By Justin Dorsey
Spike Jonze’s Her gives new meaning to computer love. Or does it? In the movie, Theodore Twombly (Joaquin Phoenix), an unofficial divorcee, falls in love with his operating system, Samantha (voiced by Scarlett Johanson). The film is poetically shot and the mise-en-scene is simply toothsome. Jonze’s genius shines through. Although hinting to the near future, the film speaks to an aspect of the current human condition: an existence inextricable to smart technology and digital mediation.
Justin Dorsey hails from Philadelphia, Pennsylvania. He is a Cinema major at the University of Pennsylvania and professional interpreter.
By Keegan Handley
I’m a new guy here on my first assignment – a “So Bad It’s Good” column, a section usually reserved for picking movies so bad (i.e. terrible in some form of production) that they’re good (hilarious in their ineptitude).
Well, I’m going to argue this movie is accepted as bad…but isn’t even bad at all.
(I know. What nerve!)
By Kim Scott
I have seen Stanley Kubrick’s The Shining (1980) countless times during my life and no matter how many times I watch the film, it still manages to scare and amaze me. Even if you haven’t seen The Shining, you should be familiar in some way with Jack Torrance (Jack Nicholson) peeking his head through a hole in a door, yelling, “Heeeere’s Johnny!”. Perhaps you have seen the image as one of the staple movie posters that hang in the dorm of at least one film major you know. The iconic scene, which itself is an homage to Victor Sjöström’s The Phantom Carriage (1921), has been referenced in a multitude of films and television shows. The hype around the film is not understated; The Shining is captivating, terrifying, and intelligent.
By Justin Dorsey
Walking with Dinosaurs tells the story of an underdog dinosaur that becomes the hero of his herd. Spliced with informational snippets, the film introduces a variety of prehistoric beasts we hardly encounter in pop-culture. Thus, T-Rex doesn’t rule here. The voice actors aren’t the most pleasant to listen to for 87 minutes. Their performance adds a neurotic layer to the action. Yet, children seem to like it. And I suppose the 3-D experience is better.
By Davis Rivera
Joel and Ethan Coen‘s new film about grief, pride, and the state of the folk music scene in 1961 brilliantly shows the humiliations and darkly comic surprises an unwavering dedication to one’s art can bestow on the artist. This gorgeously crafted film is an obvious labor of love for the Coens (they even shot part of the film on Jones Street where the cover of The Freewheelin’ Bob Dylan was shot) and by the time it unveiled its poignant cameo, I did not want to bid farewell to one of the last great films of 2013: Inside Llewyn Davis.
By Gary Kafer
Even for someone who never saw M. Night Shyamalan’s 1999 masterpiece in theaters or kept up interest with the director’s career, Cole Sear’s iconic line, “I see dead people” (whispered by a haunting Haley Joel Osment), has become a landmark for contemporary supernatural dramas. However, the film always remained on the periphery of my cinephile radar, ironically for the very reason it was such a success when it debuted – its twist ending.
Everyone who made a contribution to the Philadelphia Film Society and the PFS Theater at the Roxy in 2013 will be recognized as a Founding Member. Memberships and gifts of $500 and below will be honored on the Roxy screens before each film. Contributions of $500 and above will be listed on a permanent plaque in the PFS Roxy Theater lobby.
Be apart of this historic year and join our community of film lovers with a PFS membership! New levels begin at $35 and include benefits to the annual Philadelphia Film Festival, Philadelphia Children’s International Film Festival and the PFS Theater at the Roxy!
By Alex Gibson
“Finally, my favorite Black Pack movie gets a sequel!” said The Best Man fans around the world earlier this year. The Best Man Holiday is not as good as the original, but is definitely a satisfying follow-up / holiday film. Over ten years later, all the characters are back and as dysfunctional and hysterical as ever, especially Terrence Howard’s scheezy-funny Quentin. Prepare to laugh and cry. Seriously – bring tissues, you’ll need them.