2025 FILM DIARY

DATE: JAN 8  THEATER:  pfs east
First trip to the cinema this year, and it's for a five star film with a nearly three hour runtime (my favorite). I am uncultured so I had no idea what this was about whatsoever, but I knew it was one of those films that had something for every movie fan. It didn't take long to realize how true this was, as it incorporates romance, action, revenge, dancing, moral dilemmas, and disguises, all the while overflowing with beautiful cinematography and witty dialogue. It's like an Oscar-bait soap opera, and I loved every minute of it. No wonder it took home the audience choice award at the Philadelphia Film Festival (it would have been fantastic to see in that setting, but alas). I hope it releases online soon so that I can send the link to everyone I know.

DATE: JAN 13  THEATER:  amc broadstreet 7
I wasn't planning on seeing this, as I really don't care for Robbie Williams' music and I hadn't heard much buzz aside from people getting a kick out of the gag itself. Recently, though, my Twitter feed became littered with positive reactions from surprised moviegoers who just wanted a laugh. They found the musical elements to be as good as any musical biopic and felt it had a solid dramatic arc (some even claiming to have cried). Thanks to AMC A-List, I figured there was no harm in seeing what the fuss was about. Cinematically, this is really well done. The CGI monkey in a live action setting was not as off-putting as I thought it might be, the visuals were creative, and the fast-paced edit found its groove early. Still, the story had some high highs and some confusing lows, and my opinion on his music didn't change (although the sequences for the numbers were really well done). Overall, it was thrilling and then anxiety-inducing and then tender, all of which surpassed my initial expectation of not feeling any sort of way about it whatsoever.

DATE: JAN 14  THEATER:  landmark's ritz five
Saw this with my straight, cis male friend, the way the filmmakers intended a trans girl to see it. I was a little worried that they'd force a narrative along the lines of, "the media blows transphobia out of proportion; watch as a trans woman makes her way through middle America with no problems!". As much as I wish this was our reality, I'm glad we have a documentary that depicts how dark the state of America is right now, especially with these two industry veterans as the subjects. They balanced the optimistic and grim tones very well, which allows you to get very invested into the "stakes" of the road trip, as well as their friendship. While the documentary itself did nothing very groundbreaking in its form, I can appreciate the accessibility this allows for, especially knowing that it worked well enough to land on the biggest streaming platform America has to offer.

DATE: JAN 14  THEATER:  amc broadstreet 7
I'm going to keep this brief because I feel like my thoughts won't really unlock until after a second viewing... but wow. This deserves to be in the conversation for nearly every awards category, and the clear frontrunner for cinematography (imo). The fact that this is a directorial debut makes me so envious but also so enthusiastic. This was gut wrenching, I think I will continue being haunted by that final shot. Wow.

DATE: JAN 15  THEATER:  pfs east
It feels wrong that this is my first film of Pedro Almodóvar's so I won't bother with any first impressions on his direction. I think the two lead performances are stellar, and the script offers them a few lines that are immensely beautiful, but outside of that I was trying to wrap my head around how much of this was supposed to be campy. There are very obvious points where it's undeniably campy, but there are other times where it feels disconnected, almost like half of the cast and crew were told it was supposed to evoke one tone, and the other half were told it was supposed to evoke another. I say this because there were times other audience members would laugh at what I thought was an inappropriate moment, but then I'd find myself in the same boat later on. Maybe I should try watching it again with campiness being the expectation, rather than being caught off guard by it. Regardless, it was a good time at the movies, and I do love when a film can go from being very funny to very sad on a dime. 

DATE: JAN 17  THEATER:  pfs bourse
I think this is the first performance of Pamela Anderson's that I've seen? I think she was the best part of the film, followed by a few montage sequences where the original score is absolutely breathtaking, followed by Jason Schwartzman's brief appearance where he plays his best typecast; an asshole. Oh, this was also my first film of Gia Coppola's that I've watched, and there were enough positive takeaways from her direction to make me interested in seeing what she could do with a bigger budget. 

DATE: JAN 19  THEATER:  amc broadstreet 7
Good mid-budget buddy comedies are back (again)! Oddly enough, this is very similar to a short film I was assistant director on, "High & Dry", which is great because I love that short. The more I see of Keke Palmer on and off of the big screen, the more I absolutely adore her. Also, SZA is funny as hell! For a debut, she played her supporting role really well. All of the other supporting cast each had moments where they stole the show too. "Lesbians? Congratulations!" had me laughing sooo loud. Syreeta Singleton, whoever you are, I am seated for whatever you write next.

DATE: JAN 20  THEATER:  AMC neshaminy 24 (imax)
[I won't address the AI news here, but I spoke on it a little on Letterboxd].
After seeing this in 35mm for the Philadelphia premiere, I was fortunate enough to be able to see this in IMAX during the wide release. While the excitement of the 1st showing was much more palpable, I much preferred my viewing experience the 2nd time around. This largely had to do with seeing it in the middle of the day, but also it moved a lot quicker now that I had already seen it. Finesse in filmmaking in nearly every department, and the story had a deeper impact now that I've had three months to wrestle with it. Ultimately, it just barely misses the mark of what I'd consider a "perfect" movie in that all of these fantastic qualities don't culminate in enough of an emotional revelation for me personally. There's plenty of heavy, hard-to-watch scenes, especially in that 2nd act, but I felt Adrien Brody still had more in the tank by the end, which is both a testament to how highly I regard his abilities, but also what is possibly the only issue in a lengthy script. Still, the larger message resonates with me a lot, and I'm so glad that this film exists, especially at this point in history.

DATE: JAN 22  THEATER:  pfs east
When I watched this at the film festival back in October, I seemed to focus more on its weaknesses, possibly due to having a different expectation of the vibe of the film. This time around, I "commentated" in my head anytime I noticed something I really liked in the filmmaking, story, or performances, and found myself appreciating so much of it. I still believe it has its weaknesses, but it's so much better of a film than I originally gave it credit for, and at times is even genius. I'll do this type of analytical viewing for more in-theater rewatches going forward.

DATE: JAN 22  THEATER:  pfs bourse
First and foremost: rest in peace, David Lynch. Your work is deeply inspiring to me, opening doors in my mind as far as what can be accomplished with a camera or a script. With that out of the way, this movie is terrible (complimentary). Possibly, the greatest bad movie ever made. It's ridiculous, unhinged, and could have been even worse had Lynch stuck with his original cut instead of responding to the walkouts at multiple test screenings. Then, it won one of the most controversial Palme d'Ors of all time. The more you learn, the more you fall in love with it. There couldn't have been a better casting than Nicolas Cage, as he's considered to be the greatest bad actor ever. Laura Dern, Willem Dafoe, Isabella Rossellini, Diane Ladd, Harry Dean Stanton... this film was spoiled with talent, and capitalizes on that in the most unexpected ways. I just love that Lynch did whatever the fuck he wanted for the shits and giggles and everyone on set was 100% committed to the bit. Whether you love to hate it or you hate to love it, you can't deny how memorable and iconic it is. The type of audacity you wish was more present in the current film industry.

"I'd like to apologize to you gentlemen for referring to you all as homosexuals.
You taught me a valuable lesson in life."

DATE: JAN 25  THEATER:  philadelphia film center
I had seen the emotional reviews for this film, but I always find that when I walk into a film with the expectation to feel a certain way about it, I tend to leave underwhelmed. This is one of the few times where it truly lived up to the hype (in the worst way possible). I genuinely don't think I've heard so many sniffles in a room before, and it wasn't packed, nor was it a big theater (shoutouts to the intimate screenings up in Greenfield). I think editing was a huge reason for how effective the melancholy was, and it's some of my favorite editing in an animated film ever. It had a few moments that perfectly played up comedic beats, but overall was a very scattered and distracted type of edit, which you'd expect to take you out of the experience, but somehow it did exactly the opposite. I was locked in. I fell in love with Yuzuru as a character. I love when storytellers spend time with certain supporting roles, actually letting their perspectives take the wheel every now and then. Not only was Yuzuru the perfect vessel in exploring both of the leads' lives, but we got to explore her own internal conflicts too! So refreshing to experience! Anyways, only watch this movie if you're prepared for it to use your heart like a punching bag. It's relentless.

DATE: JAN 26  THEATER:  philadelphia film center
Note to self: maybe it's not the best idea to plan on seeing a movie at a theater next to City Hall on the same night that the Eagles clinch a Super Bowl appearance. After pushing my way through the crowds, I finally arrived at the theater about six minutes late. The staff had locked the doors, and an Eagles fan was begging to use their bathroom. Eventually, they let him in under the condition that he pay the price of admission ($14 for non-members), which he did. They were very surprised to learn that I was *actually* there to watch a movie, considering I was dressed in all green and holding a beer bottle (okay, so I got caught up in the excitement too, sue me). I finally got into the upstairs screening room to see the final moments of what I assume was the opening scene. While I enjoyed most aspects of the film, I'm very critical of how they to wrote the only Black character (at least the only one with lines). I dug into this on Letterboxd already, so I'll just wrap up my entry by saying that I'm a sucker for courtroom dramas, Sidney Lumet's direction, and Jack Warden (although I'm now very intrigued by Paul Newman... I should've checked out the rest of PFS' series on him).

DATE: JAN 27  THEATER:  Pfs bourse
I have been eagerly waiting to watch this documentary after missing it at the Philadelphia Film Festival. Luckily, I didn't have to settle for MUBI streaming as it opened at PFS this week. Why was I so intrigued by this premise? In middle school, I'd watch my friend play GTA Online for *hours*, and I was Hamlet in a much abbreviated version of the play. I also sneakily watched YouTube gaming videos under my covers on low volume when I was supposed be sleeping before school in the morning. My favorites were when gamers thought outside of the box and did things in-game that you wouldn't expect. So, yeah, this premise excited the middle school version of me that I've suppressed deep within myself for the past decade or so. It took some getting used to, as I was watching gameplay footage on a big screen in the middle of the day, and not under my covers on my phone late at night. In the end, I'd say it was very worthwhile. Fun antics undeterred by the forced melodrama sprinkled throughout.

