26th Philadelphia Film Festival, Day 11: Final films, final thoughts

The lines for the Ritz East move behind the theater to keep patrons out of the rain before catching their last flicks.

(Read about Day 9 here)

It almost saddens me to write about the last day of the festival because it is over so quickly. At the start I look at the schedule and think about all of the possible scheduling scenarios to make up and how to fit the the features all in. There never seems to be enough time in the 11 days to get to everything you want to. In the blink of an eye its over and you wonder how you did it.

Granted, I only managed a measly 21 movies - 22 if I didn't walk out of "Under the Tree" - while others can easily do over 40 of the approximately 110 features on the schedule. I usually see around that many every year anyway, so I'm happy.

26th Philadelphia Film Festival, Day 9: Festival winners and good picks

(Read about days 6 and 7 here)

The "closing night" of the festival is supposed to be the ending shebang on the ninth day. The one thing that always baffles me is why closing night festivities occur with two days left in the festival. It's not the last day of the festival so why market it as such? Maybe it's more fun to make the most of a Friday night instead of a Sunday night? At least they get the opening night right by putting it on the first day.

Anyway, winners were announced by the "jury" — the composition of which is never made public so I don't know who is selecting these winners — on "closing night" with documentaries cleaning up nicely. "Bobbi Jene" picked up the documentary feature prize with "At the Drive-In" winning the Pinkenson Award for local features and "Jane" claiming the student choice award.

26th Philadelphia Film Festival, Days 6 and 7: Nice surprises, some bumps

(See my coverage of days 3 and 4 here)

I opted out of seeing anything on Monday (day 5) because I was just too darn tired after the weekend. Ten movies in three days may not be as much as others have seen in such a short period of time, but for me that was more than enough. You would be surprised how tiring it can be to go back-to-back-to-back watching movies all day for a few days in a row.

Come Tuesday and it was a rainy, gloomy morning. I was a little deterred by the thought of standing in the rain waiting outside theaters for screenings to start. Luckily, the sun started to peek out around 11 o'clock and stayed out for the rest of the day, score! With good weather embracing me I set out to the festival. But first I had to stop at the AC Moore in Center City and pick up some yarn to get me through 15 movies through Sunday. I picked me up five balls of Sugar 'N' Cream yarn and head out to the Ritz Five for "At the Drive-In".

26th Philadelphia Film Festival, Day 2: Film fest? More like snooze fest!

One of the most wonderful times of year is back: the Philadelphia Film Festival! With over 100 features playing in three theaters in Center City — the number of films and venues seems to be shrinking every year, doesn't it? —for 10 days there's never a shortfall of something new, or old, to see. This year I opted to stray for more below-the-line, less "flashy" titles in lieu of those that will get plenty of theatrical bookings in due time. And for an occasional film "critic" like myself, I know there will be plenty of free press screenings I could go to without paying $15 to $50 to see these titles at the festival. I wanted to seek out films that may not be seen in theaters again (for the most part).

With that said I skipped the opening night screenings of "I, Tonya". One, because I had class so I couldn't comfortably squeeze it in and two, it will be a big hit during its theatrical release late this year.

25th Philadelphia Film Festival, Day 11: Bittersweet ending

(Read about Days 9 and 10 here)

Perhaps they're not using their signature line "See Something You'll Never Forget" because I hadn't seen it promoted anywhere during the festival this year. Nothing was so incredible about the 21 films I saw this year that I wouldn't be able to forget them — though I really adored "Toni Erdmann" and "Paterson" — but it was certainly a better fest than the past two years when I really started covering it.

Maybe I just chose better films? Maybe the films, overall, were better? Even when I picked something I wasn't looking forward to I ended up being pleasantly surprised, like "Miss Impossible" and "Fire at Sea". There were a few rumblings in waiting lines about a few of the selections, but people seemed to be receptive of almost everything.

Of course, I am always more bothered by the fact that films consistently started late which is a prevalent problem with the festival. It's like a normality.

But anywho.

On day 11, the final day of the festival, I enjoyed just two films, the documentary "Obit" and the mystery "Personal Shopper".

