Celebrating Halloween by tapping into my childhood and watching Goosebumps. I still find The Haunted Mask unnerving, even as an adult. One of the best.
Josh Parham
@jrparham.bsky.social
I tend to watch a lot of movies. Contributor at Next Best Picture and AwardsWatch. Member of the Chicago Film Critics Association. Massive James Bond fan and Ben Whishaw fanatic. (he/him)
I hardly ever hear classic Bond songs in the wild, but I was in the grocery store the other day and they were playing Duran Duran’s A View to a Kill. That was nice.
Have I mentioned how much I really want Sam Forstag to win his election?
MINOTAUR successfully blends an engrossing Hitchcockian thriller with a sobering commentary on the corrupt systems that use chaos as a means of control. Zvyagintsev has a cold, calculating perspective that’s riveting to watch unfold. An unsettling tale that’s expertly crafted.
IRON BOY utilizes its distinct animation style to create an endearing coming-of-age portrait. It may indulge in some familiar conflicts, but the characters and artistry make the narrative compelling. An effortlessly charming work that’s a delightful watch.
Final day of the Chicago International Film Festival. Let’s hope we end on a high note!
Caught up with Wicker and found it utterly delightful. Colman gives a great performance, not only funny but also tragic and compelling. Very impressive crafts all around. Even more fun when seen with a crowd.
WILDWOOD attempts to pack a lot of lore into its runtime, which sometimes leaves its narrative muddled and the characters flat. But it’s hard not to be completely swept up by the incredible artistry. The scope and ambition of the animation is dazzling. Thoroughly engrossing.
THE ONLY LIVING PICKPOCKET IN NEW YORK is a fairly breezy excursion that gives John Turtutro an endearing lead role that’s captivating. The narrative isn’t the most complex, but a nice ensemble and jazzy score keeps things engaging. Hot take: Buscemi’s superior 2026 performance.
Love Josh O’Connor so much, but he should not be James Bond.
Julianne Moore is great in The Debut. I'm still on Team Olivia Wilde.
THE DEBUT is a hilarious and engaging look at the creative process that is both humorous and insightful. Moore’s dedicated performance is one you can’t look away from, and Giamatti is endearing as well. Eisenberg’s quirky, slightly surrealist vision makes for his best work yet.
THE LIBERATION trades in familiar territory when it comes to exposing the manipulative evils around cults, making the narrative have a broad commentary. But Carrie Coon’s performance is masterful and compelling. Lily James is also great in a role full of charm and darkness.
THE MAN I LOVE is another compelling work from Ira Sachs that tracks the thorny creatives that struggled during the AIDS crisis. He creates a captivating environment, and Malek is an engrossing lead. But the ensemble players shine brighter. Sturridge, Ford and Hall are fantastic.
Ten years ago today, I saw a tiny Mexican indie at the Chicago film festival called I Promise You Anarchy. There was an actor who immediately popped on my radar, and it was Diego Calva. He may have broken out with Babylon, but I was there before. Very happy to see him gain so much success since then
RAY GUNN creates an inventive world that’s full of stylish aesthetics, a wonderful showcase of futuristic noir in its production design. The narrative follows familiar twists and turns, which can eventually get tedious. A nice voice cast rounds out this entertaining spectacle.
CLUB KID has a narrative that coats a youthful sheen over a familiar structure but does so with much heart and soul to keep it thoroughly endearing. Firstman creates a sweet portrait, aided by Reggie Absolom’s charming screen presence. Calva is hot and needed to be in it more.
LA GRADIVA is a somber and meditative exploration of the complex emotional terrain of youth, rendered beautifully through Marine Atlan’s textured aesthetics. The momentum is a bit inconsistent, but the performances are always compelling. Colas Quignard is the incredible standout.
ROSE is an intriguing showcase that’s built around Sandra Hüller’s brilliant performance, full of engrossing interiority, and the moody setting is effectively captured by the stark black-and-white cinematography. The short runtime does make one yearn for even deeper examinations.
ELSINORE is meant to be a showcase of Andrew Scott’s brilliant performance, a captivating and devastating portrayal. On its own, the narrative finds some effective emotionality, but the structure often cuts away from the most impactful moments. But Scott more than compensates.
TANGLES is a deeply moving portrait of a family’s journey through an Alzheimer’s diagnosis that is tragic, profound and captivating. The storytelling can sometimes play to the broad emotions a bit too much, but the animation renders the narrative with an absorbing presence.
FATHERLAND is yet another example of Pawlikowski’s meticulous filmmaking creating an engrossing portrait of simmering emotions. The imagery is once again artfully composed, and Hüller’s performance is an effective anchor. Not as impactful as his previous works but still engaging.
BEHEMOTH! finds moments that present an engaging portrait of an artist struggling with emotional turmoil but often struggles to be consistently compelling. Pascal delivers fine work, as does Wilde and Arnett is scene stealing supporting roles. The playful score is delightful.
