Welcome to New York, the rest of our new movie reviews, and this week's notable screenings

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The Wrecking Crew
  • The Wrecking Crew
In this week's long review, Ben Sachs looks at Welcome to New York, the latest from Bronx bad boy Abel Ferrara (Bad Lieutenant, King of New York); it's a fictionalized take on the rape case that toppled IMF director Dominique Strauss-Kahn. Elsewhere in the new issue, I review The Wrecking Crew, Denny Tedesco's long-gestating documentary about his father, legendary session guitarist Tommy Tedesco, and the other studio players who defined the West Coast rock sound.

The Water Diviner
  • The Water Diviner
Opening this week and freshly reviewed in the Reader: Adult Beginners, a modest indie comedy with Nick Kroll as a fast-talking entrepreneur forced to move in with his sister's family; Dior and I, a documentary about a young fashion designer readying a new collection for the French fashion house; Little Boy, a World War II period piece about a kid in a small California town who befriends a harassed Japanese-American man; The Mafia Kills Only in Summer, an Italian comedy about the mob's influence on contemporary politics; The Water Diviner, with Russell Crowe (also making his directorial debut) as a man trying to reclaim his sons' bodies after they're killed in the Gallipoli campaign; and White Cop, a low-budget action spoof shot in Bucktown and the Near West Side, screening midnight Friday and Saturday at Music Box.

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Best bets for repertory: Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1963), Friday through Sunday at University of Chicago Doc Films; Frank Tashlin's The Girl Can't Help It (1956), Sunday at Doc; Gene Graham's The Godfather of Disco, next Thursday at Black Cinema House; producer David O. Selznick's Gone With the Wind (1939), Monday at Doc; Lon Chaney in Laugh, Clown, Laugh (1928), Friday at the Patio with live organ accompaniment from Jay Warren; Ivan Dixon's The Spook Who Sat by the Door (1973), Tuesday at Gallery 400 with a discussion hosted by youth organization Circles and Ciphers; and Jean Renoir's The Woman on the Beach (1947) with Robert Ryan, Saturday and Sunday morning at Music Box.

The Spook Who Sat by the Door
  • The Spook Who Sat by the Door
Special events galore this week: shorts programs at Nightingale Cinema, Facets Cinematheque, and Oracle Theatre; the film-editing conference Cinemetrics Across Borders, beginning next Thursday at University of Chicago Logan Center for the Arts, Creative Music Summit, a panel discussion on "music, media, and social practice" with a screening of Oscar Micheaux's Body and Soul (1925), Sunday at Museum of Contemporary Art; a University of Chicago screening of Kirby Dick's The Hunting Ground with a postscreening discussion about campus rape; and Kartemquin Members' Work for Hire, showcasing the commercial films of local documentary collective Kartemquin Films, Friday at Logan Center.


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