Then came “Armageddon,” “Pearl Harbor” and a series of nauseating tabloid stories involving something called “Bennifer”. Affleck’s public image as either a true filmmaker or a hack is riding heavily on his directorial debut of “Gone Baby Gone”.

Without fail, he falls easily into the category of true talent. Following the path that fellow actor-turned-director Clint Eastwood did with “Mystic River,” Affleck elevated a crime thriller by author Dennis Lehane to the big screen.

Click here to read the full review by Dustin Levell…

This film premiered as part of the Chicago International Film Festival on Oct. 10, 2007.

Mexico, China, Brazil, the United Kingdom and the United States took top honors in the festival’s 43rd iteration.

Chicago audiences selected from 102 feature films, 14 documentaries and 33 shorts and student films spanning 43 countries. Films showcased both well-known and promising new filmmakers.

The festival’s highest honor is the Gold Hugo, which was coined after the mythological god of discovery. When perusing the awardees, notice “Chicago 10” and “America the Beautiful,” which I mentioned back on Sept. 19.

Click here for the full list of awardees…

CHICAGO – Don’t be fooled by its formulaic, Hollywoodspeak tagline.

“The truth can be adjusted” is the Michael Clayton way of saying this film has rammed in a whole hell of a lot more than you might first presume and is about to blindside you with everything a picture-perfect Hollywood product should be.

George Clooney in Michael Clayton.
Photo courtesy of IMDb

An opulent, all-star cast as in The Departed sometimes yields the film of the year. At other times, the failure of that resolve can make financiers suicidal.

In the case of Michael Clayton, writer/director Tony Gilroy weaves the commanding George Clooney, flawlessly fanatical (and sometimes streaking) Tom Wilkinson, tautly corporate Tilda Swinton and the always-on-top-of-his-game Sydney Pollack into a film that pays its weight in gold.

Tom Wilkinson in Michael Clayton.
Photo courtesy of IMDb

Executive producers Clooney, Steven Soderbergh, James Holt and Anthony Minghella either have it too easy or yet again know when lead is about to be fashioned into a mountain of bullion. Clooney himself carries the show in an exquisitely intricate story that ably pulls off the art of the circular plot.

Much in the same way Pulp Fiction starts with the end and circles back once the middle has been teemed in, Clooney in his inextricable role as a “fixer” of all things crooked plunges you into the wildly provocative world of corporate America.

Tilda Swinton in Michael Clayton.
Photo courtesy of IMDb

While I only have love for the hilarity of late from Superbad, Knocked Up and the like, the gravity of Michael Clayton – much like this year’s Fracture with Anthony Hopkins – is the adult antidote to a torrent of monotonous gobbledygook devoid of poignant messaging.

A serious film with a serious plot, serious actors and an imperative statement, I thank the film gods it’s wedged into 2007 history because the year would have been lacking without it.

The fictional agrochemical company U/North and its looming calamity is at the heart of the film, which opens limited on Friday and goes wide on Oct. 12. It doesn’t take much fantasizing for U/North to smack of similiar, real-life corporate behemoths.

Sydney Pollack in Michael Clayton.
Photo courtesy of IMDb

While you could imagine crisis litigation going much like this through the realization of a potentially deadly byproduct at the expense of silver linings and golden executive parachutes, Michael Clayton importantly brings into the limelight the U.S. corporate machine while mercilessly illuminating what happens in back alleys.

Though lawyers certainly get the bad wrap of being blood-sucking money fiends, it’s less realized that in a courtroom their primary role is as a well-studied actor. It’s the side that not only tells the truth but tells the better truth that ultimately wolfs down all the cake.

“I’m the guy you buy!” isn’t just a climatic line Clooney uses to slap Swinton upside her head. It’s actually the catastrophic revelation that high-powered suits can freely and dispassionately ride that train of thinking today and only sometimes get caught along the way.

By Adam Fendelman
Publisher
HollywoodChicago.com

Roger Ebert and wife, Chaz Hammelsmith, at the
Chicago International Film Festival on Oct. 4, 2007.
Photo by Evan O’Donnell/HollywoodChicago.com

The scores of people gathered around the Chicago Theatre were raring to see the major players involved with the making of one of the most anticipated films of the year: The Kite Runner.

It turns out they didn’t become thoroughly animated until they saw Ebert emerge from his car with his faithful wife, Chaz, at his side.

The opening-night celebration for the CIFF paid tribute to the venerable critic – for whom the festival is dedicated and who is now known as the No. 1 pundit in America – for his decades of work in the film industry.

Opening night of the Chicago International Film
Festival paid tribute to Roger Ebert on Oct. 4, 2007.
Photo by Evan O’Donnell/HollywoodChicago.com

The ceremony moved inside where a capacity crowd of who’s who people – including the chancellor of the University of Illinois, directors, actors and general well wishers – congratulated Ebert on his accomplishments.

The highlight of the night was when Ebert took the stage and spoke a few words with the help of his synthesizer. He has had to use the mechanical voice ever since undergoing surgery to remove thyroid cancer in 2003.

The Kite Runner director Marc Forster at the
Chicago International Film Festival on Oct. 4, 2007.
Photo by Evan O’Donnell/HollywoodChicago.com

Ebert paid homage to HAL from 2001: A Space Odyssey. He was in high spirits and his wife said he is on the road to recovery. She asked the audience to keep him in their prayers as he prepares to undergo the next round of surgeries in November.

A video was presented full of actors and directors congratulating Ebert on his career. It was inspiring how many people talked about him in such warm and glowing terms. Directors including Martin Scorsese and Clint Eastwood talked of how – after all these years – they still seek Ebert’s approval.

From left to right, The Kite Runner director Marc Forster, author
Khaled Hosseini and star Khalid Abdalla at the Chicago International
Film Festival on Oct. 4, 2007
Photo by Evan O’Donnell/HollywoodChicago.com

Ebert has transcended his role as a film critic to what can only be described now as an ambassador for film. He has changed the way we watch movies and will continue to do so for years to come.

It was a night people in attendance won’t soon forget. The evening showed everyone the role of what critics can and should be in the industry. Ebert has done it the right way and has proven himself not only as a film aficionado but as a journalist as well.

By Evan O’Donnell
Staff Writer
HollywoodChicago.com