DATE: JANUARY 21    THEATER:  LANDMARK's RITz FIVE
Of all the late releases that had buzz leading up to Oscar nominations, Jeffrey Wright's satirical dramedy was the one I was most excited to see. I did not expect Sterling K. Brown to steal as many scenes as he did, as the half-packed theater was both entertained and moved by his character. The wedding scenes particularly were masterfully coordinated and succinct, culminating in the film's unexpected emotional climax. The four friends I dragged to see the movie with had mixed feelings about the ending. There were worries of misunderstanding the levels meta commentary. Personally, I was satisfied with hearing out both sides of the issue, and following Monk's growth. A movie doesn't always have to leave you with a clear revelation.

DATE: JANUARY 22    THEATER:  LANDMARK's RITz FIVE
A24's decision not to put their campaigning efforts behind this film nearly kept me from watching it in theaters. However, I kept hearing raving reviews from the public and was won over. It really is an all encompassing film about family, particularly one that just so happens to wrestle. I love a film or show that explores the deeper humanity in all things, but has a niche angle or subject matter. Funnily enough, I was reminded a lot of GLOW, which was a crutch for me through quarantine. The performances and soundtrack will weigh heavily on you the entire way home from the theater.

DATE: JANUARY 24    THEATER:  LANDMARK's RITz FIVE
I wonder if the cast knew just how good this would be, as it really is a film that comes together in the edit. Maybe it moved me even more to see them put it all on the table and trust that it will get delivered as it did. The moody lighting and color really ease you into the surreal elements as they reveal themselves to be. Exceptional pacing that disguises itself as a slow burn, but then the script throws a whirlwind of emotions at you in the second act. Haigh's vision is executed with finesse in every department, and impressively does not resort to excessive flashiness.

DATE: JANUARY 26    THEATER:  PFS BOurse
I knew this would be an uncomfortable watch, but I was not expecting anything like this. A rare occurrence where I must credit the Oscars for rewarding film achievements despite harsh, divisive subject matter. While the Best Picture and Director nominations are huge for an experimental, challenging film like this, I believe the most deserving is the Sound nomination. Previously, I would have gone with Oppeneheimer as my favorite to win, but this film truly is the epitome of the impact sound has in film. The long sequences of looking at the black, white, or red frames were one of the experimental decisions that most positively impacted my viewing experience. They serve as checkpoints, reminding you that the film's weight lies in the soundscape, and that you must not tune it out. Overall, it proves the point that by holding our visual attention on these individuals who often pretend not to hear the atrocities they commit or are at least complicit towards, we're being shown where the root of evil really is. There are other decisions I didn't find as effective, but ultimately this serves as one of the most important films on the already deeply explored subject.

DATE: JANUARY 30    THEATER:  AMC Fashion district 8
I sat a bit too close and could hear the heavy bass from some epic being played in the screening next door, but the artistry and realism of Ava Duvernay's work always captivates. I did struggle with the unwavering commitment to depict so much from the adapted work, "Caste", as well as the untimely events of the author's own life. It's a noble pursuit that I appreciate, but it's a hard balance that can stretch things very thin. I can see how a similar mindset led to When They See Us becoming episodic. As much as I believe the cinematic elements of this film were truly deserving of being seen theatrically, maybe serial storytelling is the only way to do justice to so many moving parts. Ultimately, I was moved and found that it was successfully though-provoking.

DATE: february 1    THEATER:  landmark's ritz five
I was so late to the party, but just like my late viewing of Everything, Everywhere, All At Once last year, it did not matter. This movie is so potent that every vague spoiler that I consciously anticipated got washed away with every enchanting or agonizing beat. Unfortunately, the pivotal scene of Nora and her husband in bed was interrupted by pop music leaking in from beyond the front exit, and I had chosen to sit relatively close. Oh well, looks like I'll just have to rewatch and get my heart broken again.

DATE: FEBRUARY 20    THEATER:  landmark's ritz five
Everyone involved in the visual identity of this film deserves every award in the world. Made the mistake of not eating dinner beforehand and not buying any theater snacks. Immediately walked to the nearest 7/11 and downed two slices of pepperoni pizza. Obviously not as gourmet or presentable as the food in the movie, but you do what you can when you're broke. Was also just a cinematic treat considering I had a drought of moviegoing experiences after a long streak to start this year's diary. I was certainly craving every single thing that this movie offered, and I would not want this movie to change in any possible way. Masterful.

DATE: february 29    THEATER:  PFS EAST
Full disclosure: I was not one of the many fans that raved over Part One. Obviously had a lot to set up, being an adaptation of a wordy book series, and it certainly had moments that showcased the apex of Villeneuve & Co.'s cinematic ability. I just felt like the overly expository nature was a drawback, and going into Part 2, I hoped that it was a necessary evil in order for this one to be unleashed. I was immediately gratified. From beginning to end, Part 2 was a feast for the eyes and ears. Villeneuve's direction, Fraser's cinematography, and Zimmer's score all stood out in delivering one of the greatest cinematic spectacles in recent memory. I'll also give a special acknowledgement to Zendaya, whose performance was the most magnetic and memorable. I believe the pacing tripped me up a bit at some point in the third act, but otherwise the storytelling is leaps and bounds above the first in my opinion. A strong frontrunner for 2024, and I doubt it'll lose too much momentum by this time next year.

DATE: MARCH 4    THEATER:  landmark's ritz five
I love a free movie. Thank you, PFS membership! I also love when the movie is an under-the-radar comedy. I especially love when the audience is feeling lively and expressive. I'm not just talking about hearty laughs either, of which there was plenty. The brilliant layers of comedy in this film also have such poignant, relatable foundations. So, when discussing which of the thirteen egg paintings should close out an egg painting showcase, it'll have an audience member uncontrollably go "hmmm" as they genuinely feel moved by Alejandro's argument for the unresolved egg painting. It's absurd and silly, but truly profound in so many different ways. Anyone with a fraction of empathy as the writer/director/actor, Julio Torres, can appreciate this film. Maybe at times too big for its britches, but the vision is extraordinary if you lend the experience an inch of your own imagination.

DATE: March 12    THEATER:  AMC FASHION DISTRICT 8
I wanted so badly to like this one. I heard it was a little underwhelming but I was hoping that was just due to a short runtime. The marketing showed that it had all the pieces for a great buddy comedy; star-studded supporting cast, queer friends-to-lovers arc, and the unlikely heroes trope. However, what's left to get surprised by is very minimal. Fun as long as you don't set your expectations high. Also, Jimmy Kimmel was not joking about AMC theaters starting their movies so damn late. Why was it scheduled so that a school trip was still watching their movie by the time I'm expected to be seated? Also, if you're going to advertise your theater as a Dine-In theater within a mall, I'd expect to be able to bring mall vendor food into the theater. Once again, Egyptian mall theaters are innovating more than the biggest theater companies in the world.

DATE: MARCH 14    THEATER:  PFS BOurse
A letterboxd review suggested watching it in a packed theater, so I went to a night screening rather than my usual matinee slot. It wasn't *packed* but it definitely drew in a decently-sized, very intrigued crowd. I think this is one of those movies where my expectations ruined my experience. From the beginning, the intricate and creative decisions in the music and sound design compelled me, I was just waiting to feel the same way about the story, but I never did. Specifically, I was not prepared for the full committal to campiness at the end, because it was subtle enough at first to ignore. I'll enjoy it a lot more once I rewatch, it just wasn't the movie I was hoping for originally. Anyways, I loved look of the movie, it's a well-executed aesthetic that stood out to me in the trailers.

DATE: March 19    THEATERS:  PFS EAST and LANDMARK RITZ FIVE

As I approached the crowded theater for Moonstruck I came to realize its popularity. I should've known based off of the four free screenings offered this month, with this being the final night. Still, I underestimated how much people loved the movie, with bigger laughs than I would've suspected watching on my own. Nostalgia sells. Having never seen it before, I was very charmed by the over-the-top humor that the entire cast executed so well. It was also randomly beautiful with its sequence regarding the moon, the mom's unexpected dinner date, and the answers to her lingering question.

After a quick drink and snack at Han Dynasty (coolest location for a bar and restaurant in all of Philadelphia perhaps), I went to see Jaws. As a late night screening that wasn't offered for free, this was much more scarce in attendance. I preferred this for a movie like Jaws. Without anyone in my periphery, my immersion was enhanced through the iconic location and score. Riddled with recognizable film motifs in every level of production that I never even identified with this movie or with Spielberg before. This proves how influential this film was, and how much I still need to educate myself.

DATE: MARCH 29    THEATER:  PFS BOURSE
Unfortunate that such a creative movie would resort to AI images for something so supplemental that it could have easily been outsourced to a young graphic designer without breaking the bank. Otherwise, I would love to see more conceptual horrors like this. Ending could have been more interesting but the ride there was engaging, and I could tell that many people in the theater were very into it.

DATE: APR 4    THEATER:  Cinemark University City Penn 6
Not the still I want to use, but considering I saw this a month early and for free (score!), I'll have to wait until they are more publicized. As the seemingly rare fan of Bullet Train and increasingly more common fan of Ryan Gosling in an action-comedy, this had me hopeful. The early exposition was interesting in how accurately yet comedically they depict a film set, and I would continue to find that to be an amazing aspect of the film. Otherwise, the storytelling really doesn't pick up until he goes to Sydney, and from there it's an amazing movie up until the plot twist. The twist itself is decent, but by that point the token ironic, self-aware comedy is getting stale and you're waiting for the resolution. Overall, great movie-watching experience! I hated weirdly waiting in line in a dark part of the theater, and then seeing that free merch was being handed out but they only had enough for like 10% of the audience (my Warner Bros. ambassador experience had me appalled). Oh well, can't complain about a free movie.

DATE: April 8    THEATER:  PFS EAst
PFS East, you have my heart. It seems like I've never had a bad moviegoing experience here. Dev Patel's dream-come-true movie is also a highly considerate action film in that its the right blend of every ingredient. Every unexpected comedic beat hit in the theater, and much of the violence that turns even more gory than anticipated received appropriate gasps of horror. It's a raw film with a lot of heart, but picks its moments to slow things down and leave you with methodical storytelling or visual wonders. Felt like a homegrown blockbuster as intended, and I'm excited for Dev to be released from typecast jail very soon. Also, this shot was as epic as advertised.