DATE: JAN 29  THEATER:  pfs bourse
You know it's a slow movie when the most eventful thing was the overture from The Brutalist being heard from next door during the worst moment possible. Honestly, though, I liked it. I mean, when you're blessed with a setting like the North Italy mountainside, you'd have to put effort into making the visuals unappealing. The family dynamics felt real too, and boasts a number of excellent performances from children, which you can never take for granted. I was also engaged the most when the girl who smokes flirted with the girl who refuses to... we love sapphic subplots.

DATE: JAN 29  THEATER:  Philadelphia film center
I am always so excited to watch a Scorsese film in a theater, but once I'm watching I'm immediately reminded of what he tends to depict on screen. That's what makes him so great, but it is hard to watch these everyday horrors of humanity play out. Then again, his direction, as well as the camerawork and performances he inspires, make it such a thrilling watch all the same. Like not being able to take your eyes off of a car crash, the tragedies are brought to the screen so spectacularly. Almost entirely in black and white, this film feels most like raw Scorsese than any other. Nobody does it like him...

DATE: JAN 31  THEATER:  amc fashion district
There's a short film nominated for an Oscar that coincidentally has this exact plot twist, so I literally figured it out from the opening shot. It still was a lot of fun hearing the gasps from the crowd (both times). Sophie Thatcher is phenomenal in this role, and I already felt she stood out in Heretic, so I'm enjoying her rise as a scream queen. This is also a fantastic role for Jack Quaid, who I weirdly appreciate for landing so many big roles despite not being a marquee name. As long as casting directors keep pairing him with these type of characters, I can see this success prevail. After the first major plot twist happens, the storytelling became so much fun, and didn't get stale like horror comedies tend to (in my opinion). So, it's a beyond phenomenal debut for Drew Hancock, and I'm sure Zach Cregger's role in production was a big help. I'm not one to follow the careers of horror filmmakers, but these two may be worth keeping up with.

DATE: JAN 31  THEATER:  amc fashion district
Why did I go see this? Well, I usually enjoy silly, animated PG movies. The trailers also made this seem very promising with its clever antics and unique, intricate animation style. There was still plenty of both in the film, but the hyperspeed pacing was killing me. It felt designed in a way that would make it easy for their marketing team to turn it into TikToks. It worked sometimes for comedic beats, but it rushed through every transition, conversation, musical cue, etc. A relentless, mile a minute highlight reel of gags with only a few slower moments to usher in the emotional core of the film. Also, it's jam packed with moving parts throughout the storyworld, which was somewhat impressive from a writing perspective, but not a lot of fun to keep up with in real time. Anyways, a lot to love, a lot to hate, but the latter seem like the result of a truly awful development in popular media. Scary times ahead. 

DATE: feb 3  THEATER:  pfs bourse
The first act always makes me so happy... and that truly makes the loss sting much more, especially because it's done so delicately and doesn't overdo the dramatics (more than they were in real life at least). You really see how the mother immediately accepts the fact that she has to be the sole caretaker of her kids, and while not every decision was a perfect one, it was always done with love for them. Some may expect something more eventful in the third act, but the focus should be more on the performance than the story, which rightfully earned Fernanda Torres an Oscar nomination. Hell, given all of the hysteria in this category, she might as well win.

DATE: feb 8  THEATER:  philadelphia film center
The first time I watched this, I was probably in middle school, when most of the films I was exposed to were action-oriented blockbusters or animated films. I don't know who put this on, possibly my dad, but I remember my brother and I feeling like it was the "best boring movie" that we had seen. Now that I've grown up, received a degree in film, and feel that my go-to genre are dramas of this pace, I simply believe that it is one of the best films that I have seen, period. Even though it took thirty years, it perfectly tees up Sing Sing to go even more in depth about the psychological effects of being incarcerated (and what they refer to in this film, "institutionalized"). Truly a perfect example of how one work can be clearly influenced by a previous work without being redundant. Both are necessary depictions of the American prison system and those who spend their lives in it. While everyone will remember the epic and all-revealing plot twist sequence, I can't help but feel that the insightful dialogue casually sprinkled into the interstitial conversations set in the yard or cafeteria are just as memorable:

"They send you here for life, and that's exactly what they take.
The part that counts, anyway." 

DATE: feb 9  THEATER:  amc fashion district
No matter the reception, I was going to see Ke Huy Quan in a lead role. Despite the questionable character writing and casting dynamics, he comfortably takes on this promotion, and I think he has put enough on tape to make him our go-to action-comedy star. This movie particularly has him in a role reminiscent of some of Jackie Chan's characters, but I think he can branch out from that as well. On the other hand, I don't really think this role was great for Ariana DeBose, I hope she puts her immense talent into other kind of projects. If it wasn't for securing these two recent Academy Award winners, I doubt this would have had as big of a theatrical push. Felt very "made for holiday streaming" if you ask me, which isn't necessarily a bad thing, because it's fun, but it felt strung together and flat overall in my opinion. There is one specific cut that jarringly had Ke Huy Quan teleport some feet away (assumably because they cut out some interstitial conversation) and that's basically how the whole movie feels.

DATE: feb 13  THEATER:  Landmark's ritz five
You could mute this film, have no subtitles on, and still be engrossed just for the visuals alone. It's not just cinematography, as it's the overall composition that really compels me. Very much a film that feels like every frame is a painting, which is really important for a black and white film I believe. The subject matter also works really well with the visual identity, and it reminds me somewhat of Eraserhead. Hell, you could even assume that the husband's appearance and role in the film is inspired by Elephant Man, so maybe this is just one big, early David Lynch tribute.  Anyways, it's as disturbing and slow as it needed to be, but I do wish there was a little more going on in the dialogue to pull me in on that front.

DATE: feb 13  THEATER:  Pfs East
One of the earliest advanced screenings I've ever had the pleasure of participating in. I'm pretty sure this random, Philadelphia market screening was even before the big national press screening. I arrived early enough to snag a poster, too! Anyways, this was my most anticipated film of early 2025, and it delivered. There's so much that goes on in the film that the trailers don't give justice too, but I think that's actually a good thing. It doesn't show its hand and surprises you in the best ways. Bong Joon-ho certainly is responsible for this final cut, as it is slower than what you'd expect from a sci-fi comedy from Warner Bros. It works in some areas, but I do feel like it could have been a tad tighter. Regardless, Robert Pattinson and Mark Ruffalo's and their exaggerated vocal transformations are definitely the highlights, while the rest of the cast still delivers in their slightly more dialed back performances. Robert amazingly distinguishes Mickey 17 from Mickey 18 in his body language so that you can always tell which is which when they aren't talking. I can't wait to see this again at it's wide release.

DATE: feb 15  THEATER:  philadelphia film center
Yet another classic American film that I feel is brought down by an unbearable male protagonist. I get that the witty dialogue writing leads some to believe that he is charming and mysterious and all that, but calling a grown woman "kid" will never not make me hate a man. Otherwise, it is as phenomenal as heralded. Like I said, the wit in the script (and improvisation from what I understand) is so important to its success, but the mise-en-scène is truly what elevates this masterpiece. The subtle choreography of the background actors to make the establishment feel lively and "high life" offsets just how dialogue-heavy the film can be. This dynamic makes the film a prime example of what the golden age of Hollywood did so well.

DATE: feb 15  THEATER:  Philadelphia film center
I don't think I brought the focus required to really keep up with this film. I really enjoyed all of the details that I was able to latch onto, but I do fear that the plot was kind of lost on me after about 15 minutes. Every fight scene was so fascinatingly coordinated. It felt so comical and bizarre, whereas there's very little of that vibe in the rest of the film. The characters were also very interesting as, well, characters. They're just very unique individuals that you can never get tired of observing. I enjoyed much of the shot designs and direction too, for example, this particular still works so well when it occurs in the film. The production design is never very intricate or extravagant, but they definitely make the most of what they had available. All of these factors have me very encouraged to give it a rewatch soon to try and follow along with the story, as it leaves a good impression through its filmmaking alone.

DATE: feb 19  THEATER:  landmark's ritz five
Before this screening, I had already seen "Yuck!" and "Beautiful Men", and I was excited to watch the rest knowing that those two weren't frontrunners despite being excellent in their craftsmanship. Starting with "Magic Candies", I felt this succeeded the most sentimentally, with an odd yet fulfilling Pixar-esque premise. "In the Shadow of the Cypress" was mesmerizing to me in its animation, and continues to prove that Iranian film is some of the most under appreciated in the world. "Yuck!" was once again cute, and I'm a sucker for that cartoony animation style, especially when it incorporates a sort of surreal way of depicting the human condition. "Wander to Wonder" probably left the biggest impression on me as it flips a particular genre of family animation on it's head and throws those friendly characters into a bizarre and obscene premise. I would expect this to win, if I had to guess, but it's certainly close. Finally, "Beautiful Men" was great in its comedy and depiction of fragile masculinity, but didn't impress me as much as the other two stop motion animated films.

DATE: feb 25  THEATER:  Pfs bourse
Somehow the second watch was even harder. Basel Adra and Yuval Abraham's conversations cut as deep as every atrocity documented in this film. Their use of camera is as powerful and effective as there has ever been put to screen, but their dialogue anchors this masterpiece. Seeing this in a theater twice has also shown me that American audiences have no context for the Arab sense of humor, because there is plenty of life and joy amongst this oppression that seemed to go over a lot of their heads. However, no one could remain unaffected by the brutality of the IDF, as the gasps have been consistent each time I've seen it. I pray that these documentarians hold the statuette on Sunday, but it's only a drop in the bucket for what they deserve, not to mention the rest of Masafer Yatta, Palestine, and the Arab world.

