Ritz Film Magazine March 2012

Ritzfilm Volume 2 • Issue 2

Around the Block: University City | Inside the ICA…Free for All spring outdoor Dining! | spring Theater Preview

Interview with ezra miller from We Need to Talk About Kevin

March/April 2012

ritzfilmmag.com mArCh/APrIl 2012 3

table of contents

March/April 2012

ABOVE TOP: Jess Conda stars in Rock and Awe—Part Three: Let’s Start a War. Photographed by Kate Raines, PLATE3PHOTOGRAPHY.ABOVE BOTTOM: Tilda Swinton in We Need to Talk About Kevin Directed by Lynne RamseyCOVER: Robert DeNiro and Julianne Moore in Being Flynn, a Focus Features release

5 Letter from the Publisher

6 Ask Ritz Film Magazine

8 Spring Theater Blossoms: A Preview of What’s in Store

12 Salmon Fishing in the Yemen A Critique and Comparison of the Book & Film

15 M is A Gem— It’s Spring! Philly Dines Outdoors

20 Film Focus: 15 Minutes with Ezra Miller from We Need to Talk about Kevin

Student Review We Need to Talk about Kevin

24 Around the Block: University City

30 84th Annual Academy Awards

32 Arts Calendar

34 Now Showing

42 Crossword Puzzle

4 mArCh/APrIl 2012 ritzfilmmag.com

A magazine for the Landmark Ritz TheatresPublished by R&W Publishing Associates

PublisherLisa H. Rafter215-765-2646

[email protected]

EditorAbigail Sutton609-707-6069

[email protected]

Advertising salesJamie Berman610-609-1635

[email protected]

Art DirectorHedy Sirico

[email protected]

Ritz Film Magazine is published 8x’s per year by R&W Publishing Associates. Distributed at Ritz

Theatre locations and designated locations throughout Philadelphia and the surrounding suburbs. For

more information regarding editorial content, advertising or distribution,

please contact us at:

r&W Publishing Associates315 Poplar AvenueDevon, PA 19333

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rITz TheATre PhIlADelPhIA loCATIoNs:

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Dear Ritz lovers!

Spring is in the air! And this year we’ve already had an early taste of Spring with lots of warm weather. For movie lovers, Spring is a time of year when outdoor activities are abound…and yet, we still covet our indoor time at the Ritz for the movies!

In the spirit of Spring, the March/April RFM includes a list of some of the best restaurants in the city for outdoor dining. We know many of you dine before or after the movies, so we wanted to provide you with outdoor op-tions! Starting with a review of “M”, you’ll find some great little gems for your dining pleasure and special spots to talk about your favorite subject: movies, of course!

This issue also has a mix of cultural activities to enjoy all throughout Philadelphia during the Spring months. Andrew Repasky McElhinney reviews the upcoming theater productions in Philadelphia, a city Andrew calls a “great theater town…because the community itself is so close knit, accessible and welcoming.” We also cover events and places to go in University City, this issue’s Around the Block featured neighborhood.

You’ll find lots of other goodies in this issue including a book/movie com-parison of Salmon Fishing in the Yemen by Gary M. Kramer and a review of this year’s Oscars by Eric Bresler. And don’t miss a review of Let’s Talk About Kevin by Temple student Jason Berman and an interview with the movie’s Ezra Miller by RFM’s editor Abigail Sutton.

Enjoy Spring in the city and Spring at the movies! As always, we welcome your feedback so please contact us and let us know how we’re doing and what you want to see in RFM!

Sincerely,

Lisa H. RafterPublisherRitz Film Magazine 215-765-2646 [email protected]

letter from the publisher


ask ritz film magazine

As a kid, I saw Burt Reynolds in a black and white, Casablanca-type picture called, Rope of Sand. However, I have not been able to track it down since. Have you ever heard of this movie? Why can’t I find it?—Robert Thompson, University City

Rope of Sand starring Burt Lancaster, not Burt Reynolds, might be the film you are thinking about. In it, Lancaster is a tortured man involved in a shady scuffle for diamonds. The supporting cast is strong with Casablanca alumni, Peter Lorre, Claude Rains, and Paul Henreid. Reason enough to track down this movie is its cinematographer, Charles B. Lang, Jr. In over fifty years as a director of photography, Lang shot an amazing array of diverse titles including She Done Him Wrong (1933), Peter Ibbetson (1935), The Big Heat (1953), Some Like It Hot (1959) and Bob & Carol & Ted & Alice (1969). Finally, Rope of Sand is under the direction of an underrated pro—William Dieterle. He helmed such recom-mendable films such as The Last Flight (1931), Satan Met a Lady (1936) and Dark City (1950 - not the one you’re thinking about by Alex Proyas from 1998). Dieterle also directed a movie I’ve always wanted to see, Jewel Robbery (1932).