25th Philadelphia Film Festival, Days 9 and 10: Downfall

(Read about days 7 and 8 here)

Man, come Friday morning I was still reeling from "Paterson" the night before. Such a fantastic movie (and even better after I saw my friend V as an extra in it).

As the sentiment faded, I wasn't really looking forward to much on Friday. I wasn't planning on seeing the closing night film, "Arrival", or seeing that what the award winners were from the private jury that almost no one knows exists. Friday was a day off for me from work and I just wanted to get the most of the badge that I had. I had only seen 13 movies up until the day.

The "Parents" dishcloth. Dropped stitches at the end/top.

On my short roster of three selections was the Danish film "Parents", the Japanese film "Harmonium" and the French Canadian "Boundaries".

These were three selections I should have strayed extremely far away from and should have opted to see something else... or nothing at all.

"Parents" is about a middle-aged couple who have to deal with their adult son finally moving out of their house. What started beautifully, just like the dishcloth I was making when it started, quickly turned into a mess, just like the dishcloth.

A great premise at face value, it then turned into a really weird sci-fi-ish tale where the parents change into their 20-something selves, and the mom wants to have a baby with her son. I couldn't with this film, not at all. Just give me a straight-forward tale about parents dealing with it instead of an overly pretentious bucket of crap that tries too hard to be awesome. I gave it props based on the premise.

25th Philadelphia Film Festival, Days 7 and 8: Persons of Extreme Interest, 'Christine' and 'Paterson'

(Read about day 4 here)

As I stated in my previous post, I usually take Monday and Tuesday off from festivals to get back into my regular work routine and catch up with a weeknight film on the other days.

This year was no different.

On Wednesday, which was seriously one of the longest, most tiring days I've had in a while, I drove out to a 9:25 screening of "Christine", the Rebecca Hall vehicle about reporter Christine Chubbuck who killed herself on live TV back in the '70s.

25th Philadelphia Film Festival, Day 4: Best Day Yet

(Click here to read about days 2.... and 3)

Day four of the festival was the best day yet, in my opinion. Granted, I was surprised how my first three days didn't include any noticeable duds of everything that I had seen so far! Usually, one or two get pretty low ratings on my film ballot, but not so this year. Everything was refreshing for one reason or another, whether the acting alone ("Things to Come"), sheer brilliance of character ("Toni Erdmann"),  or a tenacious, low-key mystery ("The Unknown Girl"), nothing has let me down yet.

Going into Sunday, I was feeling hopeful that everything I was going to see that day would be great. I heard a bit on Twitter about "Goldstone" and how great Jacki Weaver is in it. Essentially, she reprises her Oscar-nominated role in "Animal Kingdom", as the charming ruler of a corrupt system in this tale about the racial, backdoor dealings of Australia.

The entrance of an aboriginal federal detective to a vast, close-minded area of the country ruled by Maureen (Weaver) and patrolled by a young cop named Josh, throws things into disarray involving sex trades, the removing of aboriginals from their land, and an overbearing mining company.

25th Philadelphia Film Festival , Day 3: "Father's Day!"

(Read about day 2 here)

After ending day two on a high note with "Jackie", I started my third day with the Cannes' winning "The Happiest Day in the Life of Olli Mäki", a Finnish black and white film about a boxer going for an international title. Certainly not your "Raging Bull" or "Rocky", "Olli Mäki" was an endearing story of a man fighting for love and not the title. I wasn't over-the-moon like the PFS staff allegedly was, but I didn't hate it, either.

Not expecting to get in to the sold out "Toni Erdmann" screening, I stood in the rush line and got in. And considering it was a Centerpiece selection, you know the screening wasn't going to start on time so I didn't have to worry about walking into an already-started film.

This highly acclaimed German comedy was incredibly heartwarming, and the first great film of the day that encompassed the day's overall theme: dads matter.

25th Philadelphia Film Festival, Day 2: A Good Start!

All right, day two of the 25th Philadelphia Film Festival!

But wait. Where's day one at?