DATE: feb 27  THEATER:  AMC Fashion district
I liked this premise from the first time I saw the trailer. I think the concept of the memory of a dead friend that haunts you so intensely that its like they're still with you works really well when the protagonist also deals with PTSD from military service. However, I think the film is at its best when its just Sonequa Martin-Queen and Ed Harris. They could have had a successful drama made with just their characters and performances. I just don't feel like that storyline is perfectly complemented by the gimmicky, sarcastic interruptions from Natalie Morales. Also, I won't deny that there is an interesting albeit offbeat charm that Utkarsh Ambudkar provides as a love interest, but does it work for this film? Did I buy his chemistry with Sonequa? I don't know. Morgan Freeman's character only scratched the surface of how his presence could have impacted the protagonist's journey (both comedically and dramatically). The script flirts with the idea of getting into some very challenging and taboo conversations (Ed Harris' repeated mocking of his granddaughter's generation and Natalie Morales' stormtrooper analogy quickly come to mind) but it is never elaborated or explored in a way that leaves enough of an impact on the audience. I know I'm just rattling off criticism but I truly think it's a good movie. Seeing how easily it could have been great just hurts as a viewer. The trailer for zionist propaganda preluding the film didn't help either.

DATE: mar 1  THEATER:  landmark's ritz five
I ended up seeing every nominated short film except one documentary! Sorry, "Death by Numbers". I don't tend to enjoy the Academy's picks for live action shorts, but this year's was decent. "The Man Who Could Not Remain Silent" was a beautifully shot and paced period piece, even if it's story underwhelms (some can argue this was intentional). "Anuja" was a solid exploration of the underbelly of capitalism and how education can be seen as a beacon of hope for those who are the victims of it. "I'm Not a Robot" starts off strong in its comedy, but loses steam as the protagonist desperately tries to prove their autonomy.  "A Lien" is one of my favorites for its ability to really put you into the rush and intensity of a dark and eerily relevant situation with the camera movement and angles. Finally, "The Last Ranger" was probably my absolute favorite for the characters and performances. 

DATE: mar 3  THEATER:  pfs bourse
A Philadelphian home-grown feature! It was cool to see a full film set in areas that I frequently find myself in. The areas of note kind of show a very narrow perspective that doesn't fully embody the spirit of Philly, but for a low budget, local film, I won't hold it against them. There are also a lot of script choices that feel too convenient or confusing. A kid from the Main Line takes a bus to Rittenhouse Square of all places for a tree? Fairmount is right there, brother. I feel like his character should have had a much more adverse reaction to homelessness considering he grew up in a nice, suburban part of Philadelphia. Also, him and his neighborhood friend seem really young, like, not-of-adult-age young. If so, why is his love interest a woman who has a job at a newspaper? Finally, it would have made more sense if his musical influences weren't limited to the whitest people ever, especially if his background is gospel / christian. Anyways, there's no point in taking these writing decisions so seriously when it is clearly a cheesy, overly feel-good type of movie. If anything, this movie exceeded expectations solely with the sequence where they read the article and the journalist comes into frame and smoothly transitions us in and out of a narrated flashback. That went hard.

DATE: mar 1  THEATER:  landmark's ritz five
That opening sequence is such peak Edgar Wright. As one of my favorite comedy / musical directors, I think he has such a unique ability to toy around with the basic conventions of film, such as perspective. This film particularly serves as a case-study on perspective. The sequences where Shaun walks around, oblivious to the apocalyptic developments unfolding, those are just brilliant. Then, as it proceeds with the unexpected hero trope, the film is able to reinvigorate the oversaturated zombie genre. For some reason, there wasn't enough laughter in my theater. Simon Pegg trying to climb a fence just for it to fall over easily got a loud one out of me. Why have we neglected his ability to be a hilarious lead and not just the comedic relief for Mission: Impossible? Maybe I just haven't dug deep enough into his filmography.

DATE: mar 7  THEATER:  Cobble Hill cinemas
Got to rewatch when I was just tipsy enough to really have fun with it and not take it too seriously. I think people seek out too much from the plot, which makes sense considering it is commenting on plenty of major issues in our time, but at the end of the day it's a silly sci-fi comedy. I think all of the performances perfectly represent this, especially with Ruffalo's being incredibly on the nose. If you don't enjoy that sort of thing, then you might not find much else in here to really enjoy. Bong Joon-Ho has plenty to offer if you prefer a more dramatic yet realistic commentary, but this is not one of them. Nor should it be! Fun to watch with friends.

DATE: mar 9  THEATER:  philadelphia film center
Women directing movies centered on a male protagonist being deranged and heinous seem to always come with a comedic flair that I really admire. This film especially got a lot of hoots and hollers from what appeared to be a screening full of middle aged or older fans, some of whom hadn't seen it since it was released in the early 70s. I personally didn't catch the humor in some of the dialogue, but the overall ridiculousness of the plot and characters certainly made me laugh. The ending also is subtle enough to allow the film to wrap up quickly and leave room for interpretation. The conversation with the children felt to me like a reference to the title, as the man routinely acts on his immaturity due to misguided expectations on romance that were instilled in him as a child. I think this can be resonated with by anyone, but especially anyone born male. The mindlessness of the wedding conversations really accentuates how casually we talk about romance yet how little we really understand or believe what we say about it. It's really cool to see that it earned some supporting acting nominations at the Oscars too, as I felt the whole cast expertly played off of Grodin.

DATE: mar 12  THEATER:  amc broadstreet
Heartwarming and fun. I don't think it really dug enough into some of the characters' internal conflicts. I especially wanted to see more in the aftermath of the clubbing scene. Alas, a movie that covers the topic of women in STEM in a country like Afghanistan has plenty of hurdles already. It's a shame that it was all English language and yet had multiple montages of foreign languages at the various competitions or in the news coverages. Can we really only handle subtitles in doses? What a shame.

DATE: mar 14  THEATER:  AMC Fashion district
Much more fun than I was expecting, and the first act really gets you invested in the characters and relationships. There's still plenty of holes in this blockbuster, but Quaid proved to have enough charm as a leading man to make it an enjoyable experience all the way through. The fights and stunts are less of a presence through the first few acts then might be expected of an action film, but it still has some very interesting sequences that utilize the "superpower" and hook of the film. Antagonists were certainly hateable but lacked much of a compelling factor to make their coverage interesting to watch. Still, this was a much better action / romance / comedy than others I've seen in recent history, and in just about every way that I can think of.

DATE: mar 15  THEATER:  amc broadstreet
On one hand, I can see why this wasn't pushed heavily, but on the other, I am so glad it got a theatrical release. As a big Looney Tunes fan, I was going to seek this out no matter what.  The sequence with Porky and Petunia taking on the zombies, with the excellent backing track of R.E.M., was beautiful animation. I can't say the use of the IP made it the most marketable film compared to past Looney Tunes films. Still, it was an excellent family movie in every other regard, and would be considered a classic if it were made a few decades earlier. Maybe I just miss 2D animation on the big screen.

DATE: mar 26  THEATER:  pfs bourse
As a filmmaker, it's embarrassing how little I've actually sought out French New Wave films. This made me realize that I need to watch much more, because Godard really takes risks here. Some of them pay off, some of them don't, but in both cases they're worthwhile risks to take. I can't say I really connected to any of the characters, but the direction and story were still fun to follow. The book sequences were so silly. The long, drawn out pans between characters with the subtitles for their silence will linger with me for some time. I might have to pay homage to that in a film someday.

DATE: mar 27  THEATER:  amc broadstreet
A24 really knows how to pick the movies that can make the best trailers. Beyond that... results may vary. The cast is great, but the use of the cast could've been more advantageous. We have been waiting to see what Anthony Carrigan would do after Barry, but his screen time left much to be desired. Will Poulter acting as the last surviving antagonist made a lot of sense, but it leaned too heavily on him in the first few acts, which made his character lose steam at the end. The story feels a lot like Mickey 17 in its satire and use of fantastical discoveries to accentuate the immorality in our reality, as perpetuated by the wealthy. However, it either doesn't go far enough with its satire, or maybe the satire that exists just isn't strong enough. It's a shame because that would've really made up for the fact that the filmmaking of it all is relatively bland, with only the production design saving the overall look and feel of it. Finally, the arc of the father-daughter relationship has some strong moments, like the opening scene, but their resolution didn't feel entirely believable for me. Overall, it got some laughs out of me, but just didn't live up to the strong concept.

DATE: apr 11  THEATER:  pfs bourse
Even though I walked in thinking it was a narrative, I really enjoyed this unique "found footage" documentary. The premise simply is just too hard to resist. It's like a heist film, you wanted to know exactly how they pulled it off. What I was taken by surprise by was how compelling these people are, not just in their youth as they had the mall apartment, but in their current age. The focus on their identities as artists and philanthropists really allowed for us to cheer their antics on, beyond the initial "fuck the system" appeal. The self-awareness and focus on broader issues was well executed, and the recreation of the apartment added an unexpected layer of production value that documentaries like this tend to lack. It was lovely to hear from the director afterwards, as the stories behind the scenes were just as juicy as the ones depicted on screen.

DATE: apr 12  THEATER:  amc fashion district
I grew up on this game, so I had to pay my respects by going to a sold out screening at my local AMC. Plus, I have A-list, so what did I have to lose? It was enjoyable given that my expectations were extremely low. I just wanted to laugh a little, even if it was in spite of the film. I got in plenty of those, but I also genuinely laughed due to the absurdity that they were leaning into. Honestly, it was kind of a good time. Would I watch it again? Nope. Still, I'm glad I saw it once just for the spectacle of it all.

DATE: apr 17  THEATER:  pfs EAST (springfest)
Opening night of SpringFest! Likely the last festival I attend while living in Philadelphia. Last year it was an extended weekend type of festival, but this year it's a full week! I've even worked on a few of the shorts that are a part of the local shorts exhibition. In honor of all this, I got an All-Access badge.

