All posts by Tarek Fayoumi…The Paterson of his Craft!

I am someone who strives to become a professional critic. I watch and review many movies. I view the eyes of movies as something as an art form. I have followed many critics over the years, but once I was thirteen I knew writing film reviews was going to be my passion. I learned from watching multiple episodes of Ebert And Roeper in my teen years, and then in middle school I began writing film reviews for a newspaper club. I am also an avid fan of the arts of Chicago including Theatre, Comedy, and music. Films, however, are my primary focus.
Film reviews

The Shrouds Review

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From director David Cronenberg, comes a unique masterpiece where science and technology create a new form of suspense. The Shrouds is by far one of the most invigorating portraits where evolutions of technology are in advance of greater things. The writing and setup are so clear in its context of an environment of artificial intelligence and a lot of connectivity that is out of this world. Cronenberg has always had an eye for making films that are ahead of their time. While creating his many projects he always develops a twist or multilayers for perspective…everything happens for a reason. Karma is woven into a theme of growth that mingles with other detrimental factors—The Shrouds is unstoppable.

I have had many of my Cronenberg experiences on the big screen. They were moments that were meant to be in that format. I felt I was in the TV world of Videodrome at the Music Box Theatre. I felt like I was in the many car scenarios of Crash at the Gene Siskel Film Center, and I came face-to-face with a restored print of A History of Violence at Doc Films Chicago. All these moments were ones restored in 4k or presented in film. Cronenberg’s eye for directing  have always unveiled cinematic wonders for me and reminded me to remember to go into his films with an open-mind. A very wide “open mind” is essential with The Shrouds.

The Shrouds brings the viewer many years into the future. Its main character is Karsh (played by Vincent Cassel). He is a widower and owner of a graveyard company called Grave Tech. He sells his clients grave sites and tombstones to view the remains once they are buried. Karsh overlooks the remains of his deceased wife, Becca (played by Diane Kruger). He examines her body decaying and her bone structure. This is his coping mechanism to help him deal with his loss. While moving forward he looks to expand his business as the world evolveswith the growth of different technologies. His sister-in-law is Becca’s twin sister, Terry (also played by Kruger). His other family connection is Maury (played by Guy Pearce). As Karsh is grieving, he is also working to utilize his grief to better his business at Grave Tech. 

The scientific blend of continuity is top-notch and surreal in The Shrouds. The lines of new generations are in the works when suddenly everything changes when Karsh’s cemetery is attacked. With Maury, he tries to put together the pieces of technological elements to find the answers.  Maury is adept with coding and decrypting aspects. The Shrouds becomes a search for conspiracy while also maintaining professionalism. However, Karsh’s ego and loss begin to alter his choices, especially when it comes to how he puts his own technology to use. 

The search for answers is where the film becomes a thrill ride of connectivity and rivalry. Cronenberg pushes the aspects of ownership to the extreme in The Shrouds. With the technology of Karsh being altered to observe his deceased wife, he begins to backlog who he is associated with to paint a better picture of what happened. He wants to get an understanding of what he might be dealing with in a time when the minds of professions and politics are altered. Cronenberg presents the pattern of self-creation and entrepreneurship to fulfill a destiny of peril.

There is the saying in the film which goes, “visceral urge!” This is saying is one that I felt throughout The Shrouds. I felt this perspective in a tone that is two-sided. One side had me wondering about Karsh’s grief, and the other about who he is associated with. Becca’s death impacts him in a subtle yet enticing matter. On the other hand, he has many political factors to take into consideration of what he might be dealing with. The connection to countries such as Japan, Iceland, and others playsa political role in his partnership aspects. His grief is one that is presented to bring modernization to more places. Deep down though, there are a lot of other problems he may not be aware of. The Shrouds has a pattern of questioning its characterizations  ina haunting direction.

With all the underlying factors weaving suspense in a universe far into the future, this is one of the most resource-focused films I’ve seen from Cronenberg. Many questions will surface throughout this extraordinary and thought-provoking journey. What is right about Karsh’s choices? How trustworthy are Karsh’s actions? What resources have stronger correlations? Cronenberg’s writing creates depth in the character of Karsh being determined to make science come alive through the heart of lost ones and create an existence of connectivity.