DATE: APR 12    THEATER:  Philadelphia film center (springfest)
My first of two screenings obtained through a comp'd All-Access badge for Spring Fest. This was talked up by a PFS staffer quite heavily, and I was ecstatic that I was even feet away from the writer-director at one point. It is a consistent comedy with an underwhelming plot in some ways, but again is part of the comedy. Felt a little gimmicky at times, but when it reached into its emotional core, it hit every time. The crowd was in love with this movie, as it was definitely its target audience for the most part (adults dealing with their parents growing old or just straight up old people). There is something for all ages, however, and it's worth seeing with your family.

DATE: April 13    THEATER:  PHILDALPHIA FILM CENTER (SPRINGFEST)
I have officially found the greatest seat in a movie theater of all time. No wonder a majority of the reserved seats were in that row, it was the perfect level with the big screen. Felt like a truly immersive, VR headset type viewing. Then, the movie started, and I had what was probably my favorite movie experience of all time. The crowd was into it, people were crying, people were getting on each other's nerves for having their phone on or coughing too loud. Everyone wanted perfect immersion with this film. An emotional masterpiece. It is the movie of the year. We also got to hear from three of the actors who played themselves in the film, including the soon-to-be star, Clarence Maclin aka Divine Eye. Despite being a Philadelphia native, Colman Domingo was not in attendance, but frankly it was more worth hearing from those who lived (then decided to re-live) the story. That's coming from a huge Colman fan.

DATE: APR 16    THEATER:  AMC Broadstreet 7
Shoutouts to the local AMC, my closest yet most neglected theater. Have had so many weird experiences there, but this time was the least weird to date. Maybe it is worth going on Tuesdays more. Had a great viewing position in the back and was immediately in love with the immersion from their weird TV static surround sound gimmick over the opening credits. I also knew it would be a very visually interesting from the first shot, I thought to myself "yes, they're going to be pretentious!" The most randomly beautiful-looking movie ever. Takes you by surprise with the story drifting away from the hypothetical politics and really delves into the social response and journalism of it all. Such a fascinating angle to tell this story through, and a great payoff that you don't entirely expect either. Give the ENTIRE cast their flowers. Especially the insanely layered dress scene if you know what I mean.

DATE: April 22    THEATER:  PFS Bourse
Put back on my radar after my roommate said it was the best film of the year so far. High praise after we watched Sing Sing together, which is still my pick. However, it definitely surprised me with its excellent use of imagery and symbolism, and some really great performances from the whole cast. An adventure / heist / slice of life hybrid of a movie that excels in immersing you in a very small subculture of Italy. It took risks with its frequent folky and gimmicky sequences, but they were sprinkled in at the perfect moments. Glad I got there early to get the perfect seat.

DATE: APR 24    THEATER:  PFS EAST
Randomly got the chance to see this movie for free, an offer that was extended just the night before. The theater was packed with a very particular target audience of college students / young adults. Festivities of trivia, custom drinks, and merchandise had hyped up the audience enough to be very reactive, now the movie just had to deliver. I wasn't sold getting into it, but by the point we reached their younger years, I started to lean into the way Luca incorporates tension and foreshadowing into every scene. Once the final sequence starts, it felt like all the tension was unleashed in a perfect storm. The captivated crowd may not have loved the open-endedness, but there truly was no better way to end it in my mind, just from the way it was scripted and set up. The three actors were all phenomenal, but I give my props to Josh O'Connor after finishing his doubleheader this week. Wasn't familiar with him before, but now I am a big fan. That token, versatile smirk will take him far.

DATE: April 26    THEATER:  PFS Bourse
Friday matinee, center seat, lukewarm coffee by time credits ended, an average showing by all superficial means. When the movie started and the boys started dragging the mattress, I felt completely immersed by the realism of their childhood friendship. Even if I don't know enough about '90s Chicago to know how they executed that, I know that their reactions, and reflections of the events depicted, felt very true to how I or a friend of mine would have discussed it growing up. There's a unifying truth in this film that is being disregarded by those who just see it as a period piece. No matter the place, time, or identity; if you know how it feels to move at that age, you know how well this movie depicted it.

DATE: MAY 1    THEATER:  PFS EAST
I'll always take a free, early movie opportunity especially when its about to get ruined by going straight to streaming. Was often as cheesy as you thought it would be but the production quality wasn't feeling so much like a straight to streaming type of movie, felt polished and intentional all the way through. Great casting overall and great balance of comedy especially in the beginning. Crowd was eating it up, apparently had a lot of romcom lovers and book readers from what the ecstatic hype-woman revealed.  However, there was one couple ahead of us where the girl was continuously checking in on her group chat and the guy groaned any time there was a feminist statement. Thinking about them a lot lately.

DATE: April 26    THEATER:  LANDMARK RITZ FIVE
When life is moving fast, turn on a Ryusuke Hamaguchi film. Not necessarily going to cheer you up, but it'll slow you down. The nice thing is that it's a welcome change of pace, and the quality of the shots and performances will always deliver. So, this film is another film of his that has plenty to savor, even in its most emotionally scarring moments. The exploration and contrasting of rural versus urban life is well-executed and surprisingly not in your face. It's just regular conversations shot in a way that makes you hold onto the little details of human interactions. It's not a movie that will be enhanced with a large audience, as my experience in a dead silent theater proved rather compelling. Understated in many aspects... until it's not.

DATE: MAY 17    THEATER:  PFS BOURSE
Sat in the back of the theater for this psychological thriller with no expectations. I haven't seen anything else from Jane's filmography, but their ability to re-illustrate reality is beyond impressive. The fantastical nature of the film only provides deeper insight into the realities that the characters live, and the overlapping themes of trans revelations and loss of innocence perfectly intertwine. Trans people may be most reflected in this film but I think this film is for anyone who still struggles with growing up. Singular in vision and execution, and the soundtrack is just the cherry on top.

DATE: MAY 25    THEATER:  Philadelphia film center
Yeah, another random first time viewing of a movie I should have seen before. Probably the most impressed I've been with a film opening from script to edit since The Taste of Things much earlier this year. Not just from the cold open, but carrying the momentum to the blog posts and the establishment of the origins of Facebook. I also realized how influential this movie must have been on every film script with a deposition scene since then, especially the constant ones within Oppenheimer. Overall, this holds up to the decade and a half of hype, and I look forward to belatedly watching more classics in the theater.

DATE: MAY 29    THEATER:  PFS EAST
As someone who has still yet to see Mad Max: Fury Road (sorry), I wasn't sure what to expect from the latest edition from the Mad Max universe. Despite being a prequel, this film felt very singular and was as epic as advertised. When I say epic, I mean it was big and unique in its action, sound design, score, line deliveries, costuming, production design, EVERYTHING felt immersive and grand. Nothing about the story wow'd me, but the long sequences never felt like they dragged and I was easily sucked into them. Taylor-Joy delivered a great performance that was filled with grief and revenge, whereas the wickedly compelling performance from Hemsworth stole each scene.

DATE: JUN 21    THEATER:  PFS bourse
One of the few films where I went in pretty blind in terms of reviews or commentary, and I'm pretty grateful for that. There's so much that stands out about this film. Some of the most accurate depictions of grief, and seen in very different ways between performances. The protagonist's journey from emotional repression to revelation is raw and rocky, but ultimately leads to the heaviest act of forgiveness I've seen depicted in cinema. What I really loved is how it never gave away details for free, and the context is slowly gathered, perfectly encapsulating the repression and overcoming of the characters' shared trauma. I was not in a theater with many others, but you could tell tears were shed all around, and as long as this movie is out I'll be promoting it to everyone I know.

DATE: jun 29   THEATER:  PFS EAST
I was in love with the realism of this hilarious crime drama. Robbers being awkward, hostages being snippy, detectives losing their minds. The character writing all accross the board is excellent and was a big reason, I imagine, that such a large crowd showed up for this film nearly 50 years later. The queer representation was a surprise to me as well, and completely shifted the way I looked at the story in all the right ways.  

DATE: JUL 23    THEATER:  MJR Waterford Cinema 16
Having never seen the original, I went in with no expectations. My little cousin, on the other hand, had just seen the original the night before and was very excited. Some of my favorite moments from the movie were actually her reactions. Cinema is a rare, beautiful artform that can be deeply appreciated by all generations regardless of their understanding of the technical or narrative details. I could put my critic hat on and just write it off as another money-grabbing summer blockbuster, but those movies can still be magical and thrilling! My cousin adamantly claimed this to be better than the original. When I asked why, she said "the old when didn't have a fire tornado". Sometimes it is as simple as that.

DATE: Sep 12   THEATER:  Philadelphia film center
After an extended hiatus, I've decided to re-embark on the financially-detrimental quest to patron my local theaters as though it were my second home. This fall is stacked with highly anticipated new releases just as it was last year, and the curation of throwback films have caught my eye. As I built my schedule for the next few months, this long title instantly gave me a fantastical, vibrant feeling, and I knew I had to see it that very night. Almost immediately I felt vindicated by the premise of the "first spectacular night of adulthood" and its goofy animation. The ridiculous nature of each side quest had me laughing and shaking my head throughout, while the overall vision, aesthetic, and message warmed my heart. Consider me a fan, Masaaki Yuasa.

DATE: sep 12    THEATER:  LAndmark ritz 5
The intimacy of watching a movie in a theater with only one other person is so palpable. Felt like we really survived all the second hand embarrassment of this early 2000s teenager together. Seriously, though, while there is a strong perspective of growing up Asian in America, I think anyone can relate to this coming of age story. The writing is this film's biggest strength, and Sean Wang's feature debut provides a solid foundation for the future of his filmography.

