The trailer for the upcoming 10 Cloverfield Lane — which the Inquirerreports was released without warning on January 15th — is downright eerie, to say the least. We have first-time director, Philly area native and 2003 Temple graduate Dan Trachtenberg to thank.
Everything seems fine at first. Three people pass the time with puzzles and board games in a cozy bunker set to “I Think We’re Alone Now” — until we see that something more sinister is going on.
As per IMDB, in Trachtenberg’s sort-of-sequel to Cloverfield (2008), a woman (Mary Elizabeth Winstead) hunkers down with two men, (John Goodman and John Gallagher Jr.) but her suspicion grows that she has been abducted. They insist that a chemical attack has rendered the outside world uninhabitable and that they saved her life after she was involved in a terrible car accident. Read more »
In case you missed it in the New Year’s Eve madness, the Wall Street Journal last week published an article about Clemson football coach Dabo Swinney’s habit of having his team break down film the day before its games. Nothing new in that. But Swinney isn’t screening footage of Clemson’s opponents. He’s showing his team the latest Hollywood flicks. And since his team is undefeated and ranked number one in the nation, his method must be working. Clemson plays Alabama in Monday’s national championship game. Read more »
This year was a rich phantasmagoria of features and strong performances, capped off by a slate of better-than-average prestige pictures into December. Some years we get lucky, I guess. Here’s one critic’s take on the best the year had to offer (and the worst, which you can skip to here). Please note a couple of these films have not actually been released yet. Their opening dates are listed where applicable.
Ticket arts writers weigh in on what they think are the most important local arts moments of 2015.
Lisette Oropesa’s in Opera Philly’s “Traviata”
It’s been a banner year generally for Opera Philadelphia, but Lisette Oropesa’s Violetta in Traviata (her first performance of the role) was special. The beautiful young soprano met every vocal demand — fiendishly difficult as they may have been – and acted it superbly. Opera lovers around the world pay attention to debuting Violettas – the great ones are so rare. Here in Philly, we found one. —David Fox
Philadelphia Film Society Saves the Prince
The gorgeous Prince Theater seemed to be in quite a bit of limbo: The resident production company had vacated a number of years ago, and their presentations were random at best. With PFS purchasing the building, the theater has becoming a bustling hub not only for movies (it’s now the only mainstream movie theater in Center City) but performing arts, and their Razz Room is hosting some of the hottest NYC cabaret acts around. —Bryan Buttler
The economic meltdown of 2008 came from a number of factors, but the single most glaring one was the banks’ reliance on the subprime mortgage loan. Some years before the collapse, one group of canny investors bet big on the eventual housing market meltdown, a maneuver that ended up making them very, very rich. The Big Short, a fact-based drama based on the book by Michael Lewis, comes from Malvern-raised director Adam McKay, known primarily for his work with Will Farrell on comedies like Anchorman, and Talledega Nights. While the film is concerned with serious, mostly dry, material, the Temple alum infuses it with amusing asides, fourth-wall breakage, and other comic staples. Here, he talks about how he made high-finance approachable, the way DraftKings emulates Wall Street, and the one piece of advice he learned about playing the Market.
Local boy Bradley Cooper’s latest film, Joy, opens Christmas Day. There’s Oscar talk floating around this David O. Russell flick that also features Jennifer Lawrence. At 40, Cooper is entering the prime of his acting career, and there’s a lot to love about this charismatic actor from Jenkintown who’s already been nominated for three Academy Awards. But, as with any actor with a robust career, there have been some misses, too.
We open up the film vault and give you a guide to the films that made us want to bro-five our seat neighbors at the end, and the ones where we wanted to barf our movie popcorn right back into the bag. We’ve got high hopes for Joy, but until its release here’s a roadmap to navigate the highs and lows of Coop’s film repertoire. Scroll down for our rankings, or click straight through the section that interests you most.
I had a chance to screen The Hateful Eight this week, just before the new Quentin Tarantino movie opens in 70mm in select cities followed by a standard format-release one week later. So will it take over the world like Pulp Fiction or fade into oblivion like Death Proof? Read on for my thoughts on the film. Read more »
GIVE HIM A HAND: John Boyega is downright electric as stormtrooper-turned-Resistance-fighter Finn.
I make a lot of stupid predictions, yo. I thought both the Eagles and Sixers would be in playoff position this season, but hell no. I predicted that Jeb Bush would be the Republican nominee; instead, he’s disappearing from time and space like Marty McFly. Man, I thought they were going to kill War Machine in the second Avengers flick and I was crazy wrong.
But I got something right. I predicted that John Boyega would make Star Wars: The Force Awakens; I told my friends that the magnetism and physicality that he showed in Attack the Block (British indie smash; Boyega as latchkey kid leader of British chavs in a surprise war on aliens; see immediately) would dovetail perfectly with the anticipated — and delivered — speed of the new space opera. And it did. My God, Boyega — starring as stormtrooper-turned-Resistance fighter Finn — is downright electric, working perfectly with Daisy Ridley and Oscar Isaac, our two other main characters, who portray a force-sensitive metal scavenger and an ace Resistance pilot, respectively.
I went and saw Creed last weekend. Reader, I cried.
I cried when Rocky Balboa got sick.
I cried when Creed put on his papa’s boxing trunks.
And the waterworks absolutely flowed when — after being held in abeyance all movie — the horns of the original Rocky theme finally sounded at a critical moment in Creed’s climactic big fight.
It was all very macho.
This weekend, my wife and I took my 7-year-old son to see the new Star Wars movie. I got a little misty at getting to repeat a ritual that my parents and family shared when I was a child; and yes, there were key points in the movie — I’ll not spoil them at this early date — when my eyes were so wet I could barely see the screen.
I mention this not just because I am exceedingly vulnerable to cinematic manipulation and nostalgia — though that is surely true — but because the two movies together made me realize this: Forty years after the modern blockbuster franchise movie era was born, with Jaws and Rocky and Star Wars and a blaze of both special effects and Roman numerals, corrupt old youth-obsessed Hollywood has been forced to give us something it usually tries to avoid: