An awkward catch-up conversation between Krisha and estranged son Trey reveals a needy and vulnerable relationship without much of a foundation. The movie Trey, like the Trey who actually made the film, is a budding filmmaker. Krisha urges him to follow his dream; she speaks of the sadness of not finding her own passion at a crucial age. The old wounds are too much after a while. To cope, to lubricate, to isolate that sadness, eventually she reaches for the bottle. In real life Shults' parents are both therapists,cheap retro jordans, and he made "Krisha" using many family members. But this is more than a writer-director's therapy session in the guise of a narrative. So many films try to get behind the eyes and into the desperation of alcoholism. (Phoniest prestige example in that genre,cheap real jordans, despite good performances: "Leaving Las Vegas.") Few succeed in getting beneath the surface. "Krisha" is one of the few. Each shift in perspective, even in aspect ratio (the screen scrunches up,cheap jordans, subtly, at key moments in Krisha's crisis), seems to come from, or speak to, Krisha's psyche. Check out the latest movie reviews from Michael Phillips and the Chicago Tribune. Some members of the ensemble are professional actors,cheap retro jordans, notably Fairchild, whom her director nephew swears is nothing like movie-Krisha in real life. Others are non-professionals and family members taking part in Shults' bittersweet labor of love. You don't notice anybody's acting. The film's chronology, thanks to Shults' free-association editing, has a way of keeping us off-balance; the same goes for composer Brian McOmber's nervous, skittery musical score. (There's also a striking use of the Nina Simone cover of "Just in Time.") Expanded from a short film made a year earlier, "Krisha" is obviously personal for Shults, but there's a limit to that fact. The film's technique transcends the merely personal. Shults worked for a time for Terrence Malick, and many of the ground-level scramble shots in "Krisha," scampering after dogs and whatnot, put you in mind of a Malick film. Other shots, lit expertly by cinematographer Drew Daniels,cheap jordans online, favor the leisurely zoom-in or pull-back approach, recalling Robert Altman. The naked emotions, when they finally break loose, carry serious weight,retro new jordans, akin to a John Cassavetes psychodrama. Now and then a scene restates an idea without sufficient variation (the final dinner-table confrontation is a bit of a loose flap). But Shults wears his influences lightly, and "Krisha" ?? now that I've officially oversold it ?? manages to be both compact in size and formidable in impact. "It Comes at Night" is the title of Shults' next film, also to be released by A24, boutique distributor of so much of modern filmmaking's most exciting talent. It's a horror film, of sorts. But then, so is "Krisha." Open in NY and LA and opens in Chicago April 1. Michael Phillips is a Tribune Newspapers critic. mjphillips@tribpub Twitter @phillipstribune "Krisha" ?? 4 stars MPAA rating: R (for language, substance abuse and some sexual content) Running time: 1:22 Opens: Friday at AMC 600 North Michigan 9<ul> | ||
| + | |||
| + | <li>< li> | ||
| + | |||
| + | <li>< li> | ||
| + | |||
| + | <li>Osw< li> | ||
< ul> | < ul> | ||
Your Privacy Choices