DATE: Sep 13   THEATER:  PFS Bourse
I guess the staff never usually gets requests for decaf coffee, as they had to make a fresh pot just for me. After waiting, they asked if I wanted room for cream. I always say no, but the secret is, I put in 1-2 hazelnut creamer pods anyways. You see, they never usually fill it to the brim, so I figure I might as well get my money's worth of coffee. However, this time they did fill it to the brim, and I still put creamer in. This series of events led to me walking into the theater right as the movie started, dripping *boiling* hot coffee onto myself. In spite of all of this, I still enjoyed what I believe to be one of the most subtly fascinating expositions in a film. It's simply the proceedings of a highly-anticipated first day of a trial in a Montreal court, without any context given to the spectating protagonist or their interest in the case. Establishing this mystery like that allowed for it to be such a looming curiosity, and it kept me engaged as I tried to figure out the protagonist's motives. As her character unravels, the beauty of Juliette Gariépy's performance is in her calm and reserve. Overall, the film provokes all of the sensations and emotions you're expected to feel based on the content matter, except without explicitly showing the horrid acts that are discussed and reacted to. Genius.

DATE: sep 13    THEATER:  PHILADELPHIA FILM center
Fourth movie at a theater in three days, decided to throw it back to a classic, and my first time viewing a Roman Polanski film. Yeah, I've got a lot of homework, my watchlist is enormous. Besides the fact that he's a terrible person, he directed an engaging noir, a genre I struggle to sit through. Hard for me to be a fan of pessimistic, often misogynistic men that inflate their egos doing detective work or crime (or both), especially without any self-awareness or intentional criticism brought on to these subjects. What this one had going for it was it's clean, textbook filmmaking. Nothing especially stood out in my eyes, but everything did it's job and did it well, and the mystery was played out exceptionally. Tie that all together with a memorable, iconic final line, and *boom* you've got a movie worth returning to fifty years later.

DATE: Sep 15   THEATER:  Philadelphia film center
Let me tell you what my expectation was: A slow burn drama about a father (Brad Pitt) who struggles to connect with his son despite an honest effort, sharing similarities in tone, pace, and setting with Minari. I would quickly come to find that the scope of the film is so much broader, and the tone and pace can't be compared to any film I've ever seen before. With almost no comic relief aside from some very muted childish antics, the film is a meditation on life and loss. Faith and grief are the intertwining battles that the characters experience, and a vast collage of supplemental imagery reflect these experiences. Altogether, we witness the macro scale of existentialism alongside a case study in this 1960s Texas family, particularly from the point-of-view of the eldest son who reminisces on his roller coaster of a childhood. Cinematography and music were king, but the editing, sound design, and direction all had to be phenomenal to even attempt to pull of a movie this fluid and intricate. Not my preferred type of film, but there's no denying the mastery in every department.

DATE: sep 18    THEATER:  LANDMARK's RITZ FIVE
I will always be seated for Natasha Lyonne, no matter what. This movie could have been widely regarded as a bore, and I would've gone to see it anyways. From the beginning, the pacing and editing was keeping me from being fully immersed, not necessarily because it was poorly executed, just because it was punctuating tension in ways I wasn't expecting. By the midpoint, as I settled into the film and became familiar with the setting and characters, I was fully on board. Thematically, it was striking a chord, and the performances delivered. The characters that were only given one scene to shine especially capitalized and were real highlights. Plays it straight until one magnificent moment of surrealism, just to bring it back to reality in a bittersweet resolution. I wish more people knew about this one, hopefully it doesn't get buried in Netflix's algorithm. 

DATE: Sep 19   THEATER:  Philadelphia film center
I think Paul Thomas Anderson is a great director, but movies like these are a little lost on me, at least for the first go-around. I've heard a lot of people say it takes multiple watches to fully appreciate as its a dense screenplay adapted from an even denser novel. Once I let go of trying to understand the complex mystery and stakes, I actually found myself enjoying it more. There's humor, beautiful cinematography, great performances from a star-studded cast. Plus, it seems like they really captured the transitory period of the setting that the protagonist was struggling to come to terms with. We'll see how I feel about it next time.

DATE: sep 20    THEATER:  PFS Bourse
My 100th movie of the year! Even after being forewarned about this gore galore, nothing could have prepared me for that. I also haven't logged many horror movies, let alone body horror movies, so I was bound to be taken for a ride. This is a very unsubtle movie, not just in its special effects and imagery, but even the dialogue is quite on the nose. The point is going over nobody's head, in fact, it will be drilled into your eyes and ears repeatedly. The mix was loud and every sound effect was exaggerated and heightened, providing a very uncomfortable experience even in the non-gorey scenes. Of course, that only adds to the lingering effect the movie has, as this will be on your mind for a long time after watching.

DATE: Sep 21   THEATER:  Philadelphia film center
Finally watched one of the greatest action films of all time. It excels in its world building, creative stunts, and characterization through minimal dialogue.  The music continually had me nodding my head along, and there was never a wasted frame. Furiosa's ability to expand on this world is impressive in itself, but Fury Road feels better paced and more compact. Both films play off of each other very well, and I hope the recent box office letdown doesn't keep George Miller from continuing this franchise.

DATE: sep 23    THEATER:  AMC BRoadstreet 7
First watched this in a living room and I was generally engaged throughout, and in awe of the final scene. Like many who have watched the film, I've gone to YouTube to relive it many times. When I found out it was returning to theaters for its 10th anniversary,  I knew I had to experience it as it was intended to be experienced. I got my ideal seat (right in the middle) in a small AMC theater,  with only three others attending in the row behind me. However, for the entire runtime, it felt like it was just me in that theater. I put my feet up in the recliner, sipped my thermos full of coffee, and was in movie heaven. I previously undervalued the early parts of the film. Specifically, I found a deeper appreciation for Chazelle's direction as I identified the little intricacies of the shot variance, creative framing, and dynamic movement. I always admired Simmons' performance but caught on to more details such as the slightest of nostril flares. By the time we reached the final scene, I was already feeling euphoric from the film's theatrical showmanship. Then, it sent me into a new dimension. Easily worth every dollar and minute wasted watching AMC's endless trailers. 

DATE: Sep 24   THEATER:  LAndmark's ritz five
After not being convinced enough from one viewing to jump on the overwhelming Inherent Vice hype from Paul Thomas Anderson enthusiasts, I was a little wary of how I'd feel about this one, especially at a 3 hour runtime. However, this was much more my speed, and I walked out of the theater feeling deeply affected. The ensemble is balanced perfectly in both the script and on the screen. The flow produced by outstanding cinematography, direction, and editing proved to be mesmerizing. It's nearly miraculous that Paul Thomas Anderson manages to maintain all of this for 3 hours. Philip Seymour Hoffman's character's devotion to his patient will sit with me for as long as I live.

DATE: sep 24    THEATER:  PFS East
I was very excited by the premise of this movie, and it certainly delivered, but not in the ways I expected. I was fortunate enough to see this for free and in advance of a wide release, and the environments of these viewings are always lively. This was very important for an offbeat comedy, especially since it leaned more into absurdity than the trailer lets on. It also swings into body horror and has a very memorable karaoke scene. I thought all three of the main performances excelled in their comedic deliveries, and Sebastian Stan is given many brooding, pitiful moments to successfully establish the drama. The ending took many turns that seemed inexplicable, but they will enhance the experience if you can manage not to take the film too seriously.

DATE: Sep 28   THEATER:  AMC Fashion district 8
I was hoping for one of two things from this movie: 1) that it would be so ridiculous it was funny, and 2) that the production value would provide some interesting / stimulating audiovisual experience even if devoid of a coherent or meaningful story. Unfortunately, I can't really say I got either of those things. It was very ridiculous and high production value but it just made me groan and roll my eyes. Looking back, there are some laughable moments and choices, and stills like these seem really cool taken out of context. However, in the context of the movie, it was simply too painful to enjoy its rare redeemable aspects. I can see how other people might have enjoyed it by not taking it seriously, as it is so eccentric and out there that it is truly fascinating, but I guess I wasn't in the mood to engage with it ironically. Anyways, I didn't have to pay because I found a free coupon code simply by searching the film's title on Twitter. Severely lucked out. I also brought in popcorn from home and moscato in a bottle, so I didn't have to pay for overpriced AMC concessions. So, the experience wasn't all bad.

DATE: sep 29    THEATER:  AMC Broadstreet
I woke up a little sickly, as I truly believe Megalopolis drained me physically and spiritually from the night before. However, this movie had so much charm and creativity that I managed to have an amazing experience anyways. Visually, one of the best animated films I've ever seen. The score was perfect, and it better get nominated at the Oscars after they snubbed two great animated candidates for their amazing scores last year. The storytelling truly makes it a film for all ages, as it is simple but has so much heart and the characters are vast and fascinating. My friend came to watch it with me and he's now inspired to get a tattoo of Roz cuddling up with all the animals. That's the best way to sum up the vibe of this masterpiece. Also, something about animated movies featuring robots always hit? WALL-E, Robot Dreams, Robots, Big Hero 6, and I still need to watch The Iron Giant but I know I'm going to love it. Anyways, can't wait to rewatch this one when I'm in higher spirits and in better health.

DATE: oct 1  THEATER:  PFS Bourse
PFS is showing all of Sean Baker's films leading up to Anora's Philadelphia premiere, and I decided to commit to seeing as many as I can. The Florida Project was one of the first films I watched in film school and it had a profound impact on me. I immediately enjoyed the intimate use of the camera, and while it took me a bit to settle into the edit, I ended up loving it too. A really great exploration of the people of New York from a very specific lens. I became very self-conscious of my tipping habits after this, which I think speaks to the film's success. I also love that everyone working at the restaurant all ended up being kinda a homie.

DATE: OCT 1   THEATER:  AMC Fashion district 8
Beat out two other commenters on an Instagram ticket giveaway to attend this advanced screening. Turns out I could have gone for free anyways as a PFS member. When I showed up, they didn't see me on the list even though I filled out the form and received an email confirmation. Luckily, the theater wasn't packed so they added me to the list anyways. Before going in, I went to the bar and got a beer, completely forgetting the subject matter. Felt a little awkward sipping my drink while watching a depiction of an alcoholic's breakdown and slow recovery. I saw a review that called the film's structure complicated, and while it took me a bit to settle into its flow, it actually became quite intuitive for me despite being non-linear. I really enjoyed that and the cinematography, editing, pacing, music, and of course... the performance. Truly one of Saoirse Ronan's best in an already stunning filmography. The grand finale brought me to tears, then the quick scene after made me laugh, a perfect way to end the film. Her recovery being depicted as a series of escapes is so true to life in my opinion, and works so well thematically. Also leads to the perfect title.

