“Candyman,” a sequel to the original 1992 version, takes us back to Chicago where the former housing project of Cabrini Green has been leveled to make way for a new, gentrified neighborhood. (If you haven’t seen the original, don’t fret. This new film, co-written by Jordan Peele gets you up to speed.) The lore of the Candyman is revisited as Anthony McCoy (Yahya Abdul-Mateen II), a rising artist struggling to find his muse for his next exhibit, learns of the horrors of the past in Cabrini Green. Delving into the long-buried stories, Anthony’s artistic creations take on a life of its own, catapulting him from struggling to renowned.

Anthony and Brianna (Teyonah Parris) live in this gentrified upscale neighborhood, basking in the luxuries that life has afforded them. Brianna, a wealthy and successful woman in her own right, watches as Anthony gets pulled deeper and deeper into a very dark space. His research consumes him and meeting a stranger (Colman Domingo) who provides pivotal information about the legend of the Candyman, plunges him into an abyss from which he may not return. But this is exactly what inspires him to create a must-see exhibit called “Say His Name,” allowing him to rise from the ashes and profit from his past.

Mockingly, Anthony shares with Brianna the lore of saying “his” name five times while looking in the mirror after learning of the deaths surrounding his exhibit. The brutally horrific demise of those he knows brings no sadness, but a sense of accomplishment as the publicity helps with his own name recognition. Abdul-Mateen II’s performance, particularly in this scene, reminds us of his finely tuned skills as an actor as he sends shivers down your spine in reaction. He was also a show-stopper in his performance in “The Trial of the Chicago 7” so it comes as no surprise that he can take this role and make it his own.

“Candyman” isn’t your typical bloody horror flick. In fact, there’s nothing typical about it. This is a smart and complicated story that gently exposes the ills of the past and how they continue on through the present. The inequities of opportunities and oppression based on race are the underlying currents that ebb and flow throughout the film. However, it is never heavy-handed, but articulately defined and portrayed, sweeping you out to the sea of understanding. And unlike any other typical horror film, we don’t know how this is going to end as the narrative arc is a surprising one.

The writers carefully depict the past, present and perhaps the future using various story-telling techniques. Shadow puppetry, as old as the hills, is interwoven into the fabric of the story, an impactful visual effect more powerful than any high-tech cinematography. Additionally, the writers and director (Nia DaCosta) sprinkle in bits of symbolism and repetitive imagery which brings the story to its inevitable yet surprising conclusion. The twists and turns it takes are what keep you on the edge of your seat, wondering what lies around the next corner.

DaCosta’s vision brings “Candyman” to life. She doesn’t rely on the “jump-scares” but instead on psychological set-ups to awaken your every sense. With simple yet effective set designs, we are also brought into the grit of Chicago’s former housing projects and the horrific conditions of the past that still live in our memories. These, of course, influence the trajectory of the story as our main character relives his past and others.

Knowing that Peele had a hand in the writing, you immediately know that you’re in for surprises and societal statements. He does not disappoint. His keen understanding of storytelling and surrounding himself with the talents of his co-writers, director and of course, the cast allow him to create a genuinely unique and captivating story. We also see the genre of horror with all its tropes push the envelope to become something far superior. It challenges us to look more deeply into our history and our knowledge base to actually see things for what they are. And at the same time we are thoroughly entertained.

3.5 Stars

“Judas and the Black Messiah,” starring Daniel Kaluuya and LaKeith Stanfield, and directed by Shaka King, takes us back to the oppressively dangerous city of Chicago in 1969 where a petty criminal is flipped to be an informant for the FBI, resulting in the death of an upcoming leader, Fred Hampton (Kaluuya) of the Chicago Black Panther Party.

Based on a true story, co-writers Will Berson and Shaka King take riveting testimony, transcripts, and first-hand interviews to recreate the events that occurred during that pivotal year. The story carefully weaves together three different perspectives to give us the complete picture of how Fred Hampton was assassinated at the age of 21; such a threat to the FBI for being the next Black leader or as he was coined, the next Black Messiah.