I just saw The Public Enemy for the first time. Wow!!! I was bowled over by James Cagney’s electric performance. And, I

looked into him—he has so many credits!!! Where do I go next—or do I just watch them all?—Kala Church, Queen Village

James Cagney (1899-1986) is best remembered for playing gangsters like Tom Powers in The Public Enemy (1931) or Cody Jarrett in White Heat (1949); however Cagney was a very versatile and nuanced actor. Early on, he first showed his range with a more or less comic turn in Warner Bros.’ wonderful, truly shocking, pre-code melodrama, Picture Snatcher (1933). And, I don’t think anyone has ever forgot-ten Cagney in William Dieterle’s 1933 movie of A Midsummer’s Night Dream. Mid-career, Cagney mellows out playing George M. Cohan in Yankee Doodle Dandy (1942); and leads the cast (includ-ing his sister Jeanne!) in The Time of Your Life (. . . which, for its first forty-five minutes is relatively faith-ful to the great 1939 William Saroyan play). Late in the game, Cagney’s last screen role finds him in the boxing television movie, Terrible Joe Moran (1984).

I’ve never forgotten James Cagney as Bottom the Weaver in A Midsummer’s Night Dream. We went to see it at the movies on a school trip back in 1935! I credit my second grade teacher, Mrs. McFrazer for teaching my class a true and lasting appreciation for the works of William Shakespeare. I am exited to see Ralph Fiennes in Coriolanus because as far as I know there has never been a movie of this play.

By Andrew repasky mcelhinney – “The Movie Doctor”

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is a feature film & theater director, author, educator and the programmer of Andrew’s Video Vault at the Rotunda (featuring free cult movie screenings on 2nd Thursday of each month). Visit: ARMcinema25.com

Dr. ANDreW rePAsKy mcelhINNey

So, in many ways, I’ve waited my whole life to see Fiennes’ new movie. What Shakespeare adaptations do you think are the most noteworthy?—Penelope Longfellow Fuller, Fishtown

There are a few English language televi-sion versions of Coriolanus but none of great note. Without a doubt, Shakespeare on-screen is tricky. Despite being well regarded, I’ve never warmed to Laurence Olivier’s screen adaptations of the Bard [Henry V (1944), Hamlet (1948) or Richard III (1955)] because they reek of dower affectation. I do however, very much admire Orson Welles’ screen Shakespeare because it is commanding and visceral while using these mighty forces in the service of Shakespeare’s words and stories. 1965’s Chimes at Midnight is Welles’ History Play mash-up focused on Sir John Falstaff (Orson him-self). The screenplay’s dialogue is master-fully cobbled (again by Orson, himself) from Henry IV, Parts 1 & II as well as Richard II, Henry V and The Merry Wives of Windsor with a bit of narration from Raphael Holinshed (1529-80) tossed in for good measure. Welles’ Othello (1952) features an opening sequence (the Moor’s funeral procession) as arresting and com-pelling as anything in Welles’ oeuvre.

Finally, Welles’ 1948 Macbeth is a spooky affair—expressionist and caked in sloppy, messy mud. While not as great as Welles’ Macbeth, Roman Polanski’s 1971 film of “The Scottish Play” is Polanski’s best work as a director and remarkable for its grim violence and psycho-sexual (if somewhat obvious and perhaps even forced) candor. If Polanski is too middle-brow, and far-out Shakespeare is your cup of tea, you can do no better than John Gielgud in director Peter Greenaway’s groundbreaking and revolutionary adaptation of The Tempest, Prospero’s Books (1991); or Leonardo DiCaprio and Claire Danes as the doomed lovers in Baz Luhrmann’s enthralling Romeo + Juliet (1996). Finally, my vote for the best Shakespeare movie of all time goes to Ian

McKellen in Richard III (1995) directed by Richard Loncraine. Updated to a fantasy, fascist World War II era England, it fea-tures a starry galaxy of impeccable actors including Annette Bening, Maggie Smith, Jim Broadbent, Robert Downey Jr., Nigel Hawthorne, John Wood, Kristin Scott Thomas, and Edward Hardwicke. The opening sequence where Richard drives a tank through his rival’s encampment is one of cinema’s all-time great set pieces.

I was very impressed with Viggo Mortensen in David Cronenberg and Christopher Hampton’s delicious, sexy and wickedly fun new movie, A Dangerous Method. What do you think and are you a Mortensen fan?—Antony Holtsman, Rittenhouse Square

It is true that Viggo Mortensen set an all new personal best with his scene steal-ing work as Dr. Sigmund Freud in A Dangerous Method. It is remiss that the Academy did not recognize him this Oscar season. While sporting leading man looks and charisma, Mortensen excels at character parts and has memorable sup-porting roles in the likes of Young Guns II (1990), Brian De Palma’s Carlito’s Way (1993), and Jane Campion’s underrated and nearly forgotten, Portrait of a Lady (1996). Mortensen is more prominently featured in Kevin Spacey’s debut as a director, Albino Alligator (1996), the very peculiar Gus Van Sant remake of Psycho (1998), the nostalgic A Walk on the Moon (1999), and Peter Jackson’s Lord of the Rings movies (2001-2003). •


