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'Indy 4' is full of action, but forgets to discover a good time or when to call it quits
WARNING: Spoiler Alert!
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This week's "Indiana Jones and the Kingdom of the Crystal Skull" opening reminds us of summer movies from years past, some of which also starred Harrison Ford (a.k.a. Will Smith Version 1.0). Here you'll find some in-house favorites (with repeats, 'cause each film means something different to each viewer), and we'd like your input as well. If you can't remember if your film was an air-cooled retreat from the heat, visit imdb.com and type in your title, then scroll down the left rail for release dates. Send your summer cinema pleasures to ctc-movies@tribune.com" and we'll run some of them in Tempo Movies and all of them at chicagotribune.com/movies.
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Movie bottles a feeling
In our early 20s we make and remake ourselves, revising as we go, chasing our futures without a compass. So many films try to capture that headlong rush of possibility. So many filmmakers try to bottle that feeling. So few pull it off.
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Style trumps story in Lelouch's homage to Hitchcock
"Roman de Gare," or, roughly translated, "Train Station Novel," is Claude Lelouch's combination homage to Alfred Hitchcock, to the murder mystery and to the romance so verdant in his own work.
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Music as the fuel of freedom
The Baltic states don't get much respect in modern history lessons. In fact, the brutal, decades-long Soviet occupation of the Baltics—Estonia, Latvia and Lithuania—is hardly mentioned. Ditto the countries' paths to independence: While Czechoslovakia's Velvet Revolution elicits a nod of recognition, Estonia's Singing Revolution will get you a blank stare.
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"Narrow Stairs," Death Cab for Cutie (Atlantic)
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Gerard McBurney, the creative mastermind and spirited narrator of the Chicago Symphony Orchestra's "Beyond the Score" series, realizes that even the most familiar music has plenty to teach the average listener.
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Daryl Hall and John Oates, the Hugo Boss-clad kingpins of Reagan-era pop, seemed destined for the casino-circuit dotage most pop stars eventually face—their new music largely ignored, their fan base fading to nothingness. But then, around 2005, something strange happened. A real H&O revival began.
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Opera house, maestro had been inseparable for a generation. What happened?
MILAN—There is a hush, still, when you say his name in this northern Italian hub or ask about his command of its legendary opera house. Muti. Riccardo Muti. The words are potent.
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Despite the current economic woes, jazz continues to swing hard in Chicago. But jazz promoters are sweating over rising airfares, a weakening dollar and declining charitable contributions.
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Witty, effervescent and unexpectedly thoughtful, the big-screen iteration of the HBO series stands up beautifully (and somewhat miraculously) to the twin pressures of popular expectation and critical assessment.
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Traveling from town to town and playing for an audience is the lifeblood of any musician. It's a calling that has transcended centuries, generations and styles. But it's imperiled by the rising price of gasoline.
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OWENSBORO, Ky.—It's unlikely that Bill Monroe, the "father of bluegrass music," and Clive Campbell—a.k.a. D.J. Kool Herc—"the father of hip-hop," ever imagined a marriage of their musical offspring.
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When they first started gigging two years ago at Cardiff University in Wales, Los Campesinos! would occasionally be mistaken for a flamenco band—that is, until the flamenco aficionados saw the seven indie-rockers on stage.
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On sale 9 a.m. Friday GAVIN DEGRAW, July 2 ($29.50-$39.50, all ages) at Rialto Square Theatre, Joliet.
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Nobody could ever accuse Tijuana Hercules frontman John Vernon Forbes of being an optimist. When describing his band's sound, he proclaims that the music is his way of "trying to celebrate life, even though it's stacked against you from the moment you're born to the moment you die."
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