After premiering at SXSW, the reactions for this film were all across the board, but I figured a premise this juicy would at least be entertaining. At its worst, it is charming and funny, though a little repetitive with its punchlines. At it's best, the character-driven script is done justice by a phenomenal cast and inspired direction that we sadly don't get much of in romcoms. While Zoey Deutch shines throughout, Ruby Cruz has the most memorable and heartbreaking moments for me. Jonah Hauer-King found the delicate balance between being "just like every other man" and "one of the good ones", making his arc very compelling to follow (even though the alternate universe that made this a sapphic love story would have been even better). I really enjoyed Chad Hartigan's energy and honesty during the Q&A as well, it was very refreshing that he recognized the "happily ever after" in the film would be very short lived had we followed the characters for another year.

DATE: apr 18  THEATER:  amc fashion district
I didn't really have high expectations for this one. I thought the gimmick of Michael B. Jordan playing both twins wouldn't play out so well, and while Coogler getting the blank check from a major studio was well-earned, I couldn't help but be pessimistic about what that would turn into. Overall, I was proven wrong on many counts, as the film successfully balances the blockbuster calibre of entertainment that Coogler has timelessly delivered with an artistic, personalized approach that we hardly get to see at this scale. Unlike many others, I'm not ready to crown it the frontrunner for movie of the year or even call it a revelation of some kind, but it is a one-of-its-kind experience that excels in its most grounded moments, and mostly hits the nail on the head when it attempts to go above and beyond. Lastly, the breakthrough performance from Miles Caton should not be swept under the rug amongst the phenomenal work from the higher billed actors. It's hard to shine through when your screen partner is not just one but two Michael B. Jordan's, but he did time and time again.

DATE: apr 18  THEATER:  pfs EAST (springfest)
Funnily enough, my least favorite part of this screening experience was just how much the audience loved Tim Robinson. I consider myself a fan, but they'd bend over laughing at the most insignificant things, and it was a tad ridiculous in my opinion. Still, I can't entirely complain about a packed theater being invested in such a silly comedy, as it usually does make it 100 times better. If you were looking for a feature-length I Think You Should Leave sketch, you got exactly that in Friendship. Our anti-hero is the exact archetype of character Tim Robinson has perfected over the years. It is a very uncomfortable experience that evokes all of the second-hand embarrassment you would expect from the premise, but there's enough goofy, light-hearted comedy to alleviate it throughout. Particularly, the psychedelic sequence is one of my favorite Tim Robinson bits I've seen so far. 

DATE: apr 29  THEATER:  landmark ritz five
I held off on watching this one until I got to see it in theaters first, and Landmark beat the other local theaters to the punch on a David Lynch retrospective series. Probably had the biggest turnout I've seen for a Tuesday throwback film at the Ritz. Surreal is a very overused word in terms of describing Lynchian storytelling, but it is very apt when it comes to this film in particular. The structure, flow, and pace were all very dreamlike, serving in itself as an allusion to the plot twist at the very end that the world has scrambled to interpret over the last few decades. In terms of being a commentary on Hollywood, I think this is one of the best movies to do it. The humor is also so well incorporated, as Lynch knows exactly where to sprinkle it in as to not severely underplay the dramatics and mystery of the plot. Masterful at every turn.

DATE: may 1  THEATER:  landmark ritz five
I'll eat up the gay wedding movies, keep feeding them to me. There was a very pleasant simplicity to how this film navigated the nuanced central conflict regarding race and culture. There were many great moments in the writing where it leans into the complex drama of it all and has the characters confront each other, but ultimately everything came back to love and belonging. Both of these themes went hand in hand for the many couples depicted in the movie, although all in different ways. It was also incredibly refreshing to see a queer romance movie not making the conflict be about how one character hasn't come out to their family. Instead, it goes down the unexplored route of the character being out from the beginning, the family being accepting, but still struggling to figure out how to be the best allies. Throw a white boy into the mix, and you've got plenty to dig your teeth into whether you're in the mood for a romcom, a family drama, or both. The mother and father were my two favorite characters, and I will particularly remember Zarna Garg's phenomenal monologue in front of the shirtless freelancer (which was also an amazing bit). A movie that grows on me more as time goes by.

DATE: May 15  THEATER:  The princeton garden theatre

Randomly was researching this movie and saw that it was playing an hour away from me that week??? Yes, please. When I saw this in 2023 I hadn't yet transitioned and this was one of the first pieces of media where I was confronted with conflicts from my own upbringing and given the long-awaited answers for why I felt certain ways. In summary, this film took a megaphone and yelled, "you've always been trans, bitch" right in my face. Loved watching it again, so many great moments in the performances to hone in on. The story is relatively straightforward and the actual shot choices aren't anything special but they're still so meaningful in that they give so much more emphasis to the inner conflicts that slowly externalize. Could be another situation like with I Saw The TV Glow where it just doesn't land with cisgender audiences, as the answers aren't really handed out on a silver platter like, "this is how you deal with a trans child, duh" but I don't think it needs to. The protagonist is all too aware of their feelings but any diagnoses are completely foreign to them, nobody ever talks about it in their community or family so how would they know how to deal with it? Audiences being confronted with that same feeling is... the point. Both films are meant to be felt more than understood, and maybe along the way you're blessed to meet someone who can help you understand and hold your hand through the feelings like the aunt does. Or maybe you just have to do the fucking research yourself instead of complaining about how it "doesn't really come together" for you. Film isn't supposed to cater to your individual experiences or understanding, and it is all too apparent that all this friction against trans media is just a resistance towards doing the work to figure out your role in this whole identity politics war we're in. I get it, nobody wants to be in this war, but we are, so either help us gain the freedom to find our voices or get the fuck out of our way. Really, thats exactly what this girl needed from every single family member and time and time again they refused to get out of the way under the guise of religion or traditional values, or even in the case of the mother just an outright ignorance despite not giving any value to traditional gender dynamics in the first place. Even allies can be bad allies. This film does a phenomenal job at showing that, and I will champion this film for as long as I possibly can.

"The girl does not transform. Throughout the film, she acquires the tools to express who she is. What is transformed is the family" - Estibaliz Urresola Solaguren (director)

DATE: jun 7  THEATER:  AMC lincoln Square
Wes Anderson, a director I have regarded as an auteur I more consistently enjoy time and time again, seems to be on a very odd stride. Sometimes it delivers unexpectedly, as with Asteroid City, sometimes it leaves much to be desired (despite over-delivering in quantity), as with his Roald Dahl films for Netflix. The Phoenician Scheme finds itself in the middle of this spectrum, but while the results vary, there is a prevailing issue. I feel as though there's a desire to try a lot of new things in each project, but ultimately folding to the expectations of the classic Wes Anderson schtick. Obviously this is absolute conjecture, but I can't imagine I'm far off. Michael Cera feels like one of the only stars that felt perfect for his role and for this collaboration, everyone else feels like they're in there simply because we expect them to be. Any time there is any break in format or aesthetic, it's the best part of the film. On paper, the production design and shots are spectacular, but what do they amount to? What does it do to the audience other than assure that we are in fact watching another Wes Anderson movie? It's tricky because it gets people in the door, its satisfying as well, but are we just buying into each Wes Anderson project just to be satisfied? Just to say "yeah, I watched the new Wes Anderson"? Are we settling for the bar and not hoping it gets raised anymore? If that is what he wants with his career, then so be it, but I miss the spark of inspiration I got seeing Moonrise Kingdom or Rushmore for the first time. It was new, it was singular. Now it's becoming evermore plural. Fine, I guess. As is the film.

DATE: JUN 8 THEATER: ANGELIKA film center
This movie rocks on so many levels. By the end of it, it feels very simple, and I'm sure some people may even think, "that's it?" but within the individual acts, it is absolutely magical. It is basically three short films. Act 3 is very existential, mysterious, sci-fi, much more in line with what one would expect from a Mike Flanagan and Stephen King collaboration (even if it's still pretty far from expected). Act 2 is all about one moment, we do get enough set up and resolution to feel the full weight of it, but that dance sequence is perfect. For Chuck, it's the type of moment that puts your entire life into perspective, and it being the shortest of the three acts makes so much sense. Act 1 is all about context, not only for the events within the previous acts, but for life itself. How can this movie be called "The Life of Chuck" when we see relatively so little of his life? (compare it to a movie like Forrest Gump, for example) The answer is that we get the windows into his life in which are most revealing, and Act 1 is the foundation for everything we saw prior, and everything we never get to see. From it, we can fill in the blanks. As much as I wish we got more of Tom Hiddleston, I think the structure thrives on his absence, and he still shines so bright when it mattered most.

DATE: jun 10  THEATER:  regal battery park
Thanks for the $1 movie, Regal! Had to show this to my roommate who is about to see Sinners. As we now know, this is prerequisite viewing. I love Ryan Coogler for that. Anyways, remains one of the brightest moments in 2020s western animation. Honestly, every studio film director needs to draw inspiration from this. Society would truly advance if they did. Balancing all of those characters and their arcs is the most impressive part about the film. It might be the best story developed at DreamWorks, dare I say, ever? Definitely up there.

DATE: JUN 11 THEATER: village east by aNGELIKA (TRIBECA)
Decided to see a couple of films at this year's Tribeca Festival and was excited to see Riz Ahmed star in a crime thriller. His performances in Sound of Metal, Fingernails, Nimona, and his own short film The Long Goodbye, have made him one of the few actors I seek new stuff from and will watch regardless of reviews. I don't think this is fully representative of his abilities, as he only has a few key moments of dialogue, but I can't deny that he was a good casting choice regardless. Similar to Rami Malek in Mr. Robot, Riz Ahmed plays a methodical and contemplative silent type who anonymously and unconventionally exposes major corporations in New York City, but the big difference is that he has no voiceover narration. It makes it difficult to connect with the protagonist as a person, but as we learn his intentions and see him succeed in clever ways, we root for him as our "hero" regardless. Reminded me of The Lives of Others in the way the film depended on facial reactions to convey the protagonist's thoughts and feelings throughout, but it just wasn't nearly a compelling enough of an arc to be as effective. Still, it's a fascinating watch in the crime and thrill of it all, but the emotionality didn't exactly hit the marks to bring it all together. 