DATE: oct 2  THEATER:  PFS Bourse
2nd film from the Sean Baker retrospective, and a very similar style and setting with a bit more comedy than Take Out. Both of these films feel like companions, as they deal with undocumented immigrants working their asses off to survive in New York City. The protagonists also deal with an additional crisis that separates them from their co-workers. In this case, that comes in the form of a baby boy. I loved the story from the side of the main protagonist, while the storyline of his boss' marriage problems was not as enjoyable to watch, but still technically well done. Overall, I love how authentic it all feels. It really shows that you don't need high production value when you have excellent acting, writing, and directing.

DATE: OCT 3   THEATER:  PFS BOURSE
3rd film from the Sean Baker retrospective, and from the jump there was a sense of an elevated production value. No longer on the streets of a busy New York City, and no longer having to work the camera while directing, Sean Baker was able to hone in on the performances and emotion of this film. I felt it in every scene, this was the film that bridged his old, gritty work to his widely-acclaimed, polished masterpieces. It has the best of both worlds. It never attempted to be more humorous than it had to be, simply recognized that the absurdity of the plot alone would carry that weight, and it certainly did. This film had some of the funniest sequences that I've seen in Sean Baker's work. Then, at the end of the day, it brought out a heartwarming and moving story about an unexpected, intergenerational friendship. It certainly brought me to tears during the last big reveal at the very end.

DATE: oct 4  THEATER:  Philadelphia film center
One of the biggest remaining classics I had yet to watch is finally crossed off the list. I had seen a scene from my screenwriting class where we looked at how the first 5-ish pages got executed on screen. We stopped watching right before Anthony Hopkins made his appearance, and I've been waiting anxiously to see how he delivers ever since. Of course, I knew it was worthy of the Oscar he won, as I previously came to admire his acting from The Father. Both he and Jodie Foster were phenomenal, every scene with them interacting feels like filmmaking hall of fame. His grand escape was also very memorable, as I had thought that maybe (spoilers) he put on the uniform but I wasn't sold on it until he took off the face. Iconic. The audience applauded at the end, which had only happened once before at a screening of an old movie (Mad Max: Fury Road), and this time it felt like more people were involved (not that it's a competition). Hell, I nearly joined in. An all-time great thriller.

DATE: OCT 5   THEATER:  Philadelphia film center
4th film of the Sean Baker retrospective, this time in 35mm and at PFS' biggest theater. I had never watched it but was aware that the visual aesthetic of the film was outstanding. I wasn't expecting it to be reminiscent of Take Out or Prince of Broadway in it's on-the-street, microbudget quality, but it worked very well with the plot and characters. I was unaware that it was shot on iPhones until I researched afterwards, and this also impressed me. This delves a little more into the sex work of the protagonist's than Starlet did, and it was handled comedically yet respectfully. I really admire how Sean Baker focuses on characters considered too taboo in mainstream media, primarily undocumented immigrants and sex workers. It makes me really excited for Anora, which I will also be seeing in 35mm at PFC later this month.

DATE: oct 8  THEATER:  LANdmark's ritz five
Having never seen any Sam Mendes' work, I wasn't sure what to expect, and I was especially wary given the content matter and lead actor. It is a brilliant comedy and study of American suburban life around this very specific time before the turn of the century. However, I remained discomforted by Kevin Spacey's many scenes of sexualizing a minor. Of course, that is how you're supposed to feel regardless of what actor is portraying the character. A small part of me feels like changing your tune about this movie in retrospect is a little disingenuous because you should have always felt that way about his character anyways. Of course, I understand if it makes it more unbearable for certain viewers to the point of it being unwatchable. There are enough films with the male gaze as the primary lens already. It's a shame because just about every other aspect is fantastic. Again, the comedy writing is on point, as well as the the music, direction, and acting from the supporting cast. Great pre-recorded Q&A with Sam Mendes provided by the Landmark Theaters as well.

DATE: OCT 8   THEATER:  Philadelphia film center
An odd double feature today, but one I thoroughly enjoyed. The first thirty minutes of Pharrell Williams' unconventional biography / documentary were extremely well-written and beautifully animated. The music rightfully was such a focal point for the storytelling, and it allowed for some very fun and stunning sequences. A lego biopic seems corny, but I never found myself feeling that way as I watched. The establishing scene is self-aware by how out there it is, but Pharrell urges us to be open-minded, and the film delivers on its promise. It doesn't sustain the same power as the exposition once it settles into a myriad of namedrops and interview sequences. An unfortunate byproduct of his success was that it felt like it was cramming things in and loss its sense of flow. It is still enjoyable and engaging to the end, and it's beyond amazing to see a documentary marketed at a mainstream level.

DATE: oct 10  THEATER:  philadelphia film center
My 5th and final film of the Sean Baker retrospective, again in 35mm and at PFS' biggest theater. I missed The Florida Project but luckily that's the one I had already seen. Was not prepared for how funny this would be. Of course, Sean Baker excels at comedic timing and knowing how to use the camera to maximize the punchline, but this felt like a new level to me. The entire cast was excellent and played off of each other perfectly. The charismatic protagonist gives you someone to root for initially, but then throws it away as he grooms a high schooler. This leads to a satisfying moment of karma at the very end that wouldn't have felt so good had he not been set up with a potential redemption arc for us to believe in. We felt just as betrayed as his wife and her mother, and revenge never felt so sweet.

DATE: OCT 11   THEATER:  PFS east
I saw this still and wrongly assumed it would be a relatively lighthearted family dramedy. At first it even felt like a very lighthearted but dry coming of age movie, but then they went to the bar for the first time. As soon as the father was pushy with Carmen about getting his pitcher of beer, I sensed what was bubbling under the surface. The depiction of the story felt very true to life and I wouldn't be surprised if it was based on lived experiences. Of the four summers presented in the time-jumping structure, I felt like they showed exactly what they needed to show of each one. How each character grows up and develops is extremely well-considered and well-portrayed. Fantastic storytelling and deeply heartbreaking.

DATE: oct 12  THEATER:  philadelphia film center
From what I understood going in, this film was about the creation of the Israeli state from a Palestinian lens with a style similar to Wes Anderson. The framing and color were obvious similarities to Wes' work, but it also shared some of his gimmicky physical comedy and very inexpressive characters. I felt this style worked really well for the message of the film, showing that "life goes on" while not ignoring the atrocities of the situation. I also really enjoyed the sudden passage of time, it was really effective in showing just how much things changed, yet in other ways how much they remain the same. I also experienced the cold open twice because the theater accidentally started about 10 minutes too early and simply restarted the film once they realized.

DATE: OCT 14  THEATER:  PFS BOURSE
I'll give Sebastian Stan his flowers, because the thing that made this audience laugh the most was his spot-on impression. Trump's large, egotistical proclamations and expressive mannerisms were a focal point in this gritty biopic. I think Trump's Truth Social post may have worked against him and rather served the film as promotion, as I was not expecting as large of an audience for a Monday matinee showing. Ended up sitting in the back because there were no convenient spots in the middle of the theater. The experience was as I expected, some targeted humor and some very uncomfortable re-enactments. Overall, an honest and timely film was bound to find its audience.

DATE: oct 14  THEATER:  PFS Bourse
I love a high octane ensemble that never eases up on bits and gags. It's a fun, star-studded rollercoaster to the very end. The chaos and lack of a traditional exposition or resolution doesn't allow for much character development but the showmanship itself is what's worth the price of admission. The audience made it even more fun by letting everyone know every time one of their favorite actors came on screen. Pacing was king, and I applaud the script and edit for fostering the momentum. I do wish that the women of the cast received just as much attention as the men did, it seemed they were bunched together without individuality. Aside from that, I'm glad that writers, crew, and producers got a lot of focus, it really contributed to an authentic behind-the-scenes experience.

DATE: OCT 15  THEATER:  PFS EAST
The still shown is from a scene that was one of the most beautiful moments in the movie, and in any movie from recent memory. The premise alludes to a very heavy story, but it frequently returns to love and simplicity throughout, establishing a very considerate balance. Even the most tense moments got well-earned laughs from the audience. My heart is full of so many emotions from watching this, and while I'm thankful to have seen it for free and in advance, I hate that I have to wait for the score and original song to drop. Also, the title shows up in the background eventually and there was someone in the row in front of me that did the Leo DiCaprio point. 

DATE: oct 16  THEATER:  Philadelphia film center
"The Lives of Others", I'm just using this image because it looks so cool and I couldn't find an english version. First time watching a feature in the smaller, upstairs community screening room of the PFC. A much more intimate space that I was skeptical of at first but found myself enjoying. Unfortunately someone behind me was either really anxious or energetic (or both) and shook the seats as they tapped their foot rapidly. As for the movie, absolutely loved it. Feels very true to life as far as crime thrillers go, and is quite moving in a very simple, sophisticated way. As it ramped up to the climax, it was very intense without overdoing the dramatics. just allowing the situation to play out as is. One of my favorite resolutions too. An all-timer period piece.

DATE: OCT 17  THEATER:  Philadelphia film center (PFF33)
First film of this year's Philadelphia Film Festival! The excitement was palpable. I received sour gummies from a volunteer while standing in line outside, but I failed to open the wrapper before the film started. This film was mentioned in the programmer's panel as one not to sleep on. An older gentleman sitting behind me had remembered this and was perplexed by what "sleep on" meant. I remember being very intrigued, and I love movies with dogs, so it was an easy sell for me. From the opening sequence, I fell in love with the wide cinematography with a muted color palette, as well as the hundreds of stray dogs that stampeded, establishing themselves early as a constant in the setting. The worldbuilding struck a chord with me as it reminded me a lot of rural Egyptian towns and the Zoo reminded me of some of Greater Cairo's abandoned or just run down attractions. It's hard for a lead performance to stand out when the character is incredibly reserved and quiet, but this is one of those rare exceptions. His connection with the dog did not feel fabricated. Aside from this central relationship, there are so many themes one could analyze, as there's truly so many different internal and external conflicts. Some exceptional minor characters really make this world come to life, through what can be misinterpreted as a very bleak and unsentimental story. As I ruminated about the film while eating the gummies (finally) on the train ride home, I wondered if I had already watched this year's hidden gem of the festival. If anything, it sets a high bar for what looks to be a stacked lineup.