Well, unless you were paying $250 for me to see the opening night film "La La Land" I wasn't attending. I mean $250 for one movie (plus some parties)? That's pretty atrocious, especially since the opening/closing night films last year were like $25 a piece. A 1000 percent markup in one year. Philadelphia Film Society, kindly fuck yourself with a chainsaw for that one.

So my foray into the festival started on Friday, day two of the 11-day fest. I gathered my press badge (which gets me into all screenings save for opening/closing night and centerpieces), my knitting needles and yarn, water bottle and an open mind into the four films I had lined up for the day.

25th Philly Film Fest Preview- The 'Arrival' of a fest in 'La La Land'

The Philadelphia Film Festival will officially be 25 years strong when "La La Land" opens up this year's cinephile extravaganza on Thursday night at The Prince Theater and ushering in 10 days thereafter of interesting fare.

"La La Land" is one of the top films poached from the big film festivals that have come before PFF, followed up by "Jackie", "Manchester by the Sea" and "Toni Erdmann" just to name a few, closing out with the sci-fi film "Arrival".

Even though I think the festival is just a draw of big films that have trickled down to the region without hosting any big premieres of its own to speak of, the festival is always an entertaining mish-mash of greatness, misery, the befuddling and even audience chaos.

Last year's closing weekend was a wonderful macabre of what a festival should (not) be. When Michael Moore arrived closing night for a Q&A following a screening of his film "Where to Invade Next", journalist Buzz Bissinger heckled Moore for the claims he made in his newest feature. That provided nice banter for the audience to absorb.

But then two days later, on the very last day of the festival in one of the final screenings, the 3D sex romp "Love" screened 80 minutes late. I wrote about it here, but it was probably one of the festival's worst moments in its history. "Love" was the only 3D screening last year, and on the last day, yet they couldn't get the specs right.

Alas, with no Moore or 3D features this year, the festival should go off without a hitch, and I hope it does.

I enjoyed most of the films I saw last year, but I did think the slate (that I saw at least) revolved around a theme of beating a dead horse. Too often was I watching stories that were so familiar, generic. This year, with a lovable teddy bear in "Toni Erdmann", a musical throwback to the Golden Era of film in "La La Land" and a inside look at The New York Times obituary section in "Obit" all seem like a winning batch.

Being cognizant of the changing scoci-political climate, a new sidebar section called State of the Union exhibits four documentaries that tackle cyber warfare ("Zero Days"), police militarization ("Do Not Resist"), prison solitary confinement ("Solitary") and medical care of undocumented immigrants ("Clínica de Migrantes").

There is sure to be something for every one this year, unless you were too late to buy tickets for "Paterson" and "Toni Erdmann" because they're sold out.

For ticket and screening info visit filmadelphia.org/festival.

'La La Land' opens 25th Philadelphia Film Festival

The critically acclaimed "La La Land" will open the 25th Philadelphia Film Festival this year

The Philadelphia Film Society is proud to announce the full film line-up of the 25^th Philadelphia Film Festival, spanning from October 20 – October 30 on four theater screens throughout the Greater Philadelphia area.

Opening on Oct. 20 with Damien Chazelle’s "La La Land" and closing on Oct. 30 with "Arrival", the 11-day Festival will showcase over 110 feature length and short films, curated by our programming committee who chooses each selection from multiple international festivals throughout the year.

“We are thrilled to celebrate a milestone year for the Philadelphia Film Festival and to have the opportunity to showcase some of the best films of the year right here in Philly.” said Executive Director, J. Andrew Greenblatt.  “From our Opening Night screening, "La La Land", which was the talk of the Venice and Toronto International Film Festivals, to the Closing Night screening of "Arrival", this year’s prodigious line-up fully embodies what the Philadelphia Film Festival truly is: a community filled with film lovers brought together to experience today’s most thought-provoking and innovative films!”

“As we celebrate 25 years of Philadelphia Film Festival, we are extremely proud to announce that it’s once our best lineups. With over 110 works from world renowned directors, including tons of surprises, our lineup includes something for everyone to enjoy,” said Michael Lerman, Artistic Director.  “We’ve had pretty incredible success rate. Four out of the last 5 Best Picture winners made their Philadelphia debut at our Festival, so this is the chance to see it first!”

