Last Week on Tuesday – April 28th

Written by Trey Shields on . Posted in Blogs

I’m happy to introduce another new blog section called “Last Week on Tuesday”. Every Tuesday I’ll fill you in on what happened the previous week at PFS,  all the blood, sweat, tears and sneak previews. Last week saw a number of screenings and events for PFS. From weeding a section of Fairmount Park to literally being in the weeds with a certain screening (jokes, jokes), we saw it all.

Now Showing at PFS – Week of April 27th


Written by Trey Shields on . Posted in Blogs, Uncategorized

Welcome and thank you for reading the first, of hopefully many installments, of Monday’s “Now Showing” blog post. This will be your guide for all things film/movie/experimental GIFs revolving around the Philadelphia Film Society and beyond. My goal is to not only sate your never ending thirst for irreverent click baiting blog posts, but inform you of all the exciting things happening in the coming week. Click here for a full list of this week’s showings.

…but let’s be honest, there is only one thing on peoples’ minds this week:

PFS Review – The Age of Adaline

Age of Adaline1

Written by Alex Gibson on . Posted in Blogs, Uncategorized

By Alex Gibson

The Age of Adaline opens with snow falling in San Francisco in the early 1900s, a momentous occasion considering the climate of the area, but also remarkable because of what happens to 29-year-old Adaline Bowman See it at the Roxy!just minutes later.

On her way to see her young daughter, Adaline skids off the road and from then on, never ages another day. Played exquisitely by Blake Lively, Adaline lives her life one the run decade after decade without aging a single day until the 2010s, when she meets Ellis Jones (Michiel Huisman), the first man to whom she’d consider revealing her secret.  The Age of Adaline co-stars Ellen Bursytn, who plays Adaline’s daughter Flemming, and Harrison Ford, the former love of her life, who catches up with her years later.  

PFS Review – American Sniper

American Sniper

Written by Alex Gibson on . Posted in Blogs

By Don Malvasi

Originally Posted on

Far from an exercise in yahoo-ism, American Sniper offers us a film startlingly immediate in itsSee it at the Roxy! action scenes. Coming to be known as “The Legend,” Navy Seal Chris Kyle, its subject, went through four tours in the Iraq War, in which he performed around 160 official “kills” (and apparently another hundred unofficial ones). The film does an adequate if not equally proficient job of showing the tally all the warfare takes on his psyche. Like Kyle, director Clint Eastwood seems eager to get back to Iraq. In between the tours, domestic scenes with his wife (Sienna Miller) show an increasingly distant Kyle. More detail could have been presented but his emotional and mental deterioration come across nonetheless. Although Kyle approached his mission with an unwavering patriotism, Kyle viewed himself much differently than his peers viewed him.

PFS at the Sundance Film Festival

Sundance Featured Image

Written by Alex Gibson on . Posted in Blogs

Last month, the Philadelphia Film Festival sent some of its best to Park City for the Sundance Film Festival.  Here is what Managing Director Parinda Patel had to say:

Me and Earl and the Dying GirlEarlier this month marked the end of the annual Sundance Film Festival in Park City, Utah. Running from Thursday, January 22 – February 1, the event has set the tone for the much anticipated line up of 2015 films. One of the most buzzworthy films to keep on your radar is Me and Earl and the Dying Girl, wrapping up the festival with both the Grand Jury Prize and Audience Award for U.S. dramatic film. If you’re keeping up with this year’s Oscar race, you’ll understand why this film has significance. In 2014, Whiplash walked away a winner in the same categories and has now moved on to become a dark horse nominee for Best Picture.

Sleeping With Other PeopleThe rest of the slate was pretty impressive as well, whether they made the awards short list or not. A few notables that I saw included the bawdy, romcom Sleeping With Other People, starring Jason Sudeikis and Alison Brie, and The End of the Tour, based off of Rolling Stone reporter David Lipsky’s brief encounter with the late novelist David Foster Wallace while on a publicity tour for his book Infinite Jest – a breakthrough role for Jason Segel as Wallace.

There’s plenty to look forward to this year, both at the PFS Roxy Theater and of course, the Philadelphia Film Festival this fall. It will be interesting to see what carries over to the upcoming Tribeca and South by Southwest Film Festival so please stay tuned for more and watch the year in film unfold with us!

PFS Review – #TBT Edition – Rich Hill

Rich Hill

Written by Alex Gibson on . Posted in Blogs

By Don Malvasi

Originally Posted on

As a chaser to Richard Linklater’s monumental Boyhood, take a peek at this Sundance award-winning documentary profiling three destitute white kids from rural Missouri. Their level of poverty and all-around impoverishment makes Linklater’s screen kid look like he’s part of the Trump family.

Three distinctively different kids emerge. One is all-get-out upbeat, another, mostly dour misanthropic; the third, an interesting mess of charismatic, vain, and simpleminded. They hook you.

Oscar Watch – Looking Back at Boyhood


Written by Alex Gibson on . Posted in Blogs

By Don Malvasi

Originally Posted on

Like Seinfeld, Boyhood is about nothing in particular. Yet its staggering charm is that it manages to be about the things that matter most. The Richard Linklater film accomplishes no small miracle in reflecting a slice of life that, as it stretches over 12 years, boasts an authentic take on existence itself. It is unique in that it plays with time and growth in a way that forces the viewer to get immersed in its series of singular moments of the present.

PFS Review – Selma


Written by Alex Gibson on . Posted in Blogs

By Don Malvasi

Originally Posted on

Selma builds its way toward a celebration of the passage of the Voting See it at the Roxy!Rights Act of 1965. Sharply focused on the key months leading up to a series of three nonviolent protest marches in Selma, Alabama, it agonizingly captures the textures of human toil and determination that led to the momentous legislation. Director Ava DuVernay zeros in on Martin Luther King’s ability to channel enormous power, yet exercise exceptional self-containment and control. The film is at its strongest when it portrays the intimate, inward side of King and his entourage of key advisers and assistants. Anything but an icon, the King depicted here is very much a walking and talking human being. His worries and sorrows are portrayed side by side with his contagious confidence. We see King at a low ebb–calling Mahalia Jackson in the middle of the night and asking her to sing to him. We see King whispering his despair to Ralph Abernathy as they sit in a darkened jail cell, the latter providing succor to his friend by quoting the Bible.