DATE: oct 18  THEATER:  PFS east (pff33)
Day 2 of the festival off to an amazing start with this Indian period piece. Starts off primarily with a lighthearted rom-com tone that had me uncontrollably smiling through numerous scenes. Particularly, the dancing scene was incredible on so many levels, just beautiful direction and a solid needle drop. As it got more tense and shifted to a more dramatic tone, it took me some to get on board with it. By the end, though, I saw how everything came together and greatly appreciated that shift. A fantastic coming-of-age movie that will play well for every audience.

DATE: OCT 18  THEATER:  PFS Bourse (PFF33)
I decided to check out this potential hidden gem after seeing a spike of 5 star ratings on Letterboxd (although it has not been seen enough for Letterboxd to calculate an average rating), and was pleasantly surprised. It's a truly indie film in the best of ways, but the story and performances are as polished as any film can be. The writer-director came for a Q&A and revealed it was based on true events, and that made sense to me as it felt very true to life. It's also just really funny and Sri Lanka is a gorgeous backdrop for this romantic journey. I met the writer-director, Sean, in the festival lounge and he was a really lovely guy! He also saw I had letterboxd open and I got very self-conscious of my review and if he saw it, but he eventually did see it on the app, liked it, and followed me :) Dreams do come true at the Philadelphia Film Festival.

DATE: oct 18  THEATER:  PFS BOURSe (pff33)
After two free beers from the lounge, and a cocktail at Han's Dynasty, I walked into this horror black comedy completely blind (in terms of information and physical state (jk) ). I was planning to see this anyways, but it was suggested to me in the lounge by the writer-director of the movie I had just seen, and he assured me that walking in blind was the best way to go. The programming director that hypes up the movies at the theater also said it was one of his favorites. These raving reviews may have put my expectations too high, as I was waiting for it to get really crazy, and then suddenly it ended. In my drunken state it felt like we hadn't even broken an hour, but the full 85 minutes had gone by. That's not to say it was bad, it was a thrilling ride all around. The dark comedy was solid, direction was fantastic, and the big horror element was built up to in a very interesting, mysterious fashion. Definitely worth the watch and eventual rewatch, but going forward I'll need to temper my expectations when it comes to these smaller, indie festival films, regardless of the hype.

DATE: OCT 19  THEATER:  Philadelphia film center (PFF33)
My parents flew in to Philadelphia for the weekend, and they left the festival schedule in my hands. I figured, what better way to start than seeing the two most anticipated films? Not being huge film buffs themselves, I told them what to expect from Sean Baker's work, fresh off of watching all his movies. As we got in the long line, my dad questioned if the theater could fit so many people (he'd attended The Social Network with me earlier this year). Even after it's premiere the night before, the matinee showing was bound to be packed and just as energetic. In fact, we lucked out today because, in a big surprise, Sean Baker would join over Zoom for a Q&A, somehow finding time during Anora's opening weekend in NY/LA. Despite being the highest rated narrative film of the festival, I still wasn't prepared for how much I would love it. Similar to Girls Will Be Girls, the first act was a goofy, sexual romcom with nearly no conflicts present. Sean would describe this as being a movie in itself. Then the tension and conflicts come into play, and you would expect that's where the laughs would end, but they only got louder. Sean is an expert at telling a tense, action-oriented story that maintains humor and wit. Possibly the best scene was the midpoint as the conflicts first arise, the first time I've experienced a packed audience laughing non-stop. Every supporting performance was phenomenal, but of course, Mikey Madison shined the brightest. I would also argue that Sean Baker's direction is easily worth a nomination. The ending leaves plenty to talk about afterwards, even provoking an audience member to ask Sean, "why did you end it like that?" I'll need a rewatch, but this might be a perfect film, tied for best of the year so far with Sing Sing. 

DATE: oct 19  THEATER:  Philadelphia film center (pff33)
After lunch, a walk around Center City on a lovely autumn afternoon, and some drinks, we prepared ourselves mentally for an absolute marathon of a movie. For reference, we got in around 6 and didn't leave until 10. Even throwing in a 15 minute intermission to offset its length, the film needed to prove to a lot of people why it was worth the commitment. From the opening sequence, I got the feeling that it absolutely was. An absolutely boisterous epic of an opening that flexed it's finest aspects early. Those being lighting, direction, and above all else, SCORE. I still need to process much of the plot, as there's simply too much of it even after a night of reflecting. However, it was clear to me that this would rightfully be a major awards player, and three big performances come to mind. Brody's and Pearce's have been spoken of quite a lot, but I was most moved by Jones', and I hope she gets more recognition when it releases.

DATE: OCT 20  THEATER:  Pfs east (PFF33)
Day 4 of the festival, and day 2 with my parents. This film was the only one my dad was previously aware of, and he was pretty excited about it. It was a straightforward, compact viewing at around 90 minutes, the perfect recipe for a comfort movie in the future. Kieran Culkin was truly the life of the movie, even if considered a supporting role (very questionable in my opinion). His performance had rightfully been praised and I was blown away, even after watching his genius in Succession very recently. Jesse Eisenberg's performance was great as well, but he deserves the most praise for his writing. Not only was his character writing so superb, but the pacing and structure of the film was exactly what the story needed. His best work yet. Every joke landed and will have you chuckling well after the fact. Then, as more is revealed about what pain means for these characters, especially in a setting of such a haunting history, you will find yourself tearing up and feeling moved as though it was an unrelenting drama.

DATE: oct 20  THEATER:  PFS BOURSe (pff33)
My first documentary of the festival, and by far the most anticipated. This covers an issue very close to my family, as we once lived in the region for a long time. As one would assume, it documents the horrific acts of the Israeli army in displacing and abusing Palestinians, and also the Palestinian attempts of activism, protest, etc. That alone would make for an impactful documentary, but it is so much more. It is so in touch with the local communities and does a great job at showing perseverance and hope instead of just tragedy. The core relationship between the Palestinian activist and Israeli journalist allowed for a kind of narrative flow through the documentary, and it was so special to see their bond develop. As revealed at the end, the timing of the production was so important to see how Israel has terrorized Palestine long before October 7th, 2023, and how they were just waiting for an excuse to take even more extreme measures. The gasps from the audience throughout was chilling, and left many paralyzed as the credits started rolling. Thankfully, a brave soul in the back started the applause, reminding us to give the documentary the same respect and admiration as we have with every other film at the festival. It's truly a pivotal documentary, and we will look back at it in sorrow for decades to come.

DATE: OCT 20  THEATER:  Pfs East (PFF33)
I saw a trailer for this film at the local AMC and it made it seem like a lighthearted comedy about a Ebenezer Scrooge-like character who slowly opens up with the help of family. I'm not saying I thought it would be devoid of melancholy, but I was not prepared for how sad it would end up being. There are many long takes of silence and brooding in between all of the comedic beats, and while it offers plenty of laughs, especially in the first act, it still is overwhelmed with pain in many forms. There were many different threads, following the perspective of about 6-7 characters, but it loses track of some of these and made me question why we followed them in the first place. Perhaps it was just to show a contrast of families and personalities, which is beneficial, I just felt there were other methods of doing so. Overall, I feel like the performances absolutely carried this movie, but I think if I rewatch the movie I'll find much more appreciation for the direction which grew on me in the final 10-20 minutes as well. 

DATE: oct 21  THEATER:  PFS BOURSe (pff33)
Only my dad accompanied me to the final film of their festival experience, as my mom had to work. Truthfully, I had only chosen this film because the scheduling worked out and I didn't see absolutely terrible reviews, so I figured I'd give it a shot. I would later find out that the co-directors, one of whom is the star of the film, would be in attendance for a Q&A afterwards. The premise itself is very fun and intriguing, and the charisma of the protagonist worked wonders. It was enjoyable to watch this Brooklyn native immerse himself in a foreign culture and find a home there, and the backdrop is gorgeous. It was revealed in the Q&A that it was all improvised (the story had a general outline but many story beats and arcs were discovered on set), and the majority of the cast are just local Bulgarians who were found on the street while filming. I was reminded of Sean Baker's Prince of Broadway a lot throughout the film, and I think those are big reasons why. A production that stays true to the spirit of filmmaking, and a product that represents the peak of indie cinema.

DATE: OCT 21  THEATER:  landmark's ritz five
Even though this was also showing at the film festival, I figured out that it was showing at Landmark for half the price. Apparently they show films in advance to the public regularly but don't disclose what the film actually is. However, if you do some light research into the hints given, you can easily figure it out. First movie in a week with a relatively empty theater. I quickly fell in love with the animation style and Sarah Snook's narration. The character designs and their facial expressions were perfect. It's definitely not a children's movie for many reasons, and it is deeply heartbreaking throughout. However, it ends with a positive message and resonated a lot with me. I know adult animated movies are a tough sell, but I hope people take a chance on this.

DATE: oct 22  THEATER:  PFS EAST (pff33)
Earlier in the year I had heard about Cillian Murphy's next film and was very excited by its premise. As time went on it didn't seem to generate much buzz in festivals, but I kept it on my radar anyways. The festival programmer said it was very slow and subtle, possibly why it wasn't everyone's cup of tea, but I must have been in the right headspace for it because I found it very compelling. The performances are obviously fantastic but there were many different shots that I found very cool, and while the pacing is slow it is around 90 minutes so it is absolutely bearable. I really enjoyed the final sequence as well, just letting the gesture speak for itself.

DATE: OCT 22  THEATER:  PFS EAST (pff33)
The first thing I learned of this was that the director had to flee Iran due to what he depicted. Most attest to his bravery, but a lot of people didn't like how heavy-handed the politics were, especially with the long sequences of phone-recorded footage of protests and brutality on the streets. While I agree that the film works best when it focuses on the family drama of it all, showcasing the power of the phone and social media resonates with me having lived in the region during similar revolutions and civil unrest. Especially in the case of the daughters, it was important to show their window to the protests as they were mostly kept from it. The film explores many forms of these windows, from the literal windows of their household to the television coverage that was held under scrutiny during a very tense dinner argument. The criticism I can agree on is not actually a criticism of the movie itself, but of the audience. The demographic of the Philadelphia Film Festival tends to lean a lot older and is overwhelmingly White. There were many instances where people would laugh at inappropriate moments, I imagine as a combination of tone deafness and cultural misunderstanding. Islam is criticized in this film, not as a complete indictment against it, but for how the Iranian society and government weaponized it. A big worry for me as it proceeds to get released in the United States is that this nuance won't be understood, incidentally appeasing to the Islamophobia that runs rampant in this country on both sides of the political spectrum. Still, it is a must-see movie, as it is a perfect exploration and unraveling of a family in this setting, and is a significant depiction of modern-day Iran where such depictions have been stifled. The last thirty minutes or so contained the most thrilling, engaging, well-captured, and intense sequences I've witnessed at the festival so far. The director's personal story could help him get a Best Director nomination, but if they're handing out nominations solely for the quality of the work itself, which they should, then I believe he has earned that nomination anyways.