We meet the young O’Neal caught between a rock and a hard place as he is about to be charged as a criminal. Given the opportunity by FBI agent Roy Mitchell (Jesse Plemons) to have all charges dropped in exchange for information about the whereabouts and plannings of Fred Hampton and the Black Panther Party, O’Neal saves himself. Quickly gaining access and trust of those around Hampton, O’Neal does as he is asked, from both parties. The conflict he feels is palpable, but ultimately this man is no hero and like Judas, betrays his people and leader.

Taking us inside the operations as Hampton meets and falls in love with Deborah Johnson (Dominique Fishback), a talented actress who stands out in this film, we get what feels like a private introduction to an eloquent man who is driven to help his people gain equality amidst the chaos of oppression and brutality. He gives of himself and connects others with him to find a commonality among all people. Kaluuya digs deep to find this intrinsic value of love while having a coat of armor to repel the evils that rain down on him and those he leads.

What O’Neal lacks in morals he makes up for in his ability to read others and insinuate himself like a chameleon into whatever the situation calls for. He’s street smart with characteristics that are always self-serving. Stanfield, like Kaluuya, dives into this character as he exhibits his fight for survival but there’s a glimmer of internal conflict as he battles his inner demons of betrayal.

“Judas” also portrays the preposterous paranoia and prejudices of the head of the FBI and those who serve the organization lead by J. Edgar Hoover (Martin Sheen). The targeting of the Black Panthers does nothing more than to escalate tensions making it difficult to not only resolve issues but to educate others. The racism is ingrained and built upon to ensure that Hampton and the Chicago chapter’s goals are quelled through raids and even murder. The film hammers home the disturbing elements of racial injustices as we witness the atrocities unfold.

Like Spike Lee’s “Blackkklansman,” this is an incredulous story based in reality. King delicately sets the tone of the film as he develops each of his characters to give a basis for their decisions. Stanfield may have the more difficult role as he portrays a man whose morals betray not only his people but ultimately himself. We understand his predicament and his decisions as those in power manipulate him like a marionette.

The pacing of the film falters slightly in the second act which takes away some of the passion that should have been present. However, the final act is riveting as we discover more truths and contemplate what could have been. The civil rights movement is still moving; a finish line that should have been crossed decades ago. “Judas” reminds us of our history and to discover the importance of seeing the full picture.

“Judas and the Black Messiah” opens in theaters and HBOMax on Friday, Feb. 12, 2021.

3 1/2 Stars

Chicago writer and director Kris Rey’s newest film “I Used to Go Here” will premiere and cater to Chicagoans thanks to Elevated Films and The Music Box Theatre as it will be shown at ChiTown Movies Drive-In Theater on Wednesday, July 29 with a live Q&A. For ticket informaiton, visit: DRIVE IN TICKET INFO If you can’t make it, don’t despair, as you can still catch it virtually via online rentals beginning Friday, July 31 through the Music Box’s Virtual Cinema program. For info, go here: VIRTUAL TICKET INFO

“I Used to Go Here” depicts Chicagoan Kate Conklin (Gillian Jacobs) as a mediocre author who has published her first book to less than favorable reviews. However, a former writing professor, David (Jemaine Clement) at Southern Illinois University Carbondale invites her to speak at her alma mater. Boosted slightly by this, Kate returns, but soon finds herself immeshed in students’ lives, reliving her past and coming to terms with her present and her future.

Kate’s superficial confidence with the lack thereof bubbling just beneath the surface is the the attribute which allows her to change over the course of the film. 10 years have passed since she graduated and each and every interaction with students punctuates her lack of success and how time quickly flies by. The students look up to her, but deep down she knows she doesn’t deserve their respect that is until she connects with Hugo (Josh Wiggins), a student who lives in her old house and has her old room. From this point, Kate ingratiates herself into their world, attempting to turn back the hands of time.

Jacobs portrays Kate beautifully as a woman who has been recently dumped and her life is in neutral, but she’s looking for a way to shift things into high gear and on the right path. Her ability to hone in on the awkwardness of each and every situation finds just the right note of humor to make you not only laugh, but also connect with her.