The Shrouds is one of the most abrasive and vivid works of creativity that I have seen from Cronenberg.  The grieving aspect is what is abstract, because science and evolving technology (after the death of a loved one) turn the tables rapidly. Its writing generates a feeling of disconnect which fuelstones of something sinister. A lot of this is portrayed through the performances of Cassel, Pearce, and Kruger—they are the ones at the center who are connected most to what is bound to be impacted.  The Shrouds is a story of a race for answers in a world where politics and many professions are blindsided by the pace of technology. It is a thriller where the moral is to trust no one, and do not look back. Four out four stars for The Shrouds.

Ebertfest 2025, Lists

Ebertfest 2025 Preview

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“We live in a box of space and time. Movies are windows in its walls.”

-Roger Ebert.

I feel I will live in a box of both “space” and “time” at Ebertfest.This festival of community and inspiration begins April 23 and will conclude April 26.  Roger was my inspiration to be a film critic not only because I have always loved movies, but also when my parents turned on his program Ebert & Roeper and I saw him in his element and was hooked. The discussions of new releases and ratings with thumbs up and thumbs down came to me in an instant. From that day on, Roger was my idol in my film critique journey. This year, I feel that Ebertfest is emphasizing the importance of surrealism and revisiting pure classics. As one who has attended the festival since 2015, I feel this year is going to be one of enticement and appreciation among many audiences for Ebertfest. These are my four most anticipated titles in this year’s festival.

The first one is Desperately Seeking Susan. This is going to be my first time watching this film, although I have read about the direction and the many classic moments of the characterizations. The concept of finding boredom is what makes me anticipatethis one at Ebertfest this year, especially with the film entering its forty-year anniversary. There is that vibe of the 1980s that is going to blend a special feeling of wonder for the many audiences with Desperately Seeking Susan at Ebertfest this year.

The second one is His Three Daughters. This was by far one of the most influential and personal journeys of a story I have seen. His Three Daughters is a film that encompasses empathy andfinding common ground among siblings. I am looking forward to revisiting His Three Daughters because of how it will bring many emotions to the table. It will bring some uplifting moments and some on the more serious side–deep down the audiences at Ebertfest are going to feel engaged with the film. The performances of Carrie Coon, Natasha Lyonne, and Elizabeth Olsen will dive into the core of the film without holding anything back. The director of the film, Azazel Jacobs, will be in attendance, and his discussion is going to take the meaning of His Three Daughters to heights that connect the themes of relativity, personality, and compassion in telling this story.

The third one is The Searchers. This title is also special becauseit is a first time viewing for me and it is going to be screened in a restoration print. In addition, it is the opener to the festival. A quintessential John Wayne and Western classic is the way to start festival, as Roger worshipped films in this category. It will also make us feel we are part of an era that feels dismissed, yetits presence still fulfills and has merit with the ability to see this film in print. In seeing The Searchers, I feel I am going to feel like I am in a historical setting around its era. 

The fourth film is Megalopolis. A project by Francis Ford Coppola where I felt my initial experience was an on and off one. Despite its efforts with many decades in the making, the flawed moments add an interactive track to the film itself. Overall, Megalopolis is a title that adds a lot of worthiness to the festival. With Coppola himself, taking part in a discussion, this will add to the surreal component surrounding Megalopolis. There are a lot of flaws in back-and-forth efforts which somedislike, and others love. I am one that is neutral about Megalopolis, but I know that revisiting it is only going to fuel my mind with more curiosity to the visionary efforts of Coppola himself.

Finally, The Hangover will be screened. This is a comedy that is genius and has many memories that live in the mind to this day. A classic comedy of moving parts and raunchy humor where Vegas does not have the greatest outcome for its bachelor party friends—all together though, it is one wild ride that brings in the biggest laughing moments to this day. I love The Hangover.  “Whatever happens in Vegas, stays in Vegas,” is a saying that feels like a monumental and appropriate conclusion to this year’s festival, as it closes out the fest. To add to the fun, Producer Scott Budnick will be there for a Q and A after the movie.