DATE: OCT 23  THEATER:  landmark's ritz five
Took a break from the festival to cry alone in an empty theater. I expected a very linear romance but was surprised by how the movie zig-zagged through the pair's history. Hence the title, I realized. I enjoyed seeing where they'd end up followed by the flirting or arguing that got them there. I only wish that the film kept it up all the way through, but I understand that's difficult to structure meaningfully. While on the surface level you may think the film solely depends on the leads' star power, I believe they both offer fantastic performances and establish a seemingly authentic chemistry. Outside of this, though, there's not much more that the film has to flex, but that's fine. It's perfectly pleasant and evokes a vast range of emotions, exactly as advertised.

DATE: oct 23  THEATER:  PFS EAST (pff33)
There's something about moody lighting in a big city that is so compelling to me, especially when it's done as expertly as this film. I realized when it started that I had gone into it fairly blind, but I actually preferred this, as I probably would've tried to follow the plot more than just enjoying the sights and sounds. The music is diverse and perfectly composed, incidentally making me zone out a few times as it was so hypnotic. There is still plenty of story to follow, particularly of the intergenerational relationships and experiences of the three women of focus. Love and life are explored so intimately and preciously, and I'm sure there's much more I missed that will bring me to a rewatch as soon as it's released.

DATE: OCT 23  THEATER:  PFS EAST (pff33)
From the opening sequence, I fell in love with the direction, the Paiva family, and the exploration of the setting. In the midst of this very lighthearted, nostalgic exposition of '70s Rio, the military checkpoint scene quickly points out that this will not be a very happy or comfortable story, despite the vibrant life inhabiting this nation under dictatorship. The writing and performances allow you to feel so connected to every single member of that family, and their love for each other is felt so strongly. This of course only worsens the heartbreak of the tragedies to come, but that's good storytelling. The filmmakers' commitment to the painfully true story and the humanity of the characters was so pivotal for the whole experience. Fernanda Torres is a solid sleeper pick for a Best Actress nomination, and I wouldn't be surprised if the film as a whole turns more heads during awards season.

DATE: oct 24  THEATER:  PFS BOURSE (pff33)
While this is a very eye-catching still, I wish there were more stills released because this film is just a madhouse of situational comedy. Particularly, there's a line by a background actor at the climax that sums up the entire film, "Spectacularly absurd. What a powerful statement." Amongst all the absurdity, polite society collectively deludes themselves into finding meaning or the "art" in it. Essentially the film is poking fun at this while being quite aware that it has no message to depart, which can be very fun if you aren't looking for a silver lining or moral of the story. Someone makes an extravagant purchase just to evoke a reaction from their partner. Someone hires a "companion" to practice arguing with. Someone lays on the mystical "reflection lawn" to figure out who they truly are. It's a collage of misplaced efforts, most of which are to find one's own humanity in an increasingly inauthentic world. You may leave the theater thinking it was stupid or pointless, but I say that's the beauty of it... or I'm also just deluding myself.

DATE: OCT 24  THEATER:  PFS BOURSE (pff33)
Finally, a Love, Actually, but for rebelling against socialism. Honestly, the premise is much more exciting than what a majority of the film has to offer. It's a slow build up towards an epic finale, but again, it's a very slow build up. I enjoyed the camera work that is reminiscent of the fly on the wall / pseudo documentarian style that worked so well for shows like Succession and Arrested Development. Particularly, a programmer compared it to Veep, which set up a false expectation of its comedy. Still, it had me laughing every now and then, and it is by no means a bad movie. Some characters of the ensemble were much more enjoyable to follow than others, but each character represented an important part of the revolution. It's a very creative, inventive take on a historical drama, I just wish it leaned more into its comedic elements for the two acts before the drama erupts into its beautiful chaos in the third.

DATE: oct 24  THEATER:  PFS EAST (pff33)
As I sat in the unexpectedly half-full theater, I was beginning to lose hope in watching an absolute banger on this day. However, the programmer hyped up the directorial prowess of Andrea Arnold, so I was excited to be put on. All I knew of the film was that Barry Keoghan was in it, but he surprisingly was not my favorite part of the film. Bailey is one of my favorite coming-of-age protagonists ever, and Bird is a refreshing supporting character with an astounding performance from Frank Rogowski. Still, Barry's character made me laugh the hardest as he got the whole room to sing "Yellow" by Coldplay to a... toad. "It has to be sincere!" I was tearing up from laughter. There are many other great needle drop moments that had me smiling uncontrollably, especially towards the end. This is one of the few films that I'm going to immediately rewatch as soon as its available. I will also check out Andrea Arnold's filmography because her ability to develop these characters with such intimacy and care was so beautiful. Special shoutouts to the editing, it had so many gorgeous moments, as rare as it is to use the word "gorgeous" to describe editing.

DATE: OCT 25  THEATER:  PFS EAST (pff33)
The second Iranian-based film of the festival was also a massive hit. I was able to quickly connect with the protagonist, and being able to cheer her on so early was important for how invested I became. The issues with the morality police and the sociopolitical state of post-revolution Iran as a whole are touched on frequently but it never feels forced. As the film steered into it's rom-com phase, I felt like I had fallen in love too. The way the camera moved, the music, the performances, everything felt perfect (and in some ways too good to be true). The ending provoked so much emotion from me and it lingered through the rest of the movie screenings that day. This is a truly special film in so many ways, and I'll never be the same.

DATE: oct 25  THEATER:  PFS BOURSE (pff33)
The mystery movie of the month! When the schedule came out, this was the only non-Philadelphia film that had yet to premiere. It was also the director's feature debut, so I had no insight as to whether or not it would be worth seeing until it premiered in Chicago only a week before. Once those reviews came in, I was intrigued. A programmer had described it as "Whiplash but with open heart surgery". Sign me up, I guess. The surgery scenes truly were as good as advertised, but there were some shortcomings elsewhere in the script and performances that kept it from being as good as a Whiplash. Still, I felt like the director did a fantastic job and I hope this will help secure a future feature. During his Q&A you could tell a lot of audience members were very moved. In particular, there was two women in the row ahead of me who chatted throughout the film that loved all his answers, and a woman in my row who is a first generation immigrant that loved the Asian representation in an American film. I hope it gains even more traction as it makes the rounds

DATE: OCT 25  THEATER:  PFS BOURSE (pff33)
Another hidden gem from a first-time feature filmmaker that was present for the Q&A in theater 2 of the Bourse! It was so compelling that someone decided to see it for a second time, as it had played the night before. The director was very surprised and happy to hear this. It truly is one of the most creative debut films maybe ever. Inspired by the Coen Brothers' No Country for Old Men (and then later supported by Joel Coen), this follows a seamstress who stumbles upon a drug deal gone wrong. From there you'd be right to expect cat-and-mouse chase like the inspiration does, but this takes it many steps further with alternate realities and rube goldberg contraptions. Even as I'm writing this I'm blown away by this amalgam of ambitious concepts, where even just committing to one is enough of a challenge for a debut feature. This balances it all in a very engaging way, as the editing is a mile a minute with hundreds of inserts of threads and needles. It's not a perfect film but it is so unique and crafty that I won't bother with the critiques. Freddy Macdonald is a very young writer-director-editor who has already rightfully earned a SXSW premiere and distribution deal (at least I believe he mentioned this). He'll sort out the rest of the kinks in no time. 

DATE: oct 26  THEATER:  PFS EAST (pff33)
Look, I loved The Wild Robot. However, if you asked me, "which 2024 animated film about various animals reluctantly working together for survival do you prefer?", I think I'd have to say Flow. Both are masterful in their storytelling and artistry with a beautiful score. Flow excels in its worldbuilding whereas The Wild Robot has profound character development (not to mention more convincing modeling/animation). What pulls Flow ahead for me is its tone, something that I feel wasn't The Wild Robot's strength. Flow takes place during a biblical flood of sorts, with only remnants of human civilization. This setting and the conflicts it provides were far more compelling to me, making it my favorite for Best Animated Feature this award season, although The Wild Robot will undoubtedly sweep.

DATE: OCT 26  THEATER:  Philadelphia film center (pff33)
Of the five exciting "From the Vault" films, Paris, Texas was easily the one that I knew had to make the schedule. Being touted as one of the greatest films ever made, and coming from Wim Wenders who I praised for Perfect Days at the film festival last year, it was an easy sell. Moreover, it was being shown in the best theater and in a brand new 4k restoration, who some had described as "like seeing a whole new movie". In the first half of the movie, I really enjoyed the visuals, the subtle sentimentality, and the intrigue of "where has this guy been?". Just when I thought it was all starting to get stale, the second half picked up as it explored the broken father-son relationship. Then, the revelations in the end blew everything wide open and I became in awe of the script. To fully appreciate this movie, I think it requires a second watch, as the ending will completely change my viewpoint and I feel I'll be much more invested. For this watch, though, it was simply about enjoying the sights, sounds and lighthearted moments like the shoe shining and walking on opposite sides of the street. Stuff I now believe Wim Wenders does best (albeit only now seeing a total of two of his films lol). 

DATE: OCT 27  THEATER:  PFS EAST (pff33)
I don't really care about baseball, but I've found myself thoroughly enjoying films about America's pastime. Sandlot, Moneyball, A League of Their Own, all of these do a great job about being more than a sports movie, as they all speak to life in their own way.  Eephus is no exception, it thrives in it's wit and charm, with constant comedy taking place in either the foreground or background. However, the game (which takes up the entire runtime) is shrouded in this depressing knowledge that it will be their last on that field, and some consider it being their last ever. There's hints as to the drama of how that came to be, but it never gets expanded on. Like most of the sentimental moments of the film, the mostly very macho-type men move on from it very quickly. Still, you can tell how just about every character feels about the predicament, and there's a lot of varying feelings among the varying personalities. Overall, this film tries to be many things; a coming-of-age for middle-aged men, a profound testament to the death of suburbia, a hilarious slice-of-life. From every angle that you can view this film, it succeeds considerably, being a crowd favorite throughout.