Spring Theater Blossoms: A Preview of What’s in Store

Reacting to the recent passing of Jiri Zizka (1953-2012), founding co-artistic director of The Wilma Theater, how could one not be moved—or—feel apart of a very special era that had ended? Moreover, how many theater towns have a centralized hang-out like Plays & Players’ third floor, Quig’s Pub—THE place to go for the creative class? Nicknamed “the actor’s speakeasy,” Quig’s is run by Brat Production’s found-er Madi Distenfano, and features many local luminaries on either side of the bar. Any night of the week, (Quig’s is open into the wee after-hours), you’re likely to

catch Greg Giovanni (Big Mess Theatre) reading palms, Corinna Burns (Inis Nua Theatre Company) spinning yarns like a bar-stool Scheherazade, or GANG! band member Amanda Damron helping funk up the place with her certifiable, soulful foxiness. Behind the bar, actor Keith J. Conallen will keep your glass filled with expertly mixed drinks while appearing in The Wilma Theater’s production of Sam Shepard’s Curse of the Starving Class, March 7–April 8. Keith is thrilled to be making his Wilma debut this month, having been seen on area stages the last few seasons with Theatre Exile, Azuka

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Philadelphia is such a great theater town—not only because of a plush crew of regional and local theaters—but because the community itself is so close knit, accessible and welcoming.


Theatre, Flashpoint Theatre Company, Simpatico Theatre, Mauckingbird Theatre Co. and his own production company, Traverse Arts Project, among others.

Speaking of Brat Productions, Jess Conda’s latest installment of Rock and Awe: Four Fast Shows at the Intersection of Music and Theatre entitled Eternal Glamnation sold out its run and was met with huge standing ovations at the Ruba Club this past January. Tickets are already going fast for Rock and Awe—Part Three: Let’s Start a War, inspired by the music of the Dead Kennedys. The late night evening, (doors are at 10 PM), runs for three nights only at Ruba, March 29-31. Smart and savvy theater patrons will get their tickets now, as

Tickets are already going fast for Rock and Awe—Part Three: Let’s Start a War, inspired by the music of the Dead Kennedys

Conda is one of the bright new stars of the Philadelphia stage with thrilling lung power and a burgeoning cult of admirers who compare her to potent mix of Amy Winehouse and Ethel Merman.

The most exciting Philly première of the next several months is 1812 Production’s mounting of David Mamet’s seldom performed 1999 play, Boston Marriage, April 26 though May 20. Known for his colorful and creative use of four-letter words (*&klf*^%*!), and gruff dialogue for men with a capital “M,” Boston Marriage, set at the turn of the 20th century, was an unexpected change of pace for the great American playwright. In Boston Marriage, Mamet took up the challenge to craft an evening of theater focused on three women, two of whom may be in a “Boston Marriage”—that is a union between two females that perhaps involves both emotional and

physical intimacy. Directed by Philly’s stalwart pro Jennifer Childs, Boston Marriage is the not to be missed show of the spring season.

Speaking of premiers, white-hot Flashpoint Theatre presents a new work by the brilliant Jacqueline Pardue Goldfinger entitled Slip/Shot. Directed by Rebecca Wright, it runs April 11 though May 5.

Two great, local favorites return to the boards this spring. First, Mary McCool is one of the three stars of People’s Light and Theatre Company’s Shipwrecked! by Donald Margulies, March 22 though April 15. Second, Frank X, fresh off his hugely successful turn as several charac-ters in Inter/Act theater company’s de-lightful production of MicroCrisis, clocks

in at the Lantern Theater Company as Friar Laurence in director Charles McMahon production of Shakespeare’s beloved tragedy Romeo and Juliet, March 1-April 1 (www.lanterntheater.org).

Philly loves nothing more than a “lo-cal boy done good” and actor turned playwright, Bruce Graham has the debut of not one—but two—exciting, brand-spanking-new plays coming up. First, the gifted actor’s director, James J. Christy directs Graham’s The Outgoing Tide at the Philadelphia Theatre Company, March 23-April 22. Second, actor turned director Pete Pryor, helms Graham’s Mr. Hart and Mr. Brown, a prohibition era dramedy, at People’s Light and Theatre Company, July 18 though August 19.

The Philadelphia Shakespeare Theatre, under the artistic direction of Carmen Kahn, goes out on a limb (pun intended) to present the Aaron Cromie production


of Titus Andronicus, April 11 through May 19. Titus was HUGELY (…think blockbuster…) popular at the time of its composition, and then fell out of favor in the 17th, 18th and 19th century, only to gain new relevance as one of Shakespeare most profound and pleasurable works in the 20th and 21st centuries. And, if you’re an avid Shakespeare fan who just can’t get enough, The Curio Theatre presents The Tempest, April 19 through May 19.

Local semi-professional college theaters present many interesting productions this spring. That singular sensation, A Chorus Line runs at Temple University March 16 though 31. Next, Villanova University

presents Roger and Hammerstein’s Carousel, March 27 – April 2. The fan-tastic and caustic Lillian Hellman’s The Children’s Hour goes before the footlights April 19-29 at Arcadia University. And, finally, in what is sure to be a sexy, fun evening filled with bright, new talent, Kander & Ebb’s classic Chicago is given a run by The University of the Arts’ School of Theater March 22-25.

Two modern classics, and a classic-classic, round out the Spring season. Robert Harling’s Steel Magnolias is featured at Bristol Riverside Theatre, March 20 though April 8. The production stars Jo Twiss (of the cult movie, A Gun For

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Local semi-professional college theaters present many interesting productions this spring.