The secondary stories within the film all support Kate’s story arc, but they also add humor and heart to the film. April’s role (Hannah Marks) provides the mirror image for Kate which instigates jealousy and anger. But looking in the mirror, she is also able to finally see her reflection which provides one of the most poignant moments in the film. Tall Brandon (Brandon Daley) is just downright funny and his connection with Hugo’s mom is at once strange and hilarious providing balance within the story as Kate begins to wake up to the realities of her past. Wiggnins is a standout as Hugo with an incredibly natural performance that is both witty and charming. He also finds a level of unexpected maturity that is authentically portrayed giving his character depth and complexity.

Rarely do you find just attention to detail in supporting characters that become equally important to the lead role, but Rey expertly does so. She also has a comedic knack for how we all perceive our pasts, but it is with Kate’s former crush on David that really accentuates how our memories sometimes deceive us. Seeing someone through experienced and adult eyes is jarring when our memory recalls a less jaded viewpoint; one filled with hope and the power of youth. Within all of these actions and interactions, Kate, in her own way, grows up.
Rey’s wisdom within the film is like looking into a crystal ball that comedically yet poignantly tells one woman’s life story. Who doesn’t look back on our college years and wish we had the wisdom of life’s experiences now to impart on our younger selves? And Rey deftly commits to this storyline with a character who is lovable yet at the same time we shake our heads at her decisions and laugh.

“I Used to Go Here” is a film that many of us can relate to, but if you went to SIU-C, you’re going to truly walk down memory lane. Rey’s succinct story telling creates an innovative and entertaining film, but with Jacobs in the lead role this movie becomes an even more memorable one.

Thanks to the Music Box Theatre Virtual Cinema Program, you can see this one week earlier than its Video On Demand Release.

4 Stars

Robert Jury’s debut feature film “Working Man” stars Peter Gerety as Allery, an older, quiet factory worker whose manufacturing plant is closing. This small town business is one of the last to go, devastating an already depressed town and leaving its workers and the community at a dire loss. Allery isn’t ready to stop working, though, and as he continues his routine, his co-workers band with him and change this town. The consequences are far greater than anyone could have imagined, shaking the foundation upon which Allery and his wife Iola (Talia Shire) stand.

To say that this is a quiet film is an understatement, but actions speak much louder than words. Allery’s quiet demeanor has a sadness behind it as he shuffles down the sidewalk, walking to work after methodically and almost mindlessly packing his own lunch, much to his wife’s surprise. The dilapidated homes and the boarded up shops punctuate the depressed affect we are seeing in Allery. But this town, like so many similar Midwestern towns suffering from industry shutdowns, is close knit. Everyone knows each other’s business and when Walter (Billy Brown), a newer resident and factor worker, begins to accompany Allery to “work,” a feeling of hope and solidarity arise.

This is a story of the need for purpose in life as well as, ultimately, compassion. The friendship between Walter and Allery is an unusual one and Jury makes sure that we root for success for each of them, although never allowing ourselves to relax and breathe as there is so much more than meets the eye. The relationship between Iola and Allery is forced to be examined thanks to Walter’s unexpected influence, emphasizing the need for facing our past and our demons.

Jury captures the heart and soul of so many towns like this one, but it is the heart and soul of Allery, with very little dialogue, that is so profoundly portrayed. Allery is suffering and initially we think we know why, but again, what we see on the surface is just covering up what truly lies beneath. While Allery is our focal point, Walter, a handsome, gregarious, and charismatic but somewhat mysterious man, reveals his backstory, but the fallout has already occurred, driving Allery to a final decision. He has changed and we see this happen like a butterfly emerging from its cocoon.

This ensemble cast is stellar, lead by Gerety whose subtle actions and reactions are immensely powerful. A glance or an aversion of his eyes with a slight intake of air tells you more than a thousand words could ever do and these actions connect you to him as you want to find out more. Jury never reveals too much in his script, like a carrot dangled before you, pulling you toward an emotional discovery. Together with Shire and Brown, the main characters are supported skillfully by the rest of this talented cast.

Visually, the cinematography captures the essence of Middle America as it is filmed in Illinois. Jury found neighborhoods, bridges, and landscapes near Joliet and many of the supporting cast is from the Chicago area. Finding an ideal location like this augments a storyline that seems more relevant today than when Jury initially wrote the script nearly 10 years ago. With a real environment and local actors, the credibility of the film soars.

