Brent Marchant's Blog

‘New Group’

In an age where asserting our independence and individuality has become something of a personal liability, it’s refreshing to see that some of us have not lost sight of its value and – in the case of this picture – have even gone so far as to celebrate the notion in a work of art. Such is the case in writer-director Yûta Shimotsu’s second feature effort, a truly strange but fun, insightful meditation on the perils of unquestioned conformity.

‘The Secret Agent’ (‘O Agente Secreto’)

The key to making a successful political thriller is to maintain a taught sense of mesmerizing, edge-of-the-seat intrigue. Unfortunately, that’s precisely the element that’s missing in this overlong, annoyingly convoluted tale set in 1977 Brazil during the waning days of its military dictatorship.

See Me at the Festival!

Anyone in, near or visiting Chicago through October 26 should look for me at the 61st Chicago International Film Festival, taking place at various venues around the city, including the AMC New City 14 Theaters and the Music Box Theater, among other locations.

A Big Bold Beautiful Cinema Scribe

Tune in for the latest Cinema Scribe segment on Bring Me 2 Life Radio, beginning Tuesday October 14.

‘Beautiful Journey’ brings the nature of existence to life

It’s been said that “life is what you make of it,” that “we become what we believe.” To some, this probably seems like the content of a warm, fuzzy, inspirational greeting card. But, if we truly take the time to examine ourselves and our lives, we’re likely to find that there’s more than a small kernel of truth in these observations.

‘Tron: Ares’

If a movie franchise has nothing especially new to say about itself or its mythology, perhaps it’s best if it refrains from trying to say anything at all. Such is the case with this latest installment in the “Tron” series of would-be sci-fi screen epics, a nondescript, underwhelming effort that, regrettably, disappoints in myriad ways. What starts out as a generally unengaging tale about AI corporate espionage that straddles life in the real world and cyberspace improves somewhat as it moves along, particularly in the back half when the connection to the original 1982 release becomes more apparent (and more compelling). But what precedes that development is uninspiring, even if it is visually dazzling to look at.

‘Orwell: 2 + 2 = 5’

George Orwell (born Eric Arthur Blair, 1903-1050), author of such legendary novels as the allegorical Animal Farm and dystopian 1984, has been called one of the greatest and most insightful writers of the 20th Century. And, in light of recent history, he’s also been widely regarded as one of the most prescient, a plainspoken scribe who clearly saw the future long before it happened and wasn’t afraid to straightforwardly call it for what it would become. In recognition of that legacy, Orwell’s life, work and outlooks are now the subject of this latest production from prolific activist documentarian Raoul Peck.

‘Roofman’

Few will likely take issue with the notion that “Crime doesn’t pay.” And that idea rings even more true if restated as “Crime doesn’t pay if you’re a nice guy.” That’s one of the truths that emerges loud and clear in this fact-based comedy-drama about soldier-turned-thief Jeffrey Manchester (Channing Tatum), who had trouble finding his way (and making ends meet) after leaving the military.

‘Kiss of the Spider Woman’

Life in an Argentine prison during the country’s infamous Dirty War might seem like an odd backdrop for a movie musical. But, given the engaging source material on which this film is based – the 1992 Tony Award-winning hit Broadway musical featuring the compositions of John Kander and Fred Ebb (best known for their work on Cabaret) and the acclaimed 1976 novel by author Manuel Puig – this exuberant, visually involving new release succeeds in telling a captivating tale of unlikely friendship and romance between two very different cellmates during a troubled time in the Latin American nation’s history.

‘Peacock’ (‘Pfau – Bin ich echt?’)

In this age of increasingly untrustworthy AI, rampant fake news and unabashedly self-serving social media, it’s becoming ever more difficult for many of us to distinguish what’s “real” and what isn’t these days, almost as if we’re stuck in a frightening new Orwellian paradigm. That’s significant, not only for how we perceive existence, but even in terms of how we experience and respond to it. In fact, these circumstances might even be looked upon as a metaphysical or existential nightmare. So it is for Matthias (Albrecht Schuch), who works for a Vienna-based organization known as MyCompanion, a business that enables clients to hire individuals to serve as professional impersonators or stand-ins for those in need – any need – as conditions warrant.