Jennifer) and Jennie Eisenhower. Next, beloved and beguiling local actor Christie Parker stars in Paula Vogel’s iconic, poi-gnant and incisive drama of child abuse, How I Learned to Drive, directed by Kathryn MacMillan, April 5 though April 29 at Theatre Horizon in Norristown.

See you at the theater! • Philadelphia’s NEWEST Living Community Concept for People as they Age.

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SPRING THEATER 2012 AT A GLANCE• Quig’s Pub: The Actor’s Speakeasy http://playsandplayers.org/members/events

• Wilma Theater, Curse of the Starving Class, March 7–April 8, 2012, www.wilmatheater.org

• Temple University, A Chorus Line, March 16–31, www.temple.edu/sct/theater/currentseason/index.html

• Bristol Riverside Theatre, Steel Magnolias, March 20–April 8, www.brtstage.org

• University of the Arts, Chicago, March 22–25, www.uarts.edu/theater/chicago

• People’s Light and Theatre Company, Shipwrecked! March 22–April 15, www.peopleslight.org

• Philadelphia Theatre Company, The Outgoing Tide, March 23–April 22, www.philadelphiatheatrecompany.org

• Villanova University, Carousel, March 27–April 2, http://www1.villanova.edu/villanova/artsci/theatre.html

• Brat Productions, Rock And Awe - Four Fast Shows At The Intersection Of Music And Theatre: Let’s Start a War, March 29–31, www.bratproductions.org

• Theatre Horizon, How I Learned to Drive, April 5–April 29, www.theatrehorizon.org

• Flashpoint Theatre, Slip/Shot, April 11–May 5, www.flashpointtheatre.org

• Philadelphia Shakespeare Theatre, Titus Andronicus, April 11–May 19, www.phillyshakespeare.org

• Curio Theatre, The Tempest, April 19–May 19, www.curiotheatre.org

• Arcadia University, The Children’s Hour, April 19–29, http://www.arcadia.edu/arcadiatheatre

• 1812 Productions, Boston Marriage, Apr 26–May 20, www.1812productions.org

• People’s Light and Theatre Company, Mr. Hart and Mr. Brown, July 18–August 19, www.peopleslight.org


Salmon Fishing in the Yemen A Critique and Comparison of the Book & Film

A bestseller in England, this high concept satire concerns Dr. Alfred (Fred) Jones, a British fishery

scientist, employed by a Yemeni sheikh to introduce salmon fishing to the desert. Fred thinks the idea is “totally absurd and scientifically nonsensical.” One might even call it “fishy.” But Torday spins this comic premise into an amusing tale of love, politics, faith, and, well, fish. There’s even some wacky intrigue involving the Al-Qaeda trying to put an end to the project.

Salmon Fishing in the Yemen is told through various emails, letters, diary entries, interview transcripts and extracts from Hansard—the official record of proceedings of the British Houses of Parliament. The narrative structure gives insight into the various characters’ perspectives. When Fred writes about his rocky marriage to Mary, a cutthroat investment banker type who treats him rudely, readers will root for him to leave her. He is a largely sympathetic everyman, admitting his dislike of the irrational and unknown, and worrying about his job and the impossible salmon project.

Likewise, when project coordinator Harriet Chetwode-Talbot pens letters to her fiancé Robert, a soldier in Iraq, one gets a clear sense of her confidence but also her palpable despair. These lead characters are well suited to one another, making their potential romance a believ-able subplot.

What is unbelievable is the idea of bring-ing angling tourism to Yemen. But much of the story spins on this absurd, ambi-tious, idea. While the sheikh is happy to spend money like it’s water to realize his dream, there are those who want to exploit the situation. One such indi-vidual is Peter Maxwell, the Director of Communications for the Prime Minister. He seems to think it is good public rela-tions opportunity, and hopes to secure of photo of the PM catching the first fish in the desert.

And so begins a series of clever ex-changes in which the sheikh teaches Fred and Harriet about faith and belief and happiness, while Peter schemes to achieve his goal. The conflict between these characters is delightful, especially when Fred, Harriet, and Peter share a

By Gary m. Kramer

A bestseller in England, this high concept satire concerns Dr. Alfred (Fred) Jones, a British fishery scientist, employed by a Yemeni sheikh to introduce salmon fishing to the desert.

sAlmoN AuThor: PAul TorDAymArINer BooKs, 352 PAGes, $14.95


meal at the sheikh’s private Glen Tulloch Estate.

While Fred and Harriet come to under-stand and appreciate the sheikh’s position, and enjoy his company, Peter reveals himself to be a first class idiot. It is surely one of the novel’s wryest in-jokes when Maxwell reveals in an interview that he thinks reading a novel is a “a terrible waste of my waking hours.”

Salmon Fishing in Yemen does spend sev-eral pages on Spey casts, wadi engineer-ing, and salmon cycles, but there are also moments of cloak-and-dagger conspiracy, especially when Harriet learns that her fiancé may be in danger. There is also an unnecessary (albeit silly) chapter in which Peter details his idea for a TV show entitled Prizes for the People—in which Pakistani villagers can win dishwashers by answering trivia questions. Oddly, the book ends with a darkly funny dénoue-ment involving the outcome of the salmon project.