The Philadelphia Film Society is honored to have Damien Chazelle, recipient of the Academy Award nomination for best adapted screenplay for "Whiplash"¸ and director of the Opening Night film, "La La Land" join us for the #PFF25 opening night.

The full Festival schedule and digital Festival Program Guide is available now on www.filmadelphia.org/festival. 

Screenings for the 25^th Philadelphia Film Festival will take place at the Ritz East (125 S. 2nd St, Philadelphia, PA 19106), Ritz Five (214 Walnut St, Philadelphia, PA 19106), PFS Roxy Theater (2023 Sansom Street, Philadelphia, PA 19103), and Prince Theater (1412 Chestnut St, Philadelphia, PA 19102). Tickets will go on-sale for Philadelphia Film Society members on Friday, September 30, and to the general public beginning Friday, October 6.  Tickets may be purchased through the Festival website, www.filmadelphia.org/festival, or in-person at the Main Box Office at the Prince Theater (open Monday – Saturday from 12 noon to 5:00 pm).

25^th Philadelphia Film Festival Full Line-up

Opening Night Film

·         La La Land, Director Damien Chazelle. 2016, USA.

Closing Night Film

·         Arrival, Director Denis Villeneuve. 2016, USA.

Centerpiece Screenings

·         Jackie, Director Pablo Larraín. 2016, USA, France, Chile.

·         Lion, Director Garth Davis. 2016, Australia, USA, UK.

·         Manchester by the Sea, Director Kenneth Lonergan 2016, USA.

·         Moonlight, Director Barry Jenkins. 2016, USA.

·         Toni Erdmann, Director Maren Ade, 2016, Germany

From the Vaults: Film history comes alive as it was meant to be seen - on the big screen. Come see old favorites bigger than life once again.

·         Dekalog, Director Krzysztof Kieślowski. 1988, USA.

·         Night on Earth, Director Jim Jarmusch. 1991, USA.

·         Wonder Boys, Director Curtis Hanson. 2000, USA.

Spotlights, Presented by Philly Style: Highly–anticipated movies from some of the biggest names in the industry, these films shine a spotlight on top talent from around the world.

·         Christine, Director Antonio Campos. 2016, USA.

·         King Cobra, Director Justin Kelly. 2016, USA.

·         Wolves, Director Bart Freundlich. 2016, USA.

24th Philadelphia Film Festival, Day 11: Final day, final nerves!

It was the last day for this year's Philadelphia Film Festival, and boy what a day it was.

I was ready to sit through films 17-20 for this year's outing, but for reasons beyond my control I was not totally ready for it.

I started off with "Kilo Two Bravo", a BAFTA-nominated film about the true story of a group of British soldiers trapped in an abandoned mine field near the Kajaki Dam in Afghanistan. Michael Lerman, artistic director of the festival, said it was "10 times" more intense than the similar-ish "The Hurt Locker". That is no joke.

With the wrong step anyone could be blown up in this small piece of desert. Let me tell you, I was so pent up waiting for a bomb to go off at any second I wanted to leave the theater. "Kilo Two Bravo" is incredibly tense it was almost uncomfortable, but how could you look away!? You needed to know what was going to happen to this group of (mostly) GQ-wannabe guys. The ending was incredibly hooky, full of title cards on the real soldiers and a horribly Hallmark-esque song playing underneath it. There was a few shots before the end that would have been the most perfect ending, but it went for cheese factor instead.

After self-diagnosing myself with PTSD from "Kilo Two Bravo", I enjoyed a great train ride on the Empire Builder courtesy of the documentary "In Transit".

24th Philadelphia Film Festival, Days 9 and 10: Closing Night Attack on Michael Moore, running with the best.

Closing night of the festival. The night where a non-publicized jury of people come up with a slate of winners for what was the best in the festival, even announcing winners of films that hadn't yet played at the fest. I think that's extremely odd, but whatever. I don't call the shots on what they do that. What's more weird is that it isn't actually held on the last day. Err, OK?

