Philadelphia Film Festival 2024

Rumours boasts an intriguing and eye-catching concept of “what if the G7 attend their yearly gala during the end of the world?”. Sadly, I found the execution of this novel idea to fall rather flat. The script includes some effective social commentary and contains the occasional witty joke, but it is a giant mess overall that I could never connect with. This ensemble works well in short spurts but the tone and style of the film was never on my wavelength. 

The Remarkable Life of Ibelin takes a look behind the gaming screen to view the secret life of a young World of Warcraft gamer. I do applaud the creative team’s decision to immerse you into the world of World of Warcraft and experience the game where the titular character got to be his true self instead of heavily relying on the typical talking heads interviews, the creative teams. However, I found The Remarkable Life of Ibelin to be a disappointingly unremarkable experience that failed to grip me. 

Eephus is such a communal and humorous “bros being bros” film that perfectly captures the essence of baseball. I loved the use of natural light throughout this long day at the ballpark. The film's sentimental tone and deliberate pacing mirror the slow, unpredictable nature of the sport.

Like a real baseball game, some moments are more engaging than others. Every game has its slow patches with multiple pitching changes and walks, mirroring the film's more methodical segments that capture the drawn-out nature of this matchup. 

However, once the action heats up — when runs are scored and pitchers are dueling — the film shines. The interplay of natural light, ad-libbed humor, and sense of community among the characters truly showcase what baseball is all about.

I found The Seed of the Sacred Fig to be a grueling experience, which should be taken as both a compliment and a criticism. Mohammad Rasoulof’s Cannes award winner is incredibly effective with displaying the brutality taking place in Iran and even features real footage of the heinous acts taking place. Highlights of The Seed of the Sacred Fig include a very dynamic quartet, headlined by Soheila Golestani, who all truly chew up the dialogue and elevate it to a riveting level. This is best exemplified by one sequence where the family's patriarch misplaces his gun and the four search high and low for it inside of their home. Sadly, the actual narrative of the film is so poorly paced. So many character decisions inside the film feel contradictory and are then undermined in the worst possible way by the film’s cartoonish third act.

Steve McQueen is an acclaimed filmmaker with a remarkable body of work that contains some of the best films of the 2000s, but Blitz will stand out many years down the line as one of his few letdowns.

The production, sound, and costume designs are truly excellent, particularly in a standout soundless sequence focused on the devastation of the bombings taking place in London. However, the screenplay undermines the film's overall quality. The script takes an "Oliver Twist" approach as it introduces a multitude of characters while our main protagonist is on a whimsical journey. While some sequences are intriguing (particularly the one with Effe & the three brothers), they ultimately fail to leave a positive lasting impression.

Better Man is a creative, chaotic, and crazy take on the musical biopic genre featuring an impressive motion capture Ape. This original venture from The Greatest Showman director Michael Gracey gives world-famous pop superstar Robbie Williams the grandest stage to have what I assume is a very cathartic and spiritual therapy session. It is far from perfect, but I appreciate its audacity.

I found Grand Theft Hamlet to be an intriguing and creatively original production. The concept is fresh, and I loved how they captured footage within GTA. The film’s exploration of community and loneliness was heartwarming, and it was quite riveting overall. 

However, the story does hit a crescendo that the documentary struggles to maintain afterward. Nonetheless, the final conclusion of this unique production of Hamlet makes it all worthwhile. I am certain this documentary will win over the hearts of those who may be hesitant to watch a film set inside of a video game. 

I'm not usually one to dive into politics, but regardless of your level of familiarity with the Israel-Palestine situation, No Other Land offers a powerful and eye-opening perspective on the injustices occurring. Big words are tossed around all the time hyperbolically to describe good films, but this documentary truly earns the title of an important, bold, and powerful piece of cinema. I truly hope No Other Land receives widespread distribution and finds a home on a streaming platform so everyone can see this moving piece of harrowing storytelling. 

The Taiwanese comedy Dead Talent Society blends Monsters Inc., Beetlejuice, and an Olympic TV broadcast in a hilarious, bloody romp. I know that premise sounds insane, but it has no right to be as entertaining and enjoyable as it is! It delivers stylish thrills and campy fun, hitting all the right notes of fright and humor. It really nailed my type of comedy, with some impressive horror elements and one of the best post credits sequences I have seen all year. Don't miss out on this one-of-a-kind experience that was easily my biggest surprise during PFF! 

Since April, we have heard nonstop about Sean Baker's latest film Anora, which follows the chronicles of an exotic nightclub dancer who believes she’s found love with the son of a Russian oligarch. It has charmed audiences and industry alike with its Palme d’Or win and top 3 placement at TIFF’s PCA. But did it charm me?