Jury’s gorgeously shot and written “Working Man” is a topical film with evocative performances reminding us of the importance of having a purpose in life, and compassion for others.

4 Stars

“Working Man” is available on all major digital platforms.

Hope. It’s what we’re missing when it comes to the future of the Earth, of humanity, but “Fantastic Fungi” is exactly what the doctor ordered. It’s this dose of hope that will inspire, educate, and renew your faith in Mother Nature and her ability to right the world. If this sounds like it’s too good to be true, think again and then take a moment to watch this visually arresting, entertaining, and thought-provoking film by Louie Schwartzberg, debuting at the Gene Siskel Film Center on Friday, October 18, 2019.

Schwartzberg tells the story of mycelium or the mushroom in this new documentary. He explores the often overlooked, but massive and interconnected magical kingdom responsible for delectable delights, decomposition of organic matter, increasing the soil’s nutrient base, and even curing diseases. Using time-lapse macro cinematography, “Fantastic Fungi” is simply mesmerizing, captivating you, as you find yourself forgetting to breathe. Schwartzberg’s masterful camera work is equally as engaging as the layered and complicated, yet easily understood scientific information. The research expressed via narration and interviews lays the necessary foundation for us to easily build a fortress of understanding. We learn about the true cycle of life, from the beginning of time to our current day and our future as well as the more immediate circle of life as living organisms die and prepare the ground for new life.

WATCH THE TRAILER HERE

The film’s focus, mycologist Paul Stamets, brother of Chicago film critic Bill Stamets, has devoted his life to the discovery of mushrooms and their potential to solve humanity’s problems. His interest in the topic is a story in and of itself, but his discoveries and knowledge, all gained in atypical ways, has opened the previously locked doors of life’s secrets. We also gain further knowledge with interviews from author Michael Pollan, Dr. Andrew Weil, and Johns Hopkins neurologists and psychologists, giving great credibility to the information at hand.

Learning that the base that supports all life is an interconnected microorganism called a fungi, there are more than 1.5 million types of these organisms. Without them, you (we) wine drinkers, beer imbibers, and whiskey connoisseurs, would find our cocktail time uninviting. On a more serious note, the hundreds of thousands of types of mushrooms, a part of this fungi family, promises to have the potential to solve our climate change issues and help develop cancer treatments. “Fantastic Fungi” reveals the real magic kingdom, showcasing this organism’s potential as well as its roots—pun intended–as it appears that we are all interconnected. It’s a symbiotic relationship among all living organisms with a more complicated communication system than ever before realized, but it’s up to us to unlock the code and discover the answers literally beneath our feet.

When Mother Nature created mycelium which, without getting into the science behind it all in this review, takes any organic material and can process it. Think about targeting a cancer cell with this and eliminating this lethal cellular machine. Or using a type of fungi to decompose an oil spill, turning the environmental disaster into a haven for new life. Schwartzberg’s painstaking research unfolds before your eyes in wonderfully entertaining ways as you witness the wonders and magic of the mushroom.

With so many doom and gloom documentaries about the future of our world, “Fantastic Fungi” gives us hope in a future. Our Earth is a precious space that is in dire straits, but stopping to listen, see, and open our minds to a new way of learning just might prove that we have a chance after all. I was swept away by this film, its imagery, and its potency. It has inspired me to learn more about mushrooms and what might be right outside my back door in my very own yard. I am inspired, but even more importantly, I am hopeful.

Do not miss “Fantastic Fungi,” one of the most beautifully powerful and intellectually stimulating films of the year and perhaps even the decade. Paired with “Anthropocene: The Human Epoch,” it’s a match made in heaven to give you a greater scientific understanding of the balance in which we need to strive.

For more information about this film, visit Fantastic Fungi
For ticket information at the Siskel Film Center where the film will screen Friday October 18th and 19th with Schwartzberg in attendance and through October 24th, go to Gene Siskel Film Center
4 Stars

Chicago actress and writer, McKenzie Chinn, makes her feature screenwriting debut with “Olympia,” directed by Greg Dixon and distributed by Cow Lamp Films. Chinn, also the lead in the film, creates a relatable character of Olympia, a young woman at the cross roads in life as she must decide whether or not she can stand on her own two feet.