DATE: jun 12  THEATER:  AMC  19th ST. (TRIBECA)
Super compelling debut feature from Josalynn Smith! The queerness of it all is honestly pitch perfect, finger right on the fuckin pulse. The push and pull, the yearn, the overall plot representing the rabbit hole we've all found ourselves going down with that one sapphic situationship. Awesome. The first big plot twist got a big laugh out of me. That's one way to turn a tense and uncomfortable moment into a comedic payoff. The locations, lighting, and production design made this into such a visual treat, but I think I would have liked to see more creative utility of the camera given how straightforward(?) the dialogue tended to be. Regardless, very solid debut.

DATE: JUN 16 THEATER: IFC Center
This movie has a very pleasing presentation, and the dialogue is profound enough even if most topics are navigated immaturely (mainly by one of the two *cough* the boy *cough*). I think I'll have much more to say after watching the sequels. Definitely feels wrong to speak much on it until then, it feels as pointless as assessing Into The Woods at intermission. I'm enjoying the show so far, though!

DATE: jun 17  THEATER:  AMC 19th st.
I love how Celine Song writes love triangles. She subverts the tropes in a way that offers more humanity and emotion than melodrama and butterflies. This film particularly markets itself as a typical and timeless romance genre film, and you get some of those material characteristics like flashy dates and weddings, but it really feels more down to earth like an indie drama. On the surface level, the film is about following your heart and forgetting about the "math" of dating. Even deeper than that, though, it is an exploration of self-worth, connectedness, and how these factor into who and what you'll invest your life into. Maybe even deeper than that, this film is about love in the most primal sense of the word, as explored in the bookending sequences of the first ever married couple in a cave. Overall, this film is wonderfully multidimensional. It can be a box office hit and it can be a gritty commentary and/or critique on everything we value as an audience and as humans. It may not be as much of a tearjerker as Past Lives, which I do prefer, but this works in ways that its predecessor surely doesn't, and rounds out Celine Song as a filmmaker even further... with no signs of slowing down.

DATE: JUN 19 THEATER: AMC EMPIRE
There's something so fragile about the Disney-Pixar formula that is on full display in the box office right now. Inside Out 2 was a massive financial success, whereas Elio has the lowest opening weekend in Pixar history. Immediately, executives will assume that sequels and generally committing to previously successful IPs is the best way forward. In the short-term, maybe they're right (sigh), but what happened to Pixar being the innovative giant, both technically and creatively, that made the first ever computer-animated film? What happened to starting the first 40 minutes of a movie off without any dialogue? Where's the push for something greater, where's the audacity? Elio has a fantastic premise, a hook that made me more excited for a Pixar film in a long time, but it lacks audacity, it lacks an innovative edge. It's so blatantly formulaic that I tuned out from time to time, as I already felt so familiarized with the structure. In a movie that's all about exploring new horizons and meeting new species, this is a travesty. The imaginative wonder that made the first Inside Out so enthralling is lost. Don't get me wrong, it's a cute movie. The core friendship is adorable and their guardians' arcs toward showing their love more effectively is enticing enough. I even teared up toward the end. Overall, though, I didn't feel immersed nor did I experience awe in the worldbuilding like I did with Wall-E or even to a lesser extent Elemental. That montage where they explore the Communiverse felt so rushed and uninspired, I had such a hard time attaching to Elio's amazement and sense of belonging there. This is coming from someone who loves when media explores the theme of belonging. Overall it's disappointing, but I'm willing to give it another watch. Perhaps I just felt particularly disillusioned on this day.

DATE: jun 20  THEATER:  Regal union square
So glad I rewatched this while it was still in theaters. I loved the film just as everyone else did, but I found a few sequences a tad overzealous for my taste. However, now that I knew what I was walking into, I didn't mind it as much. For example, I don't think I rolled my eyes at the surprise ending / jump forward scene like I did during my first watch. Anyways, Michael B. Jordan should contend for awards. I highly doubt he wins, and I likely will find another actor to give my imaginary vote to later on, but this avoidance toward even having him in discussion is just childish. We need to give more respect to these big genre films when they're done right, as we need to show these big studios that this is the type of big-budget filmmaking we want.

DATE: jun 24  THEATER:  pfs east
Finally, we're at the point in the year where the indie darlings are releasing. I truly adore this film. The "bad thing" is depicted as hauntingly as you'd expect, but there is so much charm and goofiness throughout the film that it's impossible to write it off as a trauma drama. Maybe the most I've laughed out loud during a movie this year? It's not the type of black comedy that makes light of the traumatic events it depicts, but it perfectly encapsulates how complicatedly messy recovery and healing and reflection and coping can be. It walks a very fine between taking itself too seriously and not taking itself seriously enough, like a tightrope walker if instead of doing their graceful tricks they chose to appear as hazardous and wobbly as possible without falling off. A beautiful film that represents the entire cast's best work and a phenomenal debut from the star/writer/director (wow).

DATE: jul 1  THEATER:  Regal battery park
There is so much to love about this film. Some of the best animated sequences and art direction put out by DreamWorks, a script with hilarious dialogue and multiple compelling storylines, fantastic voice acting, one of the best scores for a Western animated work in recent memory, and the list goes on and on. It does, however, get pretty cheesy and the incorporation of that original song during the "learning to fly" sequence got in the way of a much more down to earth film. It is one of the few formulaic moments in the movie, but the others work to some capacity, that one just doesn't for me. In spite of that, this being turned to a film franchise with an upcoming sequel makes me excited more than fearful, as long as Chris Sanders is at the helm.

DATE: JUL 6  THEATER:  iFC CENTER
Right away, I found myself resonating with this more than "Before Sunrise". I'm sure I'll find more to relate to when I'm in my 30s, but I've had experiences that led me to similar reflections and outlooks that they discuss throughout. I was confused by the lack of interactions with locals, which I really enjoyed in the first movie, but it made sense once we got to the second half. Their performances in this section, particularly Julie Delpy breaking down in the car, were phenomenal. The writing also really struck a chord. I didn't expect the ending whatsoever, and was blown away by how it all built up to that moment. I liked from a structural point of view that it kept you guessing when they would go their separate ways, just to end with Jesse admitting he wasn't going risk that again. Jesse's behavior was definitely more redeemable than the first movie and he showed signs of growth. However, it is kind of creepy when you think about how he kept assuring he'd make his flight, while not intending to do so. Then again, I believe all romantic advances can be seen as creepy if you think about them too hard. All in all, it made me think! Afterwards, I sat in the park deep in thought and was creatively inspired. That's what a great movie does. Very excited to watch the third and final, although I'm pretty sure this theater stopped showing it.

DATE: jul 17  THEATER:  amc 34th St.
Full disclosure, I think this is my first Superman movie. However, I have seen enough superhero movies to know where it stands in the genre. I wasn't planning on seeing it, but after seeing even the biggest critics praise this one, I decided to give it a chance. Hoult and Carrigan were also motivating factors, and they were both as phenomenal as expected. Corenswet and Brosnahan had decent chemistry, but only the first apartment scene felt truly compelling to me. Aside from the extremely fun yet misplaced Mr. Terrific detour, and some great Lex Luthor monologues, it might be the only sequence that had me fully engaged. It's a flashy and comical adaptation, which is good, but some points felt kind of immature in its filmmaking, like a kid given full reign over a cinematic candy store. Randomly, you'd get jarring slo-mo inserts or complicated transitions that didn't really do anything except make the audience acknowledge its extravagance. That's why the scene in which Lois interviews Superman -- the most grounded, character revealing, and technically textbook scene in the film -- feels so refreshing amongst the blockbuster busyness. Still, this is a film worthy of getting a fatigued former fan, like me, to see a superhero movie in theaters for the first time in years. It's a step in the right direction, but the bar was so low that I can't sincerely consider this a cause for celebration. Even with its surprisingly political subplot (or just the main plot? it's hard to decipher what is and isn't), it feels like a major release that's finally being relatable and offering a reference point current enough to invest in. In other words, it feels like a superhero film that does justice to its source material in its implicit politics, which should be a no brainer. In other other words, it feels like all James Gunn accomplished was finally getting a legacy studio to distribute something that made sense, even if it was only in spirts.

DATE: juL 17  THEATER:  AMC empire
Four things became increasingly obvious as I rewatched Materialists before it left theaters. 1) You give this premise to any other writer, they don't deliver anything nearly as compelling as what Celine Song put into this script. 2) You give this script to any other director, and I'd imagine they'd struggle to keep a consistent tone throughout. It's a bizarre puzzle that Celine Song gave herself, but she was more than capable of delivering. 3) Daniel Pemberton. 4) Pedro Pascal stole scenes left and right. Don't get me wrong, Dakota Johnson is perfectly cast in this role and doesn't really miss a mark, but that's how great I consider Pedro Pascal's performance here. Deliveries were impeccable and presence was felt. I understand all of the reasons why this film doesn't work for others, but I can't stop but see so a growing list of reasons why this is great, or at the very least, really good.