And herein lies the curious wrinkle of the book. Although many of the characters get their come-uppance for their hubris and sense of entitlement, there are punish-ments meted out to folks who may not necessarily deserve them. Which shows that Torday, like his characters, doesn’t take the easy way out. It’s a curiously satisfying story about how people change and adopt to the most unusual situations and circumstances. Like fish out of water.

The film version of Salmon Fishing in the Yemen is a crowd-pleasing comic romance. While faithful to the central plot—a trio of disparate characters work together on the title project with an “uphill climb” degree of difficulty—the story, characters, and situations have been shortcut, or in some cases complete-ly streamlined, to bring the novel to the big screen.

The major changes include Harriet’s (Emily Blunt) fiancé in the novel being only a new boyfriend in the film, while Peter Maxwell becomes Patricia (Kristin Scott-Thomas in a very funny turn). Significantly, several characters that die on the page, live on screen. These alterations increase the dramatic, comic, and romantic potential of the story. However, the best change in the film version is pushing the subtle romance between Fred (Ewan McGregor) and Harriet to the forefront. This rela-tionship engages, mainly because of McGregor’s keen performance and Blunt’s sympathetic one.

Salmon Fishing in the Yemen also

sAlmoN FIshING IN The yemeNDIreCTeD By lAsse hAllsTröm, CBs FIlms

These lead characters are well suited to one another, making their potential romance a believable subplot.

The narrative structure gives insight into the various characters’ perspectives.

14 MARCh/April 2012 ritzfilmmag.com

includes a comic bit involving the engineers of the Three Gorges Dam, and some charming, sentimental details about Fred inventing a fly for fishing and finding comfort by talking to the fish is his backyard pond. These elements capture the spirit of the book even though they were invented for the film.

Even with all the differences, the film is an agreeable adaptation. But the book is well worth reading. For a unique story about an exotic land, far, far away take a dive into the waters of Salmon Fishing in the Yemen. •

The best change in the film version is

pushing the subtle romance between

Fred (Ewan McGregor) and Harriet to the

forefront. This relationship engages, mainly

because of McGregor’s keen performance

and Blunt’s sympathetic one.

GAry m. KrAmer initiated the Ritz book column 15 years ago. He has never gone salmon fishing in the Yemen, or anywhere else.

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M is A Gem It’s Spring! Philly Dines Outdoors

Gourmet food trucks? Check. Affordable and innovative multi-course prix fixe meals? Check. Fried chicken Thursdays cooked by one of the city’s best chefs1? This city’s got that covered too. 2012 James Beard Semi Finalists2? Yes!! Philly’s dining scene is creative and ever-changing. Not to mention the price point which beats NYC and L.A.

As the winter layers peel off, one by one, the days get longer and the spring season refreshes the city to the beat of a vibrant kick-drum. Diners will be headed outside to sought-after outdoor tables at favorite city establishments. Of the below list that

we profile, M Restaurant at the Morris House Hotel in Washington Square West (231 S. 8th Street) is a favorite.

Built in 1787, the hotel is named after Robert Morris, a signer of the Declaration of Independence and US Constitution. The large outdoor garden can seat up to 120 guests. Chef Aaron Bellizzi attended the Culinary Institute of America and, upon graduation, was recruited to work at Le Cirque in New York City—one of the most acclaimed restaurants in the world. After moving to Philly, Bellizzi spent time in the kitchens at both Fish and a.kitchen.

By Abigail sutton

As the winter layers peel off one by one, the days get longer and the spring season refreshes the city to the beat of a vibrant kick drum.

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The cuisine at M is sustainable, in season, and thus the menu is ever changing. Bellizzi is a perfectionist who is forever evolving in his creativity with food. A truly innovative chef, the food is modern, focused, yet fun and play-ful as well. The sun choke soup is perfection with pumpernickel crumble, shaved red onion, capers and home-smoked salmon, which are all served on the side, and intended to accom-pany every bite. You’ve never had soup like this before! For other options, the pork belly, red cabbage with brussel sprouts and pork ballontine should not be missed. You can’t go wrong with any of the small-to medium-sized plates on the menu.

As for the outdoor aspects of this city gem, the grounds between the restaurant and hotel remind me of the film The Secret Garden. In the movie, a girl stumbles upon a hidden garden that has been locked up and uncared for. M resembles the garden in the movie after the stunning rehabilitation takes place. There are iron benches, vines, trees with beautiful lights, surrounded by the gorgeous colonial architecture of the Morris House Hotel. It’s absolutely a magical and calm setting for a romantic night out or a dinner with friends inside bustling Center City.

rFm ouTDoor DINING FAVorITes

Beau Monde624 south 6th street, 215-592-0656Voted one of the top romantic spots as well as best brunch from www.gayot.com. Service is fun, charming and enthusiastic.

The Belgian Café2047 Green Street, 215-235-3500Fairmount’s Monk’s. How can one go wrong?

Mussels and frites are out of this world. An excellent and diverse beer list.

Bistrot La Minette623 South 6th Street, 215-925-8000The ever-friendly and hilarious Peter Woolsey, Executive Chef, always has something enjoy-able cooking at Minette. Whether it’s the French movie nights projected outside in the courtyard in the warmer months or affordable Sunday prix fixe dinners. His food is refined and classic with a modern twist. The friendly servers are educated on the menu and friendly.