Olympia is an educated and talented young woman who is stuck in a dead-end, entry-level job while she valiantly attempts to cope with the knowledge that her mother is dying. Diligently visiting and comforting her mom and coming to terms with this inevitable future, she must also now deal with the fact that her understandingly wonderful boyfriend is moving across the country for his job. He wants nothing more than for Olympia to come with him, but that would mean she has to step out of her comfort zone and grow up. Feeling that it’s all spinning out of control, Olympia gently dips her toe in the waters of adulthood and sometimes makes quite a splash.

From the moment we meet Olympia, we love her. She’s real, complicated, and filled with love. But it is her honest depiction of her fears that makes Olympia such a relatable character. Adding that consistent touch of humor, most of which is situational, sets up a protagonist we root for, but never really know which decisions we would make if we were walking in her shoes. To create a character that we have empathy for is quite a feat and Chinn does exactly that.

“Olympia” also hones in on creating authentic dialogue, particularly as we see Olympia interact with her sister and her best friend. Of course, as with any young adult, relationships outside of our love lives are key to working out our issues and making decisions. Olympia angrily and unabashedly discusses her resentment toward her missing father and openly confides her fears with her best friend. And her hesitancy to be completely honest with her boyfriend, Felix (Charles Andrew Gardner), allows us to more fully understand and connect with Olympia.

The realities of the economic difficulties that young grads experience is not news, but the emotional havoc it wreaks on lives is eloquently portrayed in “Olympia.” It is at this stage of life that we find so many crossroads, professionally and personally, and we watch as Olympia contemplates daring to follow her dreams while needing to maintaining a sense of individuality, but lacking the self-confidence that is necessary. Who hasn’t gone through all of this on some level?

Chinn develops her character of Olympia with incredible ease, finding a way to give her the layers and complexities that any woman can relate to. We empathize with her reticence in making a commitment in love and her art while we connect with her trepidation in actually becoming an adult and the possibility of not having her mom to lean on. Chinn’s performance is exceptional as the young woman trying to grow up.

It’s a small ensemble cast in “Olympia” all giving extraordinary, heartfelt performances. From LaNisa Renee Frederick’s undeniably difficult performance as Olympia’s dying mother to Gardner’s remarkable portrayal as Olympia’s boyfriend, the chemistry with Chinn is readily conveyed on screen.

With Chinn’s succinct, humorous, and touching screenwriting paired Dixon’s deft direction, it’s a match made in heaven as the two create a well-balanced and meaningful story. There is a unique creative aspect to this film that makes it even more memorable as the film intertwines graphic artistry, a wonderful soundtrack, and cinematography giving it a sense of whimsy and wonder, capturing the beauty of art and the Second City.

3 1/2 stars

What would you do, truly, if you witnessed an accidental, yet brutal murder? First-time filmmaker Clare Cooney plunges herself into that question in this captivating short film “Runner.”

Cooney stars in this thriller as Becca, a young woman going on a routine run in her neighborhood on a wintry day in Chicago. Stopping in the alley behind her apartment, ear pods in, music muting the situation before her, we see what she sees…a man and woman arguing. Suddenly, the woman is struck and she collapses. With eye contact made, Becca responds to fight or flight and she runs.

WATCH THE TRAILER HERE

How she responds next is chillingly real. Finding safety in her apartment and with her boyfriend, her emotions pour, but her decision whether or not to report this man is what’s in question. Learning of the demise of the woman in the alley punctuates the emotional impact and trauma Becca experiences in her every day life, but where is this man? Does he live in her neighborhood? Will she ever bump into him? There’s a feeling of terror bubbling beneath the surface as Becca attempts to go back to her regular daily activities. It’s a visceral experience as we watch Becca in every scene, connecting with her, eliciting our heart to race in suspense, fearing for her safety. Internalizing her emotions, we question what we would do, but the film becomes even more profound as it delves subtly into gender issues of power and intimidation.

