Foreign

Director Marco Bellocchio’s “The Traitor” is blatantly honest in its depiction of the elitist microcosm known as the Cosa Nostra/Mafia: intransigent rules are enforced by its familial corps; extinction to those whose choices, actions go against the aged manifesto, a code of conduct, silence “omerta”; so keen is their elimination process, collateral damage is minimal. Tommaso Buscetta (1928-2000) was the …

Vindication has never felt so rewarding; for years I have suffered defeat, going with my gut, shunning the odds, my head and heart in sync; faring better than I imagined, I recognized the brilliant uniqueness of “Parasite” with my first encounter, on a myriad of levels, the film soars beyond assumptions: Biblical,  Shakespearian, mythological, Darwinian; Goethe stated “Before you…there are …

Peneflix is taking a hiatus from a competitive contest this year; not reneging on listing my “best” picks; ignoring the overlooked, concentrating on the testosterone-driven, “hueless” candidates; no “will/should”, just my feverish, instinctive selections:   BEST SUPPORTING ACTOR: Brad Pitt, “ONCE UPON A TIME IN HOLLYWOOD”  *PENEFLIX PICK* Tom Hanks, A BEAUTIFUL DAY IN THE NEIGHBORHOOD Anthony Hopkins, THE TWO POPES Al …

During this ponderous hiatus, waiting for the winners of the Golden Globes and Academy Awards, I periodically step out of my comfort zone, imbibing in genres I know little about and have minimal interest in; martial arts falls into this category; even though a neophyte, I found “Ip Man 4: The Finale” dimensionless, pejorative, sophomorically written but plausibly entertaining in …

2019’s Asian films have held Western audiences enthralled: “Parasite”, “My People, My Country”, “Gully Boy”. “Better Days”, is a stunner, based on reality, director Derek Tsang, despite controversy, is breaking records, surpassing 190 million USD; focusing on the insidious, universal epidemic of bullying; “Chen Nian” (brilliant, Zhou Dongyu), a teenager struggling with a debt-ridden mother, being taunted by her contemporaries …

After bushels of popcorn, mounds of milk duds, gallons of diet coke, but quintessentially a myriad of fine films, time to bid adieu to the 55th Chicago International Film Festival; so long to heart palpating, mind boggling, enlightening, stunning scenarios; energizing, electrifying movies that titillate, horrify, prod viewers to tear down, blast ingrained perceptions, opening highways never tread, leading to …

In its 55th year and stylishly stunning in its elucidation, diversity, and searing topics; documentaries have gone beyond the pale in focusing on subjects and events worthy of exposure, illumination; highlighted are: FORMAN VS FORMAN (reviewed 10/22), THE HYPNOTIST (reviewed 10/24) MOTHER (reviewed 10/24) LOVE CHILD: winner of the Gold Hugo for Best Documentary (yet to be seen).   “THE …

“MOTHER” (Belgium/The Netherlands); captivating true tale of two mothers, each with three children, one a caretaker the other an early-onset Alzheimer’s patient; forbearing, long-suffering and infused with kindness; audiences watch as these two disparate women become one.   “BY THE GRACE OF GOD” (France); one of the most profound indictments of the Catholic Church and the pedophilia that is pervasive …

In its 55th year, the Festival exponentially sears in its depth, scope, and remarkable lionization of filmmakers and their creations. Here are my pivotal takes to date:   “SONG WITHOUT A NAME” (PERU). A fraudulent clinic steals and sells newborns of poor, paperless women; a totalitarian regime interferes with its citizens lives. Gloriously filmed in black and white.   “Portrait …

South Korean director Bong Joon-ho (“The Host”, “Snowpiercer”) won Cannes 2019’s, Palme d’or, for the astronomically mesmerizing “Parasite”; with biting, lacerating wit, psychological challenges, he orchestrates a scenario, in chess-like fashion, of a duel between the “haves” and those who long to be. Sublime acting by every character depicts a likeable group that earns respect from the inception. In dire …