Bridget Foy’s200 South Street, 215-922-1813American fare, one of the first neighborhood gems in this area of the city that still exists. Owners are usually present and friendly. They often feature special dinners or movie nights upstairs at the Copper Bar.

Cantina Los Cabalitos1651 E. Passyunk Avenue931 N. 2nd Street (newer NoLibs location)Tons of outdoor dining. Food is excel-lent. Features vegetarian and vegan options. Bathrooms are entertaining with chalkboard paint.

The City Tavern138 South 2nd Street, 215-413-1443Dine as if in colonial times. Rich and wonder-ful platters. Large backyard garden with benches and lots of space, located in the heart of Old City.

Cooperage123 South 7th Street, 215-226-2667Located inside The Curtis Center, Cooperage is a whiskey bar with a great bill of fare as


well. Bartenders are friendly and the space is smartly laid out. Check out the Tiffany mosaic in the building’s east wing when you’re done your meal and whiskey libation. Outdoor seat-ing features comfy couches and large tables great for groups.

Darling’s Diner1033 N. 2nd St, 267-239-5775A diner should be two things: clean and ef-ficient. Darling’s accomplishes this and then some. Known for excellent cheesecake. Staff is friendly and courteous. A sister location is in Fairmount.

Devil’s Alley1907 Chestnut Street, 215-751-0707 Go for local beers, good pizza and fried green tomatoes at the center city gem which has more of a down-home neighborhood feel than the commercial/retail location would suggest.

Estia1405 Locust Street, 215-735-7700 Greek cuisine located near the Academy of Music, which offers a great pre-theater dinner special. Desserts aren’t to be missed. Solid wine list. Gorgeous digs inside and out.

Frankford Hall1210 Frankford Avenue, 215-634-3338Playful beirgarten with ping-pong, other games, fire pits and plenty of room to bring the whole crowd. Food options are limited but interesting.

Jamaican Jerk Hut1436 South Street, 215-545-8644Live music. Jamiacan cuisine. BYO. What could be better? Escape the city life to the tranquility and fun of the Caribbean.

Manayunk Brewery & Restaurant4120 Main Street, 215-482-8220Huge patio overlooking the Schuylkill. Pub/American fare with sushi on certain nights Local brews featured. Multiple meeting/enter-tainment rooms for large gatherings/events.

Moshulu401 South Columbus Blvd., 215-923-2500 This moored antique sailboat, located on the Delaware River, sailed around Cape Horn dozens of times. There is one bar located out-side on the lower deck of this grand ship, all with great views. Food is seasonal and they

2301 Fairmount Avenue • Philadelphia215.978.4545 londongrill.com

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offer an affordable champagne buffet brunch on weekends.

Positano Coast212 Walnut Street, 215-238-0499Southern Italian cuisine. Organic cocktails. DJs perform in the lounge/bar on Saturdays. The ceviches, salads and gnocchi are stellar.

Raw (3 locations)1225 Sansom Street (original)215-238-19031818 Chestnut Street (inside Boyd’s–no outdoor seating)1050 N Hancock StreetModern Japanese. Raw recently expanded to NoLibs, increasing this Philly empire to three locations. Raw NoLibs is closed for the season but will reopen once the winter thaws. Fruit-infused sakes and reasonably priced bento boxes are sure to please the most discerning of palates.

Rouge205 S 18th Street, 215-732-6622Wine selection is great. Bartenders are pros. Upscale. The burger is one of the best in the city.

Sam’s Morning Glory Diner735 South 10th Street, 215-413-3999 Superb down-home cooking. Efficient service

and big plates of comfort food leave you full. Coffee served in fun steel mugs. Courtyard fills up quick on the weekends—get there early.

Sidecar2201 Christian Street, 215-732-3429GHo’s neighborhood gastropub. Known for brunch and a great meeting place for friends. Sidewalk dining is the only outside option.

Silk City435 Spring Garden Street, 215-592-8838Tim Burton meets Dia de Los Muertos-inspired courtyard/garden/patio. Food is wholesome, fresh and prepared well. DJs on weekends. A great happy hour crowd outside. Parking usually available right out front.

Southwark701 S 4th Street, 215-238-1888Sourcing their ingredients from local farmers and co-ops to sustain and support local farms and economies. They strive to set the standard in the farm to plate slow food movement that is sweeping the region and nation.

Standard Tap901 N. 2nd Street, 215-238-0630Upstairs patio. Great burger – good beer – classic gastropub, in many ways the original to the city.


Talula’s Garden210 W Washington Square, 215-592-7787Features a whimsical, outdoor dining corridor that is highlighted with white lights and a garden-esque mystique.

Tria12th & Spruce (Washington Square West)215-629-920018th and Sansom (Rittenhouse)215-972-8742Tria Wine Room - (University City)3131 Walnut Street215-222-2422Wine, cheese, beer...What more could you want? “Wine is loosened up and beer grows up” at this “passionate bar without preten-sion.” Every Sunday a not-so-common beer, cheese and wine is featured and available for purchase at a reduced price. Sunday school was never so fun and interesting!