“Runner” is an extraordinary portrayal of one woman’s strength and integrity as she is thrust into life and death situations and moral ambiguity for self preservation. Cooney’s depth of character allows us to sense the complexity of the situation and the heightened emotional response, always with authenticity. With this, we are able to walk, or should I say, run, in her shoes, feeling as she does and thinking her every thought.

Cooney, wearing the hats of writer, director, editor, producer, and actress, demonstrates proficiency expected from a seasoned filmmaker, not a first-timer. Not for one minute is any aspect of this film compromised in her overwhelming attempt to wear all of these hats. The script is succinct, the camera work is exceptional, augmenting the storyline, and the overall production value on par with any “big” film. And with a $900 budget, an acting ensemble cast that supports her vision, an experienced co-producer, Shane Simmons, and one of the most promising Chicago cinematographers, Jason Chiu (“Henry Gamble’s Birthday Party” and “Mercury in Retrograde”), Cooney has set the tone for success.

This multiple award-winning short film is available online on Omeleto Channel beginning Tuesday, April 23rd.
OMELETO CHANNEL-YOUTUBE

Co-directors Caitlin Parrish and Erica Weiss tell a complicated story of a 17 year-old high school senior whose life takes a different direction after having an affair with her teacher. Amanda Drinkall and Michael Patrick Thornton star in this poignant and impactful tale, particularly in the era of #MeToo and #TimesUp.

The opening scene creates an immediate sense of compassion for Justine (Drinkall) who is shunned not only by her parents and sister, but her classmates as well. From glaring stares in the hall to physical intimidation in the classroom, Justine seems to be the victim of intense bullying. As the story begins to take shape through her sessions with a mandatory therapist, Douglas (Thornton), we begin to understand what has happened to this young woman. The punishment she receives from her family, friends, and community for being a victim, although initially she is unaccepting of this title, is beyond comprehension, yet the film demonstrates how easily this can and probably does occur. It is this exploration of sexuality and consent that is perfectly demonstrated in various situations that makes this story so insightful and extraordinary.

Justine’s breaking point severs her professional relationship with Douglas, but awkwardly we see a true friendship develop between the two as they both need a friend in their respective times of need. The writer has set up a delicate balancing act as we see Justine as a vulnerable yet wise teen and Douglas as an older man with high integrity. With this, we hold our breath, waiting for the next shoe to fall, the tension continually building, hoping we can breathe a sigh of relief.

Justine is heads and shoulders above her peers, physically and intellectually, although emotionally she is still a teen and responds like any other 17 year-old. Her relationship with her parents is strained to say the least, and we discover the harsh realities of both her parents’ reactions to her actions as well as other adults. And a sisterly friendship has gone devastatingly awry, as Paula (Carolyn Braver) deceives and denies Justine repeatedly. Justine’s intrinsic fortitude is imperative to her survival and most of us would have buckled under such pressure and scrutiny.

The storyline is reminiscent of Nathaniel Hawthorne’s “The Scarlet Letter” as Justine is ostracized and ridiculed for her behavior. There are also assumptions about her character and therefore her rights as a human and a woman based on the fact that a teacher crossed a boundary. Justine is the guilty party in everyone’s eyes, not the teacher. We see everyone’s viewpoint regarding what happened and the humiliation and punishment Justine constantly receives. It’s heartbreaking, particularly as Justine looks back at the particular crossroad in her life, taking her down this life-changing road.

Drinkall and Thornton are extraordinary in these very complicated and deeply layered roles. Their genuine performances bring authenticity to not only their characters, but to the story itself. Both find nuanced subtleties to connect you to their characters and allow you to understand their thoughts and emotions. In fact, the entire cast is incredible and Braver shines as a typical teen, unable to handle her sister’s situation and the unrealistic expectations of her parents.

“The View from Tall” is a gripping story depicting sensitive topics told with deft skill. From underage drinking and eating disorders to bullying and rape, this film finds a way to gently tell a brutal story. And it’s not without humor, as Drinkall’s character is exceptionally bright and as she grows stronger, understanding her situation, she uses her razor sharp wit to cut those who deserve to receive it. Set in Chicago with an incredible musical score, this is a film to see.