DATE: jul 19  THEATER:  amc broadstreet
I like it, but I have mixed feelings in how much I like it. I read an article where Ari Aster says that the film is about a Big Tech lab being built and the inconsequential tragedies revolving around it. I just didn't fully get that vibe. I do understand that the lab bookends the film, and that specific characters are very motivated by whether or not it gets built, but it still doesn't feel like some towering, daunting backdrop. Maybe I'd like the film even more if I saw it that way, the way Ari Aster apparently sees it. To the sheriff, the character we spend a great majority of our time with, this issue is only briefly brought to his attention and seems like merely a subplot that somewhat supports his desire to take down the incumbent mayor. The stronger arc here is this being a microcosm of how the virus and internet culture at the time changed the trajectory of America as a whole. We barely see a small town vs. Big Tech / corrupt government type of storyline. I do see how they interplay, and it was decently executed, just maybe not as integral to the culminating takeaways I personally had. Another issue was that the final showdown action sequence either felt weirdly inserted or just unnecessary. I like the idea of the sheriff being dramatically proven wrong in his claim that the rest of the country's problems weren't their own, but I feel like it would've been much stronger if that was proven through people in his own town all the way through, as opposed to these random terrorist figures flying in and taking the credit. I guess there's a sort of surreal element there that could be appreciated, in that it was supposed to play out as a conservative cop's paranoid nightmare. But if that's what it's meant to all lead up to, laughing in the face of white male american fragility, I still feel it would have been more meaningful had it remained the town citizens that the sheriff actually interacts with day-to-day who confront his ego and compulsions. Any point that the film seemed to be pointing in that direction, I felt a lot more satisfied with it. So, it lost me a little, but not enough for me to write it off entirely! Fascinating performances and by far the most accurate and timely portrait of pandemic America that we've received so far.

DATE: juL 20  THEATER:  PFS East
So glad I caught this on my brief trip back to Philly, as the film and Q&A afterward were so powerful. I've always gravitated to media about counterculture, artist collectives, queer communities, and alternative perspectives to traditional belief systems. This film has all of that. A drag queen that becomes a rabbi is bound to have opposition, and the documentary does not shy away from it. There's a woman very close to the subject that offers her concerns with his choice to become a rabbi, especially while leading a movement that claims to be "anti-patriarchal" and "god-optional". It was incredibly compelling to hear these concerns as they weren't just from the conservative family members and seminary leaders, but even those that the subject aligned with ideologically. Then, there's a sort of montage where the subject is asked by the director to offer a response or reaction to this backlash, and he is unable. Usually this would be a sign of a weak documentary subject, but it actually felt very relatable. This person with so much conviction still has the humility to say, at one point, that he doesn't know how his actions or decisions will pan out, or if he will be able to stand by them six years into the future. Then, in the Q&A, the director was able to tell us how it did pan out, and how much positive change was made in the ripple effect. Of course, not without resistance, and there's still more change you'd hope to see, but this is only the beginning. A rabbi in their nineties also led an impromptu prayer before the Q&A, and many people in attendance had personal connections to the subject or to their movement. My friend and I even had a great exchange with someone who went to seminary with the subject, and their one critique of the film was, "where was I? why not acknowledge the dykes?"... Speak on it.

DATE: juL 22  THEATER:  AMC Kips bay
This is a Naomi Ackie fan blog. I need to read this screenplay so bad it's not even funny. Eva Victor and A24 please pursue the (likely) hopeless awards circuit just so I can get my hands on the PDF sooner than later. Such a good debut script. It's compact and logistically easygoing with its few characters and locations, but it gets the most out of every element. More non-binary protagonists in media, please! The whole courtroom scene is perfection. Manages to make subject matter so uncomfortable and potentially triggering into something akin to a comfort movie. Also, Kelly McCormack is so fantastic in this role lmao. Perfect casting all around.

DATE: juL 24  THEATER:  metrograph
I'm now four PTA films in, and while I still think the screenplays are hit or miss, there's no denying that he has impeccable directorial vision. Magnolia remains to be the one where everything comes together in a way that feels like a revelation, but this script, and performance from Adam Sandler, puts this film up there as a close second (not that the two films are very comparable). I got to see this in 35mm and was in love with the visual identity throughout. There's a continuous sense of monotony and mundanity that fits the themes while still being very pleasing to watch. Camera movement was also so playful and I loved how they served as comedic beats within themselves. It's great to see these type of directors make it work on a low budget, and it's a great case study for independent filmmakers (aside from the star-studded cast lol).

DATE: juL 29  THEATER:  amc kips bay
This was fun! I've been wanting to see Molly Gordon in a leading role again since Theater Camp, and the same can be said for Logan Lerman since the early 2010s. It could have leaned more into the campy hilarity of it all (which worked incredibly well for Molly in the aforementioned camp film), instead of awkwardly aiming for its dramatic resolution. Wanting to redeem Molly's character was admirable but I don't think it truly stuck its landing. Starting and ending the romantic weekend with a reference to Casablanca's bittersweet ending was interesting, but getting from that point A to Z felt a little forced and I believe the script should have been revisited to really get the structure down. I did like bringing in the two friends into the mix but it could have been timed better, and I don't know if the cold open was entirely necessary to allude to it. Whatever, nitpickiness aside, I truly had fun with it. 

DATE: aug 5  THEATER:  AMC Village
I say this in the most complimentary way possible, this was so stupid. Probably takes the cake for recent comedy with the highest joke per minute ratio. The gags littering the background will make this fun even on rewatch. It's hard to describe this movie as good or bad, as it aims to be bad in order to be good, and the few instances where it aims to be good are probably the worst part of it. Has one of the silliest detours I've seen, which I really appreciate. Overall, I enjoyed myself, but it was working with such a fast pace and disregard for sense that there were moments I wish I could pause and just take a breather.

DATE: aug 5  THEATER:  amc village
This rocked. I don't really care for horror movies unless they're super offbeat and somewhat self-aware, but this strikes a desirable balance for catering to traditional horror movie fans and people like me. It is relationship-driven and metaphorical, has a sprinkle of campiness, some sneaky queer undertones, and the actual body horror sequences are visually effective. There was some backstory business that I didn't feel was conveyed well, but once you get over the hump of trying to understand their internal conflicts and motives, it really takes off with all of the sequences that I can aptly describe as skin-crawling. Now realizing that I need to watch more body horror stuff after unexpectedly enjoying this and The Substance. 

DATE: aug 7  THEATER:  amc lincoln square imax
Ventured to the largest IMAX theater in North America to attend one of the first 2:17pm screenings of Zach Cregger's highly-anticipated sophomore flick. Like his last one, this film keeps you guessing until the final chapter. The majority of its runtime is masterfully written and shot to provide all of its horror, suspense, mystery, drama, and comedy. The tonal roller coaster isn't nauseating, though, thanks to its steady structure and pace. It appeals to every kind of moviegoer, except for maybe those that don't enjoy the sometimes cliche nature of the narrated storytelling. As was my issue with Barbarian, the reveal doesn't fully deliver on the immense anticipation that the film successfully builds up, suffering from its own success in a way. Rectifying the lengthy flashback sequence, however, was the final action sequences that were a perfect balance of hilarity and intensity. It's truly a crowd pleaser, and without a doubt worth seeing with the largest audience and the fanciest format available. Probably a film we'll look back on as a much needed trendsetter for the horror genre.

DATE: aug 10  THEATER:  ifc CENTER
You already know I'm going to go support independent animation on the big screen. Factor in a Q&A and a stacked voice cast, and I'll pay any amount of money. The first thing people are going to notice about this, from promotion alone, is its visual style. As an audience member described it, "isometric", and likely inspired by The Sims, to which the director emphatically confirmed. It's intriguing as this top-down perspective isn't commonly done, but that's because it also limits the "camera's" role to just showing the scene rather than telling the story. What never felt limited was the creativity in the writing, which made transitioning between musical comedy and dry humor look easy, despite being basically opposite in tone. The director credited a lot of this to the improvisation from the voice cast, some of whom he wholeheartedly trusted to make his script better. However, he deserves credit for providing a structure, cast of characters, and world that encouraged exploration, just like a sandbox game. It's not only exemplary for DIY filmmaking, but for animation as a whole. Also really cool to see Dean Fleischer Camp moderate the discussion!

DATE: aug 14  THEATER:  amc 34th st
I'm sorry but the fact that none of these guys kissed really bums me out. I would have taken any love story or sex scene involving a combination of the twink, the twink's twink secretary, the twink's twink secretary's she/they friend from college, the twinks' father figure with the glasses, and that cunty American. I think a Godzilla movie like this where the impending doom doesn't turn them into heroes but rather devolves them into touch-starved freaks would go platinum in my household. Anyways, I loved the pacing, the evolution of Godzilla was cool, the foreign affairs plotlines were interesting enough, and overall the bureaucratic angle this took really intrigued me.

DATE: aug 15  THEATER:  amc 34th st IMAX
Seeing this in a Dolby cinema is maddening. This is the type of movie we've grown accustomed to seeing directly on Disney+ with no one batting an eye. Of course, the first film was released in theaters to great success, and I completely sympathize with all of the nostalgic "I remember when family movies used to be good" folk, but this film was never going to touch the charm and quality of the original while being produced by a modern Disney corporation. On top of that, it by no means needed to take Dolby slots at AMCs where studio hits like Weapons or F1 could have benefitted, given that their sound design and cinematography are infinitely more essential to their theatrical experience. In a perfect world we would even see independent, film festival favorites like The Knife or Together get the opportunity to be seen in Dolby or IMAX. At least Manny Jacinto's stock is rising as the charming and patient leading man.

DATE: aug 17  THEATER:  metrograph
Somehow, I didn't know a damn thing about this film. I had a feeling it must be musical in some way, from the way Metrograph programmed it. Aside from that, it seemed like an enigma, something I wasn't supposed to understand until I finally watched it. Now that I have, I feel both satisfied and disappointed. Satisfied, because it is so distinctive in its filmmaking and scratched a specific itch both visually and musically, but disappointed because it hinged on a portrayal of trans people that I don't enjoy. It focuses on the aspects of transness that are sadly always focused on by those who lack the necessary understanding of the experience. The portrayal has some good moments, particularly the "Wig in a Box" number, but still come with the bitter reminder of the misrepresentation at the core of the film. Perhaps it's a case of a broken clock being right twice a day. Still, I had some fun, I have positive takeaways on both technical and creative levels, but there's this sad feeling in my heart that weighs it all down in retrospect.