The Ugly Moose443 Shurs Lane, 215-482-2739This Manayunk/Roxborough establishment is friendly and has a great atmosphere. Easy and free parking available out front. Burgers are solid and satisfying.

Village Belle757 S Front Street, 215-551-2200Diners’ Choice winner 2010 at OpenTable.com. Two brothers from Queen Village opened this new neighborhood favorite, serv-ing seasonal Mediterranean cuisine. We highly recommend all of the pastas from the cappel-lini to the chicken and mushroom cannelloni. Closed Mondays.

Water Works Restaurant640 Waterworks Drive • 215-236-9000Philadelphia’s “Landmark” restaurant adja-cent to the Museum of Art. A grand location for a special event or occasion. A brunch buffet is offered on Sundays from 11 to 2. For the month of March they offer a $35 prix fixe dinner.

even more outdoor dining options…

Branzino261 S 17th Street • 215-790-0103

Byblos116 South 18th Street215-568-3050

Chick’s Café & Wine Bar614 S 7th Street • 215-625-3700

Continued on page 28


film focus

15 Minutes with Ezra Miller from We Need to Talk about KevinBy Abigail sutton

“We Need to Talk About Kevin” is a dark drama about a very emotionally disturbed teenager, Kevin, played by New Jersey bred Ezra Miller. The major characters in this film are Kevin’s parents, Nick and Eva, played by

John C. Reilly and Tilda Swinton, respectively. The film chronicles Kevin’s family before and after he commits a bloody crime in their affluent neighborhood.

One poignant concept of this film is viewing the family at various stages and times throughout their growth and demise. Kevin’s parents are portrayed as a young and care-free couple, in their 20s, gallivanting through New York City after a night on the town, as new parents with their first child, Kevin, and again, growing their family when their youngest is born, Kevin’s sister, Celia (Ashley Gerasimovich). The viewer also sees another side of parenthood, when Tilda is left to pick up the pieces of her life after Kevin’s crime changes the family and neighborhood, forever.

The movie is not so much about the horrific crime committed but the rift in the family unit that Kevin’s erratic and evil behavior creates throughout his life, leading up to his crime. Ezra Miller thoroughly succeeds at showing the human side of Kevin, not simply the criminal. There are heartfelt times in the film, when Kevin wants his sister to help him in the backyard, but Eva interrupts—disallowing it, perhaps being too protective, perhaps not. RFM chatted with Ezra from his Manhattan apartment.

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What was it like to play Kevin, this problem child?

On many levels it was greatly challenging. I had many hurdles to overcome. I strived to find the real kid, the real person along with his sinister ways; I didn’t want the character to be one-dimensional. I wanted to show Kevin on an honest and emotional level. He’s looking for love, like anyone else.

Kevin is this deep character who’s destroying himself with what he believes to be the only action to take.

In the movie, the parents, especially eva, are often at odds with Kevin’s behavior. Can you sympathize with their parenting in the movie?

I can absolutely sympathize with them. The mistakes made by Eva and Franklin are minor ones. They may be guilty of parental misdo-ing but there are many small mistakes that add up over time. They are guilty of blindness, obliviousness and the need to love their child and show their love. Eva finds herself in a cycle of drama, depression and hatred for Kevin. She’s at her wits-end and unsure where to turn or who to talk to.

you’ve done work in both television and film. What do you like and dislike about working in each medium?

In TV, I like the idea that you can grow a character over time. It’s ever-changing and yet has the aspect of being constant – through the stories and actions of the character. In film, changes and constraints are less flexible as they have to evolve around one story and one course of action. In TV, ratings affect a lot of the decision making and can hinder the creative process.

Who would be your dream cast and director/writer to work with?

Oh man, what a question! David Lynch would return to direct and co-write with Darren Aronofsky. It would be a sexy thriller with Susan Sarandon, Phillip Seymour Hoffman, John Hoff, Glenn Close and Tom Hanks. The film would involve dueling gangs, sexual intrigue, violence and psychological manipulation.

Sounds like a winner to us!! •


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Kevin himself is a frightening and unpredictable character from the moment he is born. All the way to the end of the movie, the audience has no choice but to witness his descent. We Need To Talk About Kevin is a film that demands to be discussed.

By Jacob Berman – Freshman Film Major, Temple University

What defines a film as being in the horror genre? Is it the moments that make an audience jump out of their seats? Is it the copious amounts of blood that fill the frame?

Lynne Ramsay’s We Need To Talk About Kevin contains no jump scares, and blood is only seen occasionally, but the sense of dread and fear it creates in the viewer is far greater than almost any recent horror film.

We Need To Talk About Kevin is a film that demands to be discussed. It asks question that apply not just to its own world, but also to real life. Almost every day, the news presents stories of not just people, but children or teens, hurting or killing others. Could these kids be just like Kevin? Is there any way to stop these things from happening, or to see them coming?

Kevin himself is a frightening and unpredictable character from the moment he is born. All the way to the end of the movie, the audience has no choice but to witness his descent.

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We Need To Talk About Kevin is a film that demands to be discussed. It asks questions that apply not just to its own world, but also to real life. Almost every day, the news presents stories of not just people, but children or teens, hurting or killing others. Could these kids be just like Kevin?