I'd put a list of the winners, but most were just honorable mention selections. How does one earn an honorable mention if there are no bigger winners above it. Wouldn't it just make them the best since they're the only one to win for a specific reason?

I think the festival's "jury", which could be a lottery machine that draws an award category and a film title at random and calls them winners, is an unnecessary part of a festival like Philadelphia. There are no big premieres, and I'm sure these "jurors" have already seen everything that plans to play here and just talks about it before the start of the fest and makes their decisions.

But seriously, honorable mention status without any other winners for a specific award? That's one of the dumbest things I've ever head at a fest. It's like agreeing nothing at the Cannes Film Festival is good and their jury, which is always announced publicly, hands out sad certificates of appreciation.

"You weren't the best, so we had to give out something. Here's an honorable mention certificate for trying."

24th Philadelphia Film Fest, Days 7 and 8: Gloomy Wednesday, 'Taxi' Thursday

Oy, what a wet day Wednesday was. It just seemed to rain all darn day. So what better way to lift the mood than to see a movie about teenage suicide!?

"Bridgend" was my only selection for the festival's seventh day, and it's a fictionalized account about
a real town in Wales where 79 teenagers committed suicide from 2007 to 2012. A girl named Sarah moves there with her police officer father, and the quiet, horse-rider soon falls in with a group of rambunctious teenagers who aren't total normal underneath their partying ways.

The premise is eerily intriguing: a "cult" of teenagers who one-by-one kill themselves in a secluded forest. What is so damning about this film is that instead of focusing on the teenagers, a young, quiet protagonist girl is inserted into the story and it turns into a coming-of-age bit, so much so that her father asks her "What is happening to you?", a line almost always said by a parental figure to the main character in a film like this.

Sarah's adventure with this dark group isn't anything new, and barely holds a flame to films like "Kids" and "Thirteen", it's just a way to break into the story of why are these kids committing suicide?

Like in real life, the film has no answers for it.

24th Philadelphia Film Fest, Day 4: A day of great choices

Note to self: check the public trans schedule about an hour before you plan on leaving. That would be pretty helpful.

Aside from that slight hiccup at the start of my day, the fourth day of the Philadelphia Film Festival was the best one yet. Instead of seeing four films like I wanted, I opted for three. I was just too darn tired.

The start of this eventual great day was "Remember", a film I had not heard about before. The festival program guide says it's about a guy who seeks out the Nazi who killed he and his wife's families at Auschwitz.

"Remember" features a standout turn by Christopher Plummer as the man on the cross-country hunt to kill this Nazi. He portrays the dementia-afflicted man with a delicate touch of warmth and sadness. This is a film that had everyone shocked, and if you see, you'd understand why.

Not your standard rinse and repeat Holocaust movie.

24th Philadelphia Film Fest, Days 2 and 3: Having a 'Cannes' do attitude

This may be only the second time of sitting in theaters for hours a day watching movies, a.k.a., enduring the best of a film festival. And for me, Philadelphia's annual fest devoted to international and local cinema is the only place I do it... for now.

But the some feeling kicks in days before it starts: do I really have the energy to endure four movies a day for the first few days of the fest? In my head I say no, but by the third movie of each day my body is programmed to endure it. It also doesn't mean that I don't feel like nodding off during the third movie, either. Whoops.

So with day one of the festival off to a smashing start with "Anomalisa", I grabbed my badge and tickets (for select screenings not covered with my badge) and headed downtown for day two, Oct. 21.

24th Philadelphia Film Fest, Day 1: "Anomalisa" shines as opener!

Yay, the Philadelphia Film Festival has officially started!

After weeks since announcing the fest's lineup the anticipation can finally start to dissipate as local cinephiles can start their marathon moviewatching.

The festival's opening night activities appeared to go off without a hitch, and what a fabulous event that sounded like. The red carpet, the party, and all sorts of luxuriation that comes with it.