To conclude, this year’s festival is going to be my fourth time attending. I attended in 2015, 2023, and 2024 and I look forward to returning for another year. I have attended many film festivals ranging from Cannes Film Festival, Chicago International Film Festival, Chicago Critics Film Festival, Chicago Reeling Film Festival, Chicago Underground Film Festival, and I have done virtual coverage of Fantastic Fest. Many festivals have lots of chaos with jumping from screening to screening and always taking risks to get into the big events. There is fun to that, but it also adds the stress and anxiety. There is none of that at Ebertfest. All the films are in the same place, the iconic The Virginia Theatre. With a fest in one place, soaking in what films mean, and their context of wonders, the mind is more stimulated. With the foundation of Ebertfest, appreciation comes to a light where there is so much to be thankful for and emphasize film as an art-form in a context that offers a spectrum of films and many opportunities to change gears. That is what makes a festival one to be remembered for ages along with thediversity among filmmakers, actors, critics, and audiences itself.  Ebertfest builds a fundamental appreciation of film to a level that is unforgettable.

What touches my heart the most is I feel I am in a certain environment. That “environment” belongs to my influence…Roger Ebert! Watching the many films he loved or would have loved. Roger’s presence is always with me as a critic, and I know it will shine with me again at this year’s Ebertfest starting April 23rd! Festival passes (available now) and individual tickets (available closer to the start of the festival) can be purchased on Ebertfest.com! 

Film reviews

Sinners Review

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This is a film in which segregation and vampires contend for a new maker. From the visionary mind of Ryan Coogler, he brings his audience on a journey where power comes first and then an all-around battle leads to the climax. Moments of the film may be silly, quirky, or odd—still, Sinners is a stellar adventure. A vast ensemble of actors takes the cake. Michael B. Jordan plays twins plays Smoke and Stack. They are in uncharted, daring territory that Coogler explores dramatically in Sinners.

The uniqueness of Sinners is visionary right from the start. It is shot in 70 MM projection. However, with many cinemas’ digital elements, in some parts the screen shrinks and grows. The shrinking occurs in low-shot moments and the growing in high-end moments. These elements fuel the film with enticing components right from the start. With the setting in the early 1930s, the themes of racism and inequality throw intense punches in Sinners.

The film focuses on the twins Smoke and Stack, two competitive and greedy characters vying for power. They are both trying to start a new life in their hometown in Mississippi and put behind tensions that have left them out of the picture. Coogler writes about vindictiveness in this film and much of the conversation deals with class issues. Many evil deeds come from Smoke and Stack. Jordan is relentless in his handling of the two-sided characterization. Smoke and Stack have other friends joining their clan, ranging from Delta Slim (played by Delroy Lindo), Pearline (played by Jayme Lawson), Grace Chow (played by Li Jun Li), and Mary (played by Hailee Steinfeld).

Smoke and Stack have old friends and old enemies who join their side. The twists in their personalities are golden in this movie, because wrongdoing leads to bigger things. Their egos are on full display, especially during conversations when they display the attitude that everything belongs to them. The world is one creepy place in Sinners which makes the film so intriguing. makes it so invigorating. The issues of racism and inequality lead to more competition involving money and trash talk, but all of this can only go on for so long. 

Greed and racism fueling the fire is what makes Sinners immersive. The film’s writing establishes a context that strives for power. At the same time, the audience knows its an era where no one can do right, and no one can do wrong—unless authorities come in and take it seriously. The outrage created from the competition between the twins is crazy. However, they have no idea what they are truly in for. 

There is also rivalry with Remmick (played by Jake O’Connell), and some tension related to culture and land. The downside is that the twins have power, but also there is a hidden power that they did not plan for. Remmick has a vampire side to him. This opens a door to new wonders in an era where racism and inequality already cause major hurdles. The additional hurdle of a vampire causes things to really boil in Sinners. The rivalry is somewhat like two HBO series, Deadwood and True Blood, combined. That writing is creative and daring. I was spellbound given the crazy scenarios.

There is no going back once vindictiveness has been unleashed and terror has come to life. I felt like I was watching a dark period piece and at the same time my mind boggled with intense excitement. Egos and empires are elements that have always captivated me. The terror layered on top made my head spin even more. This film succeeds by adding fuel to the fire as anew monster challenges all forms of authority. Jordan sells the film as the king of evil that is upon him. Three-and-a-half out of four stars for Sinners.