You’ve never seen a movie like HARRIET
View More HARRIET (dir. Kasi Lemmons): 2019 Philadelphia Film Festival review
Category: Reviews
DOGS DON’T WEAR PANTS (dir. J-P Valkeapää): 2019 Philadelphia Film Festival review
Even those not on board with the film’s themes will be won over by the sensory experience
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THE IRISHMAN (dir. Martin Scorsese): 2019 Philadelphia Film Festival review
A stunningly realized world with an ensemble of legends doing what they do best
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DON QUIXOTE (PA Ballet):
A thrilling reprise from Pennsylvania Ballet
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BACURAU (dir. Kleber Mendonça Filho, Juliano Dornelles): 2019 Philadelphia Film Festival review
If Bacurau is what an international genre film looks like, color me excited, because it’s a great look.
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MARY SHELLEY’S FRANKENSTEIN (McCarter): Overreaching ambition
Theatrically spectacular but without the marvelous profundity of the source novel
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DEERSKIN (dir. Quentin Dupieux): 2019 Philadelphia Film Festival review
There is nobody making films like Quentin Dupieux. The gleefully immature DEERSKIN might be his most mature work yet
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THE SYNGE TRIPTYCH (Quintessence): Celebrating the common people of Ireland
In repertory with their solid production of PLAYBOY OF THE WESTERN WORLD, the company presents three of Synge’s one-acts as THE SYNGE TRIPTYCH.
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THE LODGE (dir. Severin Flavia + Veronica Franz): 2019 Philadelphia Film Festival review
Appropriately enough, THE LODGE leaves us cold.
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JALLIKATTU (dir. Lijo Jose Pellissery): 2019 Philadelphia Film Festival review
It’s not to be missed. And that’s no bull.
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PARASITE (dir. Joon-ho Bong): 2019 Philadelphia Film Festival review
This years Palme d’Or winner at Cannes was also the opening night film for the 28th annual Philadelphia Film Festival.
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DOT (People’s Light): A (fading) memory play
Mmemories fill a family’s West Philadelphia home like radio waves.
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FALSETTOS (11th Hour Theatre Company): 60-second review
A challenging show, with musically complicated, character-driven songs, that demands performers tell almost the entire story through song.
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MINORITYLAND (Power Street Theatre): The G word
MINORITY portrays gentrification and its evils in a complexity lacking from the characters that inhabit the fictional Hope Street.
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THE NIGHT ALIVE (Inis Nua): 60-second review
A quiet, human look at modern isolation
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PLAYBOY OF THE WESTERN WORLD (Quintessence): Dead dads, tall tales, Irish intrigue
When PLAYBOY OF THE WESTERN WORLD premiered in Philadelphia in 1912, riots broke out. Quintessence’s skillful production features consistently strong performances that manage to surprise and delight.
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ORLANDO (Villanova): Blurred lines
As Orlando journeys through genders and centuries, the pain and beauty of being a human in a body is explored with a vibrant commitment to the process of theater-making.
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JOKER (dir. Todd Phillips): Film review
Dan Scully narrowly avoided the onslaught of violence that accompanied this EVIL, EVIIIIL movie. Jk.
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THE ROOMMATE (1812 Productions): 60-second review
Where are Oscar and Felix when you really need them?
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AUTOPIA (Hella Fresh): 2019 Fringe review
I’m reminded to look around and appreciate the magic of the theater.
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