DATE: oct 25  THEATER:  PFS BOURSE (pff33)
The programmer kicked this off by saying, "thanks for choosing this three hour German film called Dying", validating the subtle dread everyone was experiencing in that theater. I don't know why everyone else decided to see it despite its lackluster marketability, but I saw it had won Best Screenplay at Berlinale, so I knew it must have been worthwhile to some degree. The first chapter of the film was excellent exposition, but it worried me. That pacing and tone would've been hard to sit through for three hours. Once it flips to the next chapter, I knew we were in for a treat. Each chapter brings out an entirely new film, some chapters providing laughs, others providing second-hand embarrassment, but it was provoking and moving all the same. There was a long stretch of time where my mouth was agape because I couldn't believe what we were watching. There was a few other stretches of pure musical ecstasy that made me tear up. Overall, the script is as good as advertised, but a little confusing timeline-wise (perhaps it'll take multiple watches to figure out). The film is quite literally about what the title alludes to, but there is also plenty of life (even if quite painful at times). Beautiful, beautiful storytelling. The last absolute banger of the festival.

DATE: OCT 25  THEATER:  PFS east (pff33)
This was a very hit-or-miss watch for me. There were some sequences I absolutely loved, others I could've gone without. It's hard not to watch this without thinking about The Bear, as it deals with some similar themes and often matches its tone, but it does certain things a lot better... and others a lot worse. There's a faux protagonist that you wish you got to stick with throughout the film but is almost completely ignored in the second act, then there are also some masterful, cinematic moments and some poignant imagery. It's a great film if you can manage to take it moment for moment, and it culminates in a wild finale you won't be able to take your eyes off of.

DATE: oct 28  THEATER:  Landmark's ritz five
BIRTHDAY MOVIE! My options were limited with PFS being closed (a much needed break for their staff after the festival), but I hadn't yet gotten to see Conclave, and I had a free popcorn coupon at Landmark. Someone had been describing the film as "The Real Housewives of the Vatican", which excited me, but while watching it I felt like a more apt comparison was Succession. I understand both the praise and the criticism of the film, but I fall between those two camps by saying that I simply enjoyed it. Aside from Production Design (the construction of that set is mindblowing), I really don't feel like joining any awards season bandwagon for this film, even as a big Ralph Fiennes fan. The score was thrilling, but strictly for awards purposes I didn't feel it was varying enough. However, I think a lot of the criticism of the film itself is overblown, and the criticism I find justifiable I just don't put a lot of stock into. For me, it was just a thoroughly engaging watch and I was happy with it, warts and all. The retrospective consensus may not consider it "one of the best films of 2024" but I can definitely see myself rewatching just as much as the other Best Picture candidates, if not more.

DATE: OCT 31  THEATER:  Philadelphia film center
The most movies I've ever watched in a single month has by far been during this October, and I decided to cap it off with a classic horror film on the spookiest day of the year. I'm not big on horror, but it was gnarly to see this one in a theater. I think slashers are the best subgenre of horror, and I think under 90 minutes is the best way to do them. It gets away with its campiness because of how iconic it is, but its captured and edited brilliantly. They played this one loud, and the whole crowd was into it. 2nd throwback movie I've been to that received applause at the end (the first one was Fury Road). Favorite halloween movie watch of all time perhaps.

DATE: NOV 1  THEATER:  PHiladelphia film center
My third time seeing Wes Anderson's first-of-many ensemble films, but the first time in the theaters. I first watched it the summer after graduating high school, having been put onto some of Wes' work by a classmate. The second time was with my mom as we watched all of his films during the pandemic. So, about four years removed, I was ready to rewatch on the big screen. When the film goes through the "Cast of Characters" montage, I was reminded how much I loved this ensemble cast, possibly my favorite of all of the Wes Anderson ensembles. Other highlights for me included the wit of the script and the needle drops of the soundtrack. You can also clearly see how this was early in the development of the recognizable Wes Anderson aesthetic we now know and love. I personally like how it's more subdued here, as it allows more of the substance to rise to the surface. Around the time of the scene of which this still is taken, I started to tear up. I think I always sympathized heavily with Ben Stiller's character, and seeing his development a third time over provided a sadness and a comfort simultaneously. Also glad I'm not the only one who finds the film to be thoroughly hilarious, the crowd was into it. Helps that it was free for members.

DATE: NOV 4  THEATER:  amc broadstreet 7
When I saw that it was re-releasing in theaters, I knew it was time to rewatch (and it hasn't even been a full year yet!). I was even more thrilled when I saw they were even showing the black and white version, Godzilla Minus One Minus Color, as well. This was also the showing that finally made me an AMC A-List member. That deal is too good. Anyways, the recoloring is stunning, and the story was as moving as the first time around. Exciting that the director's next Godzilla film has been greenlit!

DATE: NOV 5  THEATER:  landmark's ritz five
Truthfully, I was too distracted by the election to fully enjoy this movie. It was funny enough to be worthwhile, but it was hard to be completely engaged. Coincidentally, there was a line from the mother about the prospect of a woman becoming president. This received some cheers from the crowd. If only...

DATE: NOV 6  THEATER:  landmark's ritz five
I was intrigued by the premise and by the fact that it was a musical, I just wasn't prepared for how those two factors would come together. After the Cannes success, I've been a little surprised by the lack of buzz it was receiving. Even with Netflix's decision to give it such a limited release, I felt like I would've come across a bit more discussion on social media. Having seen it now, in a theater with only two other people, I see why the momentum hasn't matched its fellow Best Picture contenders. It's going to be very hit or miss with viewers, and once it drops on Netflix I will be very curious to see the reactions. I don't think it was a bad movie, but it wasn't entirely for me. There were themes and decisions that I appreciated, but I think the musicality just didn't strike a chord with me. With a musical, that's basically all it comes down to sometimes. 

DATE: nov 6  THEATER:  PFS east
First film from this year that I rewatched in theaters! Also, the second film from this year I've rewatched period (I watched Problemista with my parents when it got released on Max). This time I was accompanied by friends that were somewhat familiar with Sean Baker's work, and they had an amazing time. We didn't get to catch it in 35mm again, and that was something I definitely missed, but everything else was as good as I remembered it, if not better. I was able to shift my focus from Mikey Madison and more onto what the supporting cast was doing in the backgrounds and I found an entirely new layer of comedy from each character. I had forgotten about it, but the silence in the theater during the ending is so powerful. Those last 10-20 minutes had a much more profound effect on me the second time around. I'm on the Best Picture bandwagon since A24 has fumbled the Sing Sing release and awards campaign so far. It's about time that a clear favorite has emerged!

DATE: NOV 7  THEATER:  philadelphia film center
Took a chance on another classic noir and still felt underwhelmed, even though there is nothing objectively bad about the film. I wasn't as impressed with the use of camera as I was with Chinatown, but the samurai is a much more likable and cool character than Jake. A big problem with noirs for me are the personalities of the protagonists, which are basically always misogynistic men, so the samurai is miles better (mainly because he was mostly silent). The scenes at the police station were really well shot and directed, but everything else kind of dragged for me. Probably a great movie, just not my preferred genre (sorry, noir-heads). 

DATE: nov 9  THEATER:  amc FASHION DISTRICT 8
As a big Hugh Grant fan, I decided to watch a new horror movie in the theaters, something I hardly ever do. I heard that his performance was phenomenal and that the story wasn't a complete waste of time, so that helped. I found myself enjoying both of the girls' performances as well, and the first act was absolutely thrilling. I genuinely don't think I've enjoyed an act of a studio horror movie that much in a long time. After they finally choose a door, it starts to unravel (for me), as it becomes much like typical horror films I've seen and disliked. What I really enjoyed about the beginning was that the horror was completely psychological / intellectual, but then it got violent and gross, which I felt like was a shame. It's not that I can't handle those scenes, it just felt reminiscent of generic horror movies whereas the first act felt unique and refreshing. Still, a good movie with a really interesting premise and fantastic performances.

DATE: NOV 11  THEATER:  pFs bourse
First Steve McQueen movie! From what I've heard, it's by far his most commercial and not what I should expect from the rest of his filmography whenever I get around to it. Still, I found that aspect to be not so overbearing and felt there was plenty of originality throughout the journey. This very large scale recreation of WWII England was very impressive and immersive, a big reason why I felt it effectively hit every emotional note it aimed for. Saoirse Ronan delivers a fantastic supporting performance, but it fortunately didn't overshadow the boy's perspective, which is of course the beating heart of the film. I think enough people have discussed the various issues that keeps this from being phenomenal, but it's still a very solid film worth seeing and talking about as awards season draws near.

DATE: nov 12  THEATER:  amc Broadstreet
Watched the original and the sequel for the first time... and on the same day. I was surprised to see my local AMC still showing it, so I took advantage of my new A-List membership and did the back-to-back. I've always been impressed by Tim Burton as a creative, it's one thing to have a vivid, wild imagination but it's another to be able to bring it to life. I think the original was much more cohesive as a story, but the the sequel gave Burton the budget to create even zanier characters, sets, and musical sequences. I love the core cast in both but the supporting cast were a bit more exciting in the sequel (shoutouts to Willem Dafoe). Overall, a fun time at the movies, and a nice break from all of the dramas I've been consuming as of late.

DATE: NOV 16  THEATER:  philadelphia film center
This was a cinematography and production design masterpiece. One of the most interesting period pieces visually that I've seen in a theater. Scorsese's direction shines through a rather dreary and slow-paced story, and the performances suffice. It's always a pleasure to see a Scorsese film on the big screen.

DATE: nov 18  THEATER:  LANDMARK's RITZ FIVE
I was excited to see this simply because of Nicholas Hoult, and he ended up being one of few great aspects of this underwhelming yet undeniably solid film. I think my biggest qualm was the lack of depth explored in the characters or themes, which are truly intriguing from the start. The story jumps right into the action, which acts like a cat and mouse game of crime and investigation. Despite being set in the 1980s, it deals with hate groups whose ideologies are still relevant today, which is another reason you'd expect the film to really drill into it, but it remains on the surface level in every facet. Like I said before, Nicholas Hoult's performance shined in depicting all of his character's depravity, and it possibly could have been his greatest ever if only the script gave him the opportunity. Still, it is a good film in basically every way, but the fact that you can see an opportunity for greatness in it provokes the criticism.

DATE: nov 20  THEATER:  LANDMARK's RITZ FIVE
I really enjoyed this. I knew nothing about the play but I could certainly identify that stage influence in the movie, and I loved it. Whenever the direction switched to something more filmic I was not as compelled, and there were a few times it felt out of place and unmotivated. However, I think that the pacing of the film was phenomenal, as well as the dialogue writing and a majority of the performances. I am so on board for Danielle Deadwyler receiving a nomination and potentially even winning the Supporting Actress category (I'll have to compare it to Ariana Grande's tomorrow to be certain). I truly like many of the other contenders, but none of them have a presence as commanding and breathtaking as Danielle Deadwyler does. She became the reason that the movie exists in my eyes.

DATE: nov 21  THEATER:  amc fashion district 7
Secured an amazing seat in a cramped Dolby theater to watch the adaptation of one of my all-time favorite musicals (of which I got to see twice during my childhood). Cynthia Erivo as Elphaba and Ariana Granda as Glinda is a fantastic casting, and their performances are worthy of all the praise they have been getting. I actually laughed more than I expected to, many thanks to Ariana particularly. It would be hard to mess up in the music department with this material, but I'm thankful that they knocked it out of the park. Even some of my least favorite numbers were choreographed in a way that was very exciting to experience cinematically. I loved that the true fans in the audience applauded after the big numbers, it just felt right. My two issues with it have been widely discussed already, one being that it's just one part of an eventual pairing of movies. It does inevitably just take away from the experience, unfortunately. The other issue was far more avoidable, and that's the "extremely pale cinematography" as one reviewer put it. With as good as the production design was, it's a shame that the lighting/color couldn't make it consistently pop out the way it should've. I sincerely don't understand how this even got released with the way it appears. Maybe the silver lining of it being split in two parts is that they can save the second part from the same fate, as long as people keep complaining about it.

DATE: nov 21  THEATER:  pfs bourse
Ever since I convinced my friends to go see this with me, I've been so excited, even amongst all the new movies I had lined up to see this week. For many reasons it has become a comfort movie for me, which I don't usually admit to until it's streaming. Unfortunately, the theater had some audio issues this time around in that it would cut out when the volume got too low, essentially ruining the eerie quiet of the concentration camp scene. Having already seen the movie, this did not affect my experience too much, but I imagine it did for my friends. Still, I felt like the script and performances resonated emotionally for me even more than the first time, probably because the surprise of the comedy was no longer there (although still extremely funny). Excited to learn more about what Jesse Eisenberg is cooking up next with the Julianne Moore and Paul Giamatti led musical comedy.

DATE: nov 22  THEATER:  amc fashion district 7
Watched the 2001 Best Picture winner this very morning, then went to the theater to see the sequel an hour later. Seeing it on a Dolby screen versus my laptop screen definitely helped set a tone from the start, as the opening credits were the perfect vibe for the sequel of one of the highest regarded epics of all time. What I love about the films is a sense of grandeur that doesn't feel forced or overbearing. I don't really care for violent historical dramas but this and some solid performances from the top billed allowed me to enjoy it. The original was far more quotable, it was like a parade of epic one liners. The sequel's dialogue writing simply felt like any other super serious drama. Great to experience on the big screen, but I'd be very surprised if it repeats history at the Oscars in 100 days.

DATE: nov 24  THEATER:  philadelphia film center
I was not sure what to expect from this film, but I'm happy I went in relatively blind. The visual excellence and ingenuity made this a really fun film to watch on the big screen, and I continue to develop more and more respect for Steven Spielberg with each movie I see, even the under-the-radar ones. The characterization of the Mecha was extremely well-done from a direction and performance standpoint. The story was fascinating but I don't think it really stuck the landing for me. Still, it's the type of fantastical adventure that I think Spielberg does better than most (if not all) living directors, and it'll continue to age well as AI becomes more prominent decades later.

DATE: DEC 2  THEATER:  amc forum 30
Went to see this with my dad on a random weekday because I was shocked to see it showing in a theater within driving distance of my parents' house (although still 40 minutes away). I was really looking forward to this movie and bummed to see how Warner Bros. executed its distribution (only showing it in 50 theaters in the United States, eventually labeling it as a Max Original for holiday streaming). My dad was familiar with Clint Eastwood's work and I figured he'd be interested in the ethically-challenging, thought-provoking material. I thought the core of the story was worth the price of admission but it lacked in its all-around execution. Some of the side characters felt like they had more to offer, even if their "departing" remarks were big plot points in themselves. Overall, the material does what you'd expect it to do, but the punches don't hit as hard until maybe the very end (which received some groans from the audience, although I liked it).

DATE: dec 3  THEATER:  mjr waterford
Rewatched with parental guidance this time around. They had never seen the musical so they didn't know what to expect, but I knew they must've been enjoying it from their laughter, and at the very end when my mom worryingly asked me "how long do we have to wait for the next one?" This watch left me even more disappointed in the lighting / color due to not being in a Dolby screening (highly suggest for this movie specifically), but I appreciated the choreography and attention to detail in the production design and camera movement a lot more. This time around I also fed a lot into the very popular Gelphie shipping, as I do believe the story would benefit immensely from leaning more into the sapphic angle (not to outright disregard Bailey's great performance as Fiyero). We will always have our fanfictions <3

DATE: DEC 10  THEATER:  PFS Bourse
I had no expectations for this one, only having seen the bizarre trailer. While the premise didn't come as a shock to me like it did for my friend who went in blind, it was still very interesting to watch how the conflict developed. It had some unexpected plot points that weren't unveiled in the trailer, but certainly not as thrilling as a similar feminist body horror film in The Substance. Still, I had a good time and the soundtrack was fantastic. I immediately looked up the playlist and saved it. I think I'm officially a big Amy Adams fan now, it took me a while to dig through her filmography but I've liked what I've seen. I would love to see her work with a beloved blockbuster director again, like she did with Denis Villeneuve in 2016's Arrival.

DATE: DEC 13  THEATER:  amc fashion district 7
Daniel Craig and Drew Starkey... Trent Reznor and Atticus Ross... Luca Guadagnino and Sayombhu Mukdeeprom... this film is just full of filmmaker duos that have found their match. The best way I can describe this film after one watch is that it was a cinematic treat. It felt like masters of their craft getting together to make something that didn't need to immediately make sense, as long as it was compelling to watch (and eventually rewatch, for me personally). Daniel Craig being the only person to get any awards buzz for this film is a shame, as I think this can be seen as an exemplary work for nearly every one of the amazing cast and crew's filmographies.

DATE: dec 16  THEATER:  AMC fashion district 7
Truth be told, I have never seen a Lord of the Rings movie before (will be doing the marathon soon). However, while I can not identify a single aspect of this film that was exceptional, I will say that I was invested in this from beginning to end. We need to get Brian Cox in the booth for more animated stuff! In fact, the whole movie felt like a Succession alternate universe seeing that the successor to the throne ultimately came down to a daughter, two sons, a loyal yet mistreated cousin, and some random guy that was hopelessly in love with the daughter. I don't know, just a good time at the movies, no notes.

DATE: DEC 17 THEATER:  PFS Bourse
My biggest takeaway from my rewatch was that the production company sequence is still very funny even when you are expecting it. This film is such a triumph, it fills me with pride that fellow humans and creatives accomplished this. All done in a free animation program that even I have made projects in! Just beautiful, considerate storytelling, and with such important and topical content matter. I love "The Wild Robot", but I will be rooting for this film to take the statuette on March 2nd.

DATE: dec 18  THEATER:  Landmark Ritz five
I'll keep this short because I did not bring my full attention to this beautiful looking and sounding film. I entered this empty theater with a lot of energy, and when I sat down I suddenly had a Jimmy Neutron type of brainblast that had my mind racing throughout the whole film. In summary, I started the pre-production for a short film I hadn't even written yet all while sitting in this theater screening Maria. It was a fantastic soundtrack and backdrop for all of my scattered thoughts, so I'll be sure to rewatch to immerse myself in the actual story and performances sometime soon.

DATE: dec 18  THEATER:  PFS East
My adrenaline had run out by the time I sat down for this film, and I felt like I was ready to immerse myself. However, this was one of those early screenings with a constant amount of audience participation. People were invested and even cracking jokes all throughout. For this type of movie, I actually enjoyed that. The downside, however, was people taking flash photography. Anyways, the lead performances were phenomenal, I enjoyed how the script challenged the conventions of most sports biopics, and the direction was also pretty refreshing. A really good awards season film, even if it's unlikely to get any major nods.

DATE: dec 20  THEATER:  philadelphia film center
The only other time I watched this, I was a teenager on an airplane that was looking for something funny on the airline's catalog. I saw Jim Carrey and pressed play. It was not what I was expecting, but it was one of the most memorable movies at that point in my life in all the best ways. Finally getting to rewatch it on the big screen was very redeeming, and it was great to finally see exactly what the script was doing from the beginning now that the intentionally misleading structure was no longer a surprise. I was so immersed, it brought out so much energy and excitement from me that lasted many hours afterward. Even the surprising chatter of people with negative / underwhelmed reactions couldn't bring me down. You can't please everybody.

DATE: dec 21  THEATER:  amc broadstreet 7
I bought into the hype online and thought this could be a Puss in Boots scenario where the studio took a different approach to a silly kids IP.  I haven't watched the previous two, but if this is by far the best one, I'm glad I didn't. That being said, I didn't hate it. There were redeemable moments like Shadow's backstory and the Robotniks' dance scene, but otherwise it felt like any other kids movie with it's dumb dialogue and cliches (but I'm super happy for all of the kids and parents who enjoyed).

DATE: dec 23  THEATER:  pfs east
___.

DATE: dec 24  THEATER:  amc fashion district
___.

DATE: dec 24  THEATER:  amc fashion district
___.