It started off with two screenings of "Anomalisa", the award-winning, stop-motion animation film from Charlie Kaufman and Duke Johnson, at the Prince Theater at 6 and 8:30. There seemed to be a flood of interest for the 8:30 screening since it was announced that Kaufman and Johnson would be in person to have a Q&A segment after that showing of their film, and they would be honored with the fest's artistic achievement award. Of course there were email updates saying this screening was sold out, rush tickets were available and blah blah blah.

Charlie Kaufman, Todd Haynes to appear at Philly Film Fest

Organizers of the 24th Philadelphia Film Festival announced Thursday that Charlie Kaufman and 30 other special guests will be in attendance for certain screenings during the duration of the 11-day festival.

Following the 8:30 screening of their festival-opening film "Anomalisa" at the Prince Theater, directors Kaufman and Duke Johnson will participate in a Q&A following the screening, and will be feted with the festival's artistic achievement award: Kaufman for his "incredibly imaginative writing" and Johnson for his work in animation that culminated in "the revolutionary stop-motion animated work of art 'Anomalisa'".

The festival also announced a Charlie Kaufman Retrospective section has been added to the festival line-up at the Prince Theater, which will showcase all of his titles: "Adaptation"; "Being John Malkovich"; "Confesstions of a Dangerous Mind"; "Eternal Sunshine of the Spotless Mind"; "Human Nature"; and "Synecdoche, New York".

The retrospective has not yet been scheduled.

In addition to previously announced guest Michael Moore during the closing night showing of his latest film "Where to Invade Next"at the Prince Theater, director Todd Haynes ("Carol") is scheduled to appear, as is Gaspar Noé ("Love", "Irreversible"), actress Zoë Bell ("Camino") and Jamie Kennedy ("Scream").

Below is the full line-up of guests scheduled to attend. All information is subject to change.

Patricia Riggen, Director, The 33

Charlie Kaufman, Director, Anomalisa

Duke Johnson, Director, Anomalisa

Kevin Kerslake, Director, As I AM: The Life and Times of DJ AM

Brian Klugman, Director, Baby Baby Baby

David April, Subject, Beer Runners

Justin Wirtalla, Director, Beer Runners

Erik Shirai, Director, The Birth of Sake

Josh C. Waller, Director, Camino

Zoë Bell, Actor, Camino

Todd Haynes, Director, Carol

Rick Alverson, Director, Entertainment

Alison Bagnall, Director, Funny Bunny

Tara Culp, Producer, Funny Bunny

Greg Koh, Director, The Great Alone

Lynn True, Director, In Transit

Erika Frankel, Director, King Georges

Georges Perrier, Subject, King Georges

Jeffrey Loeb, Producer, A Light Beneath Their Feet

Gaspar Noé, Director, Love

Jessica Edwards, Director, Mavis!

Jay Dockendorf, Director, Naz and Maalik

Noah Pritzker, Director, Quitters

Ben Hickernell, Director, A Rising Tide

Jamie Kennedy, Actor, Scream

David Felix Sutcliffe, Director, (T)error

Christopher K. Walker, Director, Welcome to Leith

Marilyn Cohen, Executive Producer, When Voices Meet

Sharon Katz, Subject, When Voices Meet

Nonhlanhla Wanda, Subject, When Voices Meet

Michael Moore, Director, Where to Invade Next

Philadelphia Film Festival ready to kick off 24th year

From Oct. 22 to Nov. 1, lovers of film are expected to see something  at the 24th Philadelphia Film Festival  (PFF) the promotional materials says they’ll “never forget”, and with over 130 different feature and short film options to choose from, that statement couldn’t be more true.

Starting with the opening night film, Charlie Kauffman’s award-winning stop-motion feature “Anomalisa”, to Michael Moore’s latest documentary feature “Where to Invade Next” capping off the 11-day fest, the festival will include the best, and, perhaps, divisive, works of cinema from around the globe in a crowded assembly where internationally renowned directors share the spotlight with Philadelphia-based talent as they tell stories that break out beyond conventional boundaries.

“This year is probably the strongest year since I’ve been working there,” said the festival’s artistic director Michael Lerman. “It was interesting because while I was putting it together it was unclear looking at bits and pieces how it was going to turn out, and then it all seemed to come together at the last minute.”