Watch the film via FLIX PREMIERE or AMAZON

4 Stars

James Bird (“Honeyglue”) continues to share his uniquely captivating view about life in “We Are Boats,” starring Angela Sarafyan (“Westworld”), Luke Hemsworth, and Graham Greene. As Francesca’s (Sarayan) life is cut short, she finds herself in a unique situation in the afterlife–intervening with lives in an effort to be reunited with the young daughter she has left behind.

The story begins with a violent and harsh blow, reminding us of the fragility of life. Francesca, a prostitute, is in the wrong place at the wrong time and now she is interviewing for another career with “Sir” played by Uzo Aduba. Francesca’s strength and determination create unpredictable results as she wanders into several pivotal situations beginning with an unhappily married man and culminating with a young couple about to be married.

Sarafyan is the lead and she shines in this role, using her expressive eyes to convey more than any words she could utter. Her portrayal of Francesca is that of a strong and realistic woman who has the ability to perceive others’ situations and difficulties in a mysterious yet reassuring manner. Encountering a lonely and emotionally lost man, a homeless woman, and a father who is attempting to right his past wrongs, she finds compassion and understanding although a soft touch isn’t always how she delivers it.

The support Sarafyan receives from this all-star ensemble cast allows the different vignettes to develop naturally and cohesively. While many of these glimpses into others’ lives have closure, it is Lucas (Hemsworth) and Ryan’s (Adrian Mather) story that delivers the emotional punch of life and love that hits home. Loyalty, regrets, family, and distrust are all at the core of this particular segment as we see Lucas and Ryan’s relationship teeter. Mather’s character as a bartender, like Francesca, sees the world and those in it a little differently, perhaps jaded, as she utters rather harsh views. For a young woman, Ryan’s past has hardened her and Mather masterfully exhibits these characteristics. Hemsworth’s performance is equally skilled as he demonstrates distrust for his fiancé based on his own insecurities. As Freddy (Justin Cornwell) enters the picture, the awkwardness and deception increases exponentially and we cringe at what is taking place. Cornwell’s performance is a treasure in this story, conflicted yet honest as he follows through with his friend’s request. Of course, Greene is exceptional as a man with regrets, spilling his guts to a bartender as if in a confessional box. He allows us to have compassion for him as he struggles with the end of his time, battling with his inner demons and possible resolution. This story is the climax of the film as we see all the loose ends tied expertly together, creating a dynamic and thought-provoking film about living life and what could possibly be next.

Developing a complicated and layered story could be overwhelming, but Bird’s vision carefully and thoughtfully delves deeply into life with magnetic characters all of whom we can relate on some level. Finding this spirit brings meaning not only to the film and story, but to our own perceptions about life as well. Bird’s message is a positive one, delivered in an astute and understated fashion.

“We Are Boats” is a films that has the power to lift us as it evokes emotion and puts into question what tomorrow can and will bring. Weaving together a common thread among the tapestry of stories gives a satisfying end that stays with you. With beautiful cinematic sequences, we connect with the characters, all brought to life with strong performances.

3 1/2 out of 4 Stars

Autism is a word that in today’s schools and society we hear quite often. Our own hometown of Kankakee has, for years, supported Autism Speaks through the Kilbride Family Classic, now known as the Run for Autism.

And through supportive programs such as the Merchant Street Art Gallery of Artists with Autism, the public gets a chance to better appreciate the talents of a population that affects more than 3.5 million Americans, according to the Autism Society.

You might be wondering how autism and film are related as your local film critic is writing this story.

The answer is not only an easy one, but an inspiring one: Jennifer Karum. Through Chicago networking, Karum connected with me about a web series, “Conrad,” she created and recently premiered at the Gene Siskel Film Center.

Through numerous conversations and a formal interview recently, Karum shared her thoughts about growing up and her current accomplishments. Here’s what she had to say.

To read the interview in its entirety, go to https://www.daily-journal.com/life/entertainment/q-a-with-conrad-s-jennifer-karum/article_83851c40-023a-11e9-974c-0fe795333f39.html