DATE: aug 19  THEATER:  regal union square
After watching the first film a few days prior, I found myself even more compelled to go see this in theaters despite not hearing much buzz around it. Both films are playful with the heist/crime genre and very self-aware in their rampant use of cliche. The action sequences are a big highlight with their considerate disregard for physics/logic, combined with an already eye-catching visual style. I feel like DreamWorks is on the rise as they've reinvented their animation into something far more dynamic and intricate. As long as they're working with serviceable stories, they can continually churn out films worthy of seeing in a theater. I can't say the story always worked for me in this one, but I still had a lot of fun with it. Also, I love Webs. I love a well-written and adorable nerd, especially in animated films and shows, probably my favorite archetype.

DATE: aug 21  THEATER:  amc 34th st IMAX
I wasn't really sure whether or not I'd go see this film, as the only thing that really intrigued me was Javier Bardem. Still, I heard good enough things about it and know that it'll probably find a way to nab a Best Picture nomination, along with some technical categories like Sound and Editing, so I figured it'd be worth seeing in theaters just to be "up to date". I found myself journaling about its formulaic story, so that actually made it a pleasant experience overall. The racing sequences were fun to watch too, even for someone as car averse as me. More in-depth article to come...

DATE: aug 20  THEATER:  metrograph
This movie is outstanding and I'm quickly establishing a deep love for Jafar Panahi's work, but I was kind of heartbroken when Omid left the taxi. I felt like he was setting up for a buddy comedy where Omid continued to rent DVDs out to his film student clients, with Jafar offering recommendations as well as advice on filmmaking and life. Still, the film as is proves how inventive he is with his craft and once again shows his resilience like in This Is Not A Film. This is the true spirit of what people mean when they tell young filmmakers to "do it yourself", "don't ask permission", "by any means necessary", etc. To me, Jafar Panahi is the film industry equivalent of a shirtless rockstar cussing out the system over blaring heavy metal. Phenomenal.

DATE: aug 21  THEATER:  amc lincoln square imax
One of those films that made me embarrassed to call myself a filmmaker, just out of the fact that I hadn't seen it yet (lol). No better way to watch it for the first time than on the biggest IMAX screen in North America, which just so happened to be right around the area that the film was shot! It's a truly mindblowing film, with its writing, direction, cinematography, sound, performances, production design, (the list goes on), all coming together to create something actually worth seeing on the biggest screen you can find. I'm not usually woo'd by films in these fancy formats compared to a standard cinematic experience, but this is one of those exceptions. There's so many things I can praise, but what stuck out the most was the camera operation on those close-up dance sequences. Gorgeous. I also got a free poster! Woo!

DATE: aug 21  THEATER:  amc lincoln  square
These two guys wrote a raunchy rom-com, cast themselves as the leading men, then cast two Hollywood stars coming off of big romance films as their love interests. That in itself is a pretty intriguing romcom premise, but this'll do. From the opening scene, they choose not to pull punches, with the inciting incident involving a fatal car crash, somehow executed in a way that is darkly hilarious. From there, the chaotic hijinks proceed at a rate that can only be accomplished by omitting context and letting the audience fill in the gaps, many being cuts to black to represent a major time skip. This did wonders for the rampant comedy of the film, but doesn't really allow the audience to establish any sentimental investment. Perhaps this is because the film revolves around four deeply troubled adults who we're supposed to give up on by the end, simply made to be for laughs. However it's intended, I can get on board, but it's hard to put this over similar films like The Threesome that fantastically work in a sentimental hook, even if its comedy doesn't reach the same heights. Still, there are days you do want a comfort comedy without the fluff, so I can see it having great streaming success, maybe even developing a cult following in the same vein as The Big Lebowski. Also, yet another ideal casting for Dakota Johnson this summer.

DATE: SEP 17  THEATER:  amc  34TH ST.
Wow, nearly went a whole month without going to the movie theater (an ironic side effect of starting a grad program for filmmaking). The nice thing about going to the theater after a bit of a hiatus is that the joy of seeing a movie on the big screen is at its peak. Like an addict taking a break from their drug of choice, lowering their tolerance, then simulating what it was like the very first time they ever took that first hit. Perhaps that's one reason why I'm higher on this unwieldy divorce comedy than most seem to be. Or maybe I just love Olivia Colman that much. It's probably both. I was uncontrollably laughing! The vast and stacked ensemble all bring their A-game throughout the entire film. Genuinely one of the most impressive feats in casting this year. It seems like this is the comedic success rate that every recent romcom is aiming for, but only this film actual hits the mark every step of the way. My favorite "true comedy" of the year.

DATE: sep 18  THEATER:  amc empire
I missed out on seeing this at SpringFest in Philadelphia, so I'm glad I was able to catch it in its short theatrical run. As an indie comedy, it excellently emulates the nostalgia of other holiday classics. The goofy, talkative protagonist is written cleverly, and the love interest, a snappy middle-aged dentist, dominates in the charm-off. The various antics perfectly capture a day-gone-wrong in a Mid-Atlantic city, and makes an unlikely Christmas Eve meet-cute actually seem realistic. Eventually, though, the romance fell short for me. Early on, their longing/unknowing glances, expertly accentuated by zooms and match cuts, do make them a very compelling coupling to follow. However, it's the last act that simply struggles to wrap it up and offer clear resolution, making it overly lumbersome. Still, I really enjoyed this new take on a holiday romcom, and feel that many other filmmakers hoping to make a modern Christmas classic should take note of its limited scope and emotional maturity.

DATE: SEP 24  THEATER:  regal union square
Paul Thomas Anderson simply knows how to do the things that legacy directors can't help but do. His drawn out exposition doesn't come off as forced or overbearing, his long tangents actually seem integral to the film's liveliness instead of being detours, and those action sequences are successfully sustained for impossibly long durations. In other words, he builds a world that makes the usual drawback of a long movie actually a benefit. I don't know if I'd go as far to call this a perfect movie, but I do think that he finally uses his undeniable talent to create an undeniable film. While I adore Magnolia, this film has the mass commercial appeal that that film did not. Yet, the film is relentlessly political in a landscape where such films are losing traction for one reason or another, and goes as far as being revolutionary. The magic of this film is that it is an impossible task, not just from the production standpoint of getting a studio to meet its high financial demand in this climate, but to tell this story in a way that doesn't make every "politically-averse" moviegoer roll their eyes. Warner Bros. went all in for two incredibly artistic and meaningful films this award season, and they will be rightfully rewarded not only with accolades, but with enormous box office numbers. This is the turning point of Hollywood filmmaking as they attempt to rebound from the coronavirus and an overall fading glory. This is the beacon of hope for every filmmaker still pushing to make films that explicitly challenge authoritarian regimes. This is not only one of the best movies of the year, but it may soon be considered one of the most important movies of the 21st century. That being said, my first impression of the last act is that it does drag a little, and I have qualms with how it deals with certain supporting characters, but it's hard to not be so overcome with euphoria that those issues feel petty and insignificant. Aside from sound cutting out early on, seeing it in VistaVision was thrilling, and I'm excited to see how the IMAX 70mm compares.

DATE: sep 24  THEATER:  amc lincoln square
Early career indie directors convince themselves into doing this time and time again. They think they can make a heightened comedy by making their characters sooo offbeat (yet sooo relatable) that we're enticed by their depiction of an alternative reality, when its really shot entirely on location with completely feasible events. Add in funky camera and editing tricks that prove they've got an innovative and distinct flair, and you have yourself a premiere at Sundance. The difference between this film and all the other ones is that underneath all the extravagance and projected charm, the characters and plot are genuinely compelling. On top of that, the script's structure is the best imaginable for both dramatic and comedic purposes, of which the two tones are balanced magnificently. Usually, in a dark comedy especially, the film wants to convince you that it's a comedy so badly that it's hard to take the drama seriously. In this, the comedy is so effortless, and sort of "comes with the territory", and so we're able to put more stock into the drama because the script actually respects it. This isn't to say it's more than a drama than a comedy, but it exudes a confidence that the laughs will come, so might as well build on the drama to make it all come together... and it does. Dylan O'Brien is fucking fantastic. This is the role I've been waiting to see from him to finally confirm my suspicion that he deserves to be an actor (back) on the rise. As for the writer-director-star, James Sweeney, I'm hooked, and I will be following his career intently. 

DATE: SEP 29  THEATER:  CLASSIFIED
This is a hard one to write about. It's clear to me that the director didn't set out to create a biopic about the long and widely heralded rockstar, but about a struggling artist of whom could have been just about anybody. Yes, it uses Springsteen's music from the narrow scope of his life and career that it covers, and yes there are incredibly shot and performed musical sequences on stage and in the studio that I'm sure will inspire many musical biopic directors henceforth. Yet, there is an admirable attempt to make it about something much more than that, something more reflective of broader issues like how mental health and seeking help is so stigmatized, especially for men, and even moreso for men from New Jersey. Unfortunately, that's what makes this film fairly uninteresting. Forget about biopics, let's just focus on what good storytelling needs. Sure, it needs a relatable protagonist, whether through charm or flaws, but it also needs a specific protagonist. Springsteen is as specific as a human as you can ask for, but the film's attempt to subvert the biopic formula leads to generalizing his struggles and completely erases the unique perspective that he could offer. This is probably why I've heard a lot of people saying that Jeremy Allen White's performance, as great as an actor as he is, seemed nearly identical to his popular character in The Bear. It's not because of bad acting, it's because you could easily swap out just about any white boy with depression into this story. Naturally and consequentially, the audience can't help but see Carmy through and through. Protagonists and plots need to be specific! It's not just what makes biopics marketable, it's what makes every story compelling. It's a shame, because so much is really well-executed here. I adored Jeremy Strong's performance and found his scenes to be top notch. In the end, though, the commentary on mental health did not feel fleshed out enough to earn a climax where he finally goes to therapy (I nearly laughed out loud when I realized that's what the whole film was leading up to). It's too bad, this should have been a homerun.