Well, yes! I had a great time with this movie. It's insanely hilarious and is easily one of the funniest films of the year. The ensemble cast perfectly complements each other, whether during moments of drama, chaos, or humor. Mikey Madison dazzles in her star-making role as Ani, though I feel she gets sidelined a bit too much in the middle act of the film. When the film gives her the space, she truly shines. The Russian goons add a kinetic energy that sets them apart; one is over-the-top, another is the silent comedic killer, and the third is loud and in charge. I also found Ivan, Ani's husband, to be a fascinating character who is living it up inside of Ani’s world.

The entire sequence that occurs when the Russian goons first appear is so enthralling. I loved every moment of that scene. When the hijinks begin with Ani and Ivan, the film really hits its stride until we reach the conclusion, which pulls at the heartstrings and raises multiple philosophical debates and poses nuanced questions. Some work for me! Some don’t.

I was so excited to finally watch the so-called “masterpiece” film by auteur Brady Corbet in 35mm. I have to say the first act of The Brutalist somehow exceeded all my insanely high expectations. The opening 15 minutes are mesmerizing with their stunning visuals, evocative score, and vibrant creativity. What captivated me about the first half of this epic was its dynamic pace, reminiscent of the chugging trains we see throughout the film. The phenomenal acting, exciting script, and original creative direction all worked together brilliantly.

Adrian Brody's performance as László Tóth is particularly striking; he brings depth, wears the weight of his past trauma on his shoulders and oddly adds humor to a character filled with layers that instantly commands the audience. Guy Pearce, on the other hand, is a walking meme who adds a great comedic touch, often delivering lines that are amusing even if not intentionally so.

However, the second act feels disjointed and loses the hooking momentum that made the first half so engaging. The once dynamic pacing stagnates, much like László’s architectural projects inside of the film, and you start to feel the film’s lengthy runtime. Some plot choices come out of nowhere and don’t resonate positively, making you question why you just watched this 3 ½ hour sprawling epic. 

Overall, I admire Corbet’s ambition and control throughout this 3 ½ hour achievement. While I immensely enjoyed the first half more, the film's artistic execution — how it’s shot, edited, and presented — is truly commendable.

Let’s be bold and overzealous up front: Ramell Ross’s Nickel Boys is a vital, impactful, and artistic cinematic achievement. With one of the most creative directorial choices of 2024, this stunning film has striking cinematography, a haunting score, heart-wrecking sound design, & bold editing. It’s sure to be divisive, but I was left in awe.

Near the beginning of this audacious film, Ethan Herisse’s Elwood proclaims, “If I look the other way, I am complicit”. This statement resonates deeply throughout Nickel Boys. Ross’ stylistic choice to present the story from dual first person perspectives may alienate some viewers, but for those willing to embrace it, the impact is profound. Herisse and Brandon Wilson infuse their characters with immense heart and depth, even when their faces remain largely unseen. The challenge of conveying emotion through voice alone is handled masterfully; their performances are smooth and articulate, guiding us through the narrative with clarity. This is a true ensemble piece where every actor contributes meaningfully, enriching this philosophical exploration.

The craftsmanship on display from Ross and his creative team is mesmerizing. While I usually avoid comparisons, to express my admiration for Nickel Boys without revealing plot details, I find echoes of The Zone of Interest in its approach. The film prioritizes the psychological impact of its subject matter over explicit depictions of brutality, focusing on the horrors experienced by those affected and their split decisions on how to react and adapt from them. The haunting score, evocative sound design, and striking cinematography immerse you into the characters’ experiences, making every moment palpable. The decision to withhold graphic violence heightens the emotional resonance, forcing viewers to confront the horrors that remain unseen. There is a particular montage sequence that is sure to linger in the audience’s minds long after the credits roll.

Nickel Boys is a bold and essential piece of cinema, certain to provoke diverse reactions. Some will find fault with its unconventional approach or its deliberate pacing, while others may struggle with the absence of overt depictions of atrocities. Yet, I believe that this adaptation amplifies the narrative’s themes and emotional depth. Although I respect the film more than I adore it, I believe its stylistic creativity warrants attention and discussion all awards season long. 

However, my absolute favorite film of this year's festival has to be Edward Berger’s Conclave. I found it to be a gripping and introspective exploration of elections and human nature. The film brilliantly examines the debate surrounding innocence and poses the profound question: “Is anyone truly without sin?”

Starring one of 2024's best ensembles, headlined by Ralph Fiennes shining in a long-awaited lead role after years of iconic supporting performances, the film captivated me and the audience I saw it with. Another standout is Isabella Rossellini, who may only have one or two scenes of dialogue but delivers one of 2024’s most powerful mic drop moments in a thematically resonant monologue.

While I don’t want to reveal too much of Conclave's thesis as the film is in theaters now, I appreciate its pure intentions and the thought-provoking discussions it invites. Before the screening, I overheard people mocking the idea of a PG film about the election of a new pope set inside the Vatican. Yet this expertly crafted film proves them wrong. Its tight editing and meticulous construction reveal layers as the story unfolds, drawing us deeper into the election for the new holy leader. If for nothing else, please go experience Conclave for its killer string heavy score by Volker Bertelmann.