DATE: OCt 7  THEATER:  CLASSIFIED
I had higher hopes for this than maybe I should have. I do think it is funny, engaging, and showcases some of Channing Tatum's best, but it's all too... easy. There's an angle to this story that would be incredibly compelling because it'd delve into the dark, sad psychology of a serial liar hypnotized by consumerist culture. However, it instead takes a much lighter approach by over-sympathizing with the real-life roofman robber's behavior. I personally am not appalled by his choice of robbing well-known fast food chains, so I was not looking for some sort of conviction there. Instead, it's his lies and manipulation of the people around him that I found inexplicably forgiven at the end of the film. They say he was "nice" and "fun", but nobody except a detective (who was lazily turned into an antagonist) recognizes that all of those traits should be negated by his other actions. The film simply does not challenge his intentions enough, nor connects us with a worthy enough rationale for his desperation and escalation to wreckless activity. Every look into this man's life is done merely to check the boxes for a money grab; fun action, true story, charming lead, flirty love interest, opportunity for in-film advertising, etc. It's enjoyable, but I can't celebrate that when there was a message far more meaningful staring us right in the face.

DATE: OCT 8  THEATER:  IFC CENTER
Glad I finally got to see this documentary after hearing about it a full year prior at the 2024 Philadelphia Film Festival. Once again, I have to praise documentary filmmakers for their grind in the exhibition / distribution phase, and I'm glad it led to a theatrical release at the IFC Center as well! Well deserved. I can't stop thinking about the stunning nature B-roll, which is funny when this film has one of the most memorable and ambitious premises. The best part is how narrative it feels because of that, save for the few moments where that fourth wall was broken, somehow only cementing the intensity and intimacy within these dynamics. One of those docs that successfully speak to human nature as a whole, as microcosmic as it appears to be. I need to watch more observational documentaries like this.

DATE: oct 8  THEATER:  amc 34th st.
It was very interesting to see how a normal audience reacted to the film as opposed to the private screening full of film students. Definitely had more laughs at some points and less in others, but overall gave me the impression that this is truly a movie for everyone. You can read into the politics and fawn over the cinematography but you can also just laugh along with Leo and Benicio's buddy comedy within all of that. Only one other movie can claim that universal appeal so far this year, and it's also a Warner Bros. release that'll make their awards push extremely complicated. Still plenty of fall festival hits to make their way to the public, along with the big studio releases over the holidays, but it's hard not to feel like this will maintain its hype through March.

DATE: OCT 10  THEATER:  AMC 19th St
I haven't been this confused about how I feel toward a movie in a long time. It's a movie that is both straightforward blockbuster and abstract thinkpiece that isn't entirely successful in either route but at least does enough here and there to make me really feel something from time to time. Then, usually right after it strikes a chord, it loses me in its cacophony of intentions. Overeager is probably the best way to describe this film. It sets out to do a whole lot, and in those efforts manages to get a lot done, but doesn't ultimately come together fluidly because it's just a muddled mess of respectable but mismanaged goals. Luckily, a big budget will do a lot for a film like this because the flashiness can really distract from the subpar storytelling, and the artistic direction is truly fantastic. Still, as a musical fan that will take whatever, it filled that void just fine.

DATE: oct 10  THEATER:  Metrograph
I'm going to be honest, I was too busy brainstorming my upcoming film school projects to fully pay attention to the movie's story. From what I did pick up, there was a lot of great thoughts on the circle of life and generational divides and other themes that really resonate with me. The cinematography was also outstanding, I don't mean this in some orientalist kind of way but it all felt otherworldly. It's almost hard to believe it was shot on location, and I mean that in the best way possible. For instance, take a look at this accompanying still. It looks like studio lighting with a "wallpaper" backdrop that combine to give that crisp focus on the character subjects. I don't even know how you pull that off in real life, even by today's standards, where we have easier access to higher-voltage lighting. Maybe I'm just too much of a cinematography amateur, and now that I'm shooting a lot of my own stuff I'm just realizing how hard cinematography really is, especially when going for a more stylized look within the limitations of shooting on-location. Seems impossible to me right now, but hopefully not for long!

DATE: OCT 16  THEATER:  AMC lincoln square
In the best way possible, this is the most evil film I've ever seen and I'd only suggest watching if you're okay with it ruining the rest of your day (or week, or month, or year...) It hinges on the viewer being anxious throughout its entire runtime, and I even got nauseous at the end. It's always great to watch a movie that feels wholeheartedly unique and original, but part of me wishes this was never conceived. But it was, and even produced to such a degree that it attached the most unexpected A-list celebrities in supporting roles. Almost every facet of this movie is 100% effective but also keeps you thinking "what the fuck is going on? why would they do this? should I stop watching? fuck, why can't I stop watching?" It also managed to be very funny at times, all the while sustaining the relentlessly panicky perspective you fully immerse in. I would have a hard time advising a filmmaker to make this. Obviously because it'd be dreadful if we got a lot of this, but only few filmmakers would be able to produce this without the final product being something no one would want to distribute. Mary Bronstein convinces you that this was worthwhile even if your mental health is sacrificed while watching. Partly because of the incredible consideration and understanding of the subject matter, but also due to the incredible performance from Rose Byrne that affirms the choice to almost always stay on her coverage, usually as close as a camera can possibly get. If her performance didn't absolutely deliver, the whole construct of the film falls apart. It requires an admirable amount of faith in the filmmaking process, and you can see that in every department. One of the best films of the year, but one of the worst movies I've ever experienced.

DATE: oct 17  THEATER:  PFS EAST
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DATE: OCT 17  THEATER:  PFS Bourse

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DATE: oct 17  THEATER:  Philadelphia film center
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DATE: OCT 18  THEATER:  PFS EAST

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DATE: OCT 18  THEATER:  PFS EAST

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DATE: OCT 18  THEATER:  Philadelphia film center

It's really funny to me the most publicized still doesn't feature the two characters that end up being the most pivotal in this kidnapping ensemble. I suppose that's a testament to the casting, writing, directing, and every other department that made each and every character so compelling, regardless of screentime or role. It did not feel like any of them were stealing each other's thunder at any point, which is always the toughest balance to sort out. This is the kind of film that every audience throughout history falls in love with, where a group of characters come together with a common goal and get on each other's nerves when their differences are exposed. In America, we have timeless childhood classics like The Sandlot and The Goonies, or even family road trip hits like Little Miss Sunshine and National Lampoon's Vacation (notice how they both feature a van?). This film flips these beloved genres and tropes, complete with the central plot point of smuggling a human body, and uses them to tell a story focused on PTSD, torture, authoritarian regimes, freedom of speech, and the list goes on. Panahi wants you to laugh along in the same way you would with those American comedies, but he also wants you to feel the characters' pain throughout as well. He wants to put you in each characters' shoes in order to evaluate the moral dilemma yourself. The ending is so poignant and effective in giving us that subjective experience, the more drawn out it was the more powerful it became, something you don't get to feel in cinema often. Panahi is one of the few who can structure and assemble a film in a way where that can even get pulled off, and the Palme d'Or is a direct result of that.

DATE: OCT 18  THEATER:  Philadelphia film center

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DATE: OCT 19  THEATER:  PFS EAST

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DATE: OCT 19  THEATER:  PFS EAST

[Just copying and paste my Letterboxd review because there's not much more I can bring myself to say on the matter]

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The bulk of the conversation will rightfully surround how important and timely this film is, but I’d hate to see it get buried that the filmmaking and performances are all revelations on their own. The seamless incorporation of documented footage and audio, the experimental imagery (that opening of the blurred waveforms especially), the heavy use of rack focuses that often act as transitions between perspectives, the list goes on. I am awestruck by the creativity and emotion that the technical departments provoked. And again, that ensemble, holy shit.

There is true evil in this world. People could somehow watch this film and still delude themselves that all of this violence is warranted, that it is all a justified defense. These people have separated themselves from humanity. There is no rationale, its mindless, heartless, soulless.

But there are also real heroes in this world. They are flawed, far from perfect, but they leverage their own anger and sadness into empowered action. This film depicts this better than I’ve ever seen. We must continue to honor the martyrs and the living heroes, and not lose sight that there is work being done to protect these lives, even if it isn’t at the scale that it needs to be.

DATE: OCT 19  THEATER:  Philadelphia film center

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DATE: OCT 23  THEATER:  aMc empire

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DATE: OCT 29  THEATER:  IFC CENTER

Embargo lifts November 14.

DATE: OCT 29  THEATER:  IFC CENTER

Embargo lifts December 24.

DATE: OCT 31  THEATER:  metrograph

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DATE: nov 6  THEATER:  AMC empire

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DATE: nov 12  THEATER:  Dolby screening room

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DATE: nov 13  THEATER:  AMC empire

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DATE: nov 13  THEATER:  AMC empire

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DATE: nov 14  THEATER:  AMC orpheum

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DATE: nov 17  THEATER:  AMC 34th st.

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DATE: nov 21  THEATER:  classified
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DATE: nov 23  THEATER:  AMC lincoln sq.

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DATE: nov 24  THEATER:  amc empire
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DATE: nov 26  THEATER:  AMC village

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DATE: nov 26  THEATER:  amc 19th st.
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DATE: dec 9  THEATER:  AMC empire

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DATE: dec 9  THEATER:  angelika village east
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DATE: dec 11  THEATER:  ifc center

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DATE: dec 18  THEATER:  amc lincoln square
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DATE: dec 18  THEATER:  film forum

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DATE: dec 18  THEATER:  film forum

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DATE: dec 19  THEATER:  amc kips bay

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