Fortunately for the viewer, the film is told from the moral center of Kevin’s ever-suffering mother Eva (Tilda Swinton— one of the best actresses working today). The relationship between Eva and Kevin is the driving force of this raw drama, with every scene between the two burst-ing with intensity. The film urges the viewer to wonder why Kevin is the way he is—whether he was born evil or the victim of Eva’s parenting. The constant uncertainty present in the film creates not only ambiguity, but also a pitting dread that turns We Need To Talk About Kevin into a truly intense and unforgettable experience.

Ramsay’s use of a non-linear structure, very effectively mounts the tension and creates the tone, while building up to an incident perpetuated by Kevin that chang-es the lives of Eva and everyone around her. As the audience gets hints of what the incident was, the film shows both the crescendo to that moment and the after-math. The scenes taking place before the event show Eva’s life with Kevin, starting around his conception. As Eva raises Kevin with her husband Franklin, played by John C. Reilly, (in his first dramatic film in some time), the child constantly creates problems, starting simply with causing messes as a toddler, and building to problems of a more serious nature as he matures. The scenes taking place after the incident show Eva’s life afterwards,

as the entire world seems to place their blame, not on Kevin, but on Eva.

The film succeeds at building a world that is just as unpredictable and poten-tially dangerous as Kevin himself. The confrontations Eva has after the event range from nervously positive in tone to exaggerated aggressiveness, such as when Eva is slapped in the face by a passing woman. Even the characters sometimes feel like they could have come from different movies, with Tilda Swinton’s subtle performance contrasting against the affable near-cluelessness of John C. Reilly’s character, with the two of them contrasting against some of the near-caricatures of supporting characters.

This film is heavily dependent on its ambiguity for drama, and Lynne Ramsay has a great understanding of what an audience should be told and when and why. One thing is for certain—the conversations that this movie will provoke will be endless. It is rare to experience a movie that so successfully withholds the truth without seeming as if it’s teasing the audience. •

rFm FIlm FoCus: sTuDeNT moVIe reVIeWs!Ritz Film Magazine welcomes Philadelphia area university students to submit movie reviews. We want to encourage young people to write and to give voice to what is being produced for the big screen. So if you are a university student who enjoys movies and writing, email [email protected].

It is rare to experience a movie that so successfully withholds the truth without seeming as if it’s teasing the audience.

JACoB BERMAn, born and bred in Philadelphia, is a graduate of Central High School, and is currently a Freshman Film Major at Temple University and Ritz Theatre fan.


around the blockA spotlight on Philadelphia’s unique neighborhoods

Ever-changing & Always Free, The ICA Has Something for AllBy Abigail sutton

What characteristics would the best museum possess?

• Convenient location

• Diverse and constantly changing pro-gramming of artists, including local and young talent

• Affordability

• Innovative and modern exhibits

• Constant collaboration with university and community-based art entities

Enter, The ICA or Institute of Contemporary Art, located on the corner of 36th and Sansom in University City, at 118 S 36th Street, to be exact.

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uNIVersITy CITy Some say U City is the new Center City. With its plethora of dining, retail, cultural/arts organizations, and nightlife we can’t blame them! The area is diverse, growing and usually more affordable than its downtown neighbor. Spring is a great time to explore Penn’s campus and the fun activities that await west of 30th Street Station.


the artists explored what cinema meant to them and its importance.

The definitions of cinema vary—in its literal definition, cinema is a technical practice in which flexible, gelatin-coated celluloid is exposed to light, generating a latent image made visible via chemical processing; a scientific means of record-ing reality; an objective and standardized economy of image production. Cinema also means a spectacle or entertainment; a fantastical realm of wish fulfillment or escape from the everyday. Another take on cinema involves a vehicle of revolu-tionary struggle that lays bare the causes of oppression and effects of colonialism; formal innovation that encourages social change. In addition, it is considered an antiquated technology destined for librar-ies and museums; a form of audio-visual

living Document / Naked reality

Towards an Archival Cinema was a mul-timedia project exhibited through March 4th. In case you missed it, and the below description sounds interesting to you; use this as a lesson to check out the ICA as soon as possible—the exhibits change often and the programming is free. That’s right…ICA is FREE for ALL. In fact, they make that their motto.

Living Document was organized by ICA 2011-2012 Whitney-Lauder Curatorial Fellow Jennifer Burris, and is accompa-nied by an illustrated publication. The exhibit was a collaboration of many artists, from all over the world, which ups the diversity, perspective and overall fun of the project. In Living Document

produce, less expensive and not meant for simply the elite or those with big pockets. Film became cheaper and more films were made. It wasn’t just the rich using filmmaking as a vehicle for art. This opened up filmmaking to catalogue just about anything; a boy’s first haircut, a young couple’s first trip to the beach, or a political protest in a foreign land through the eyes of the protester.

Now, in our digital age, with Twitter, cell phone cameras and inexpensive video cameras, many can afford to make videos on all kinds of digital devices. A friend of mine knew about what was going on in Egypt last year before CNN did, because of her huge Twitter following. Others in the US knew about Michael Jackson’s death, before the news media reported it. We are only beginning to understand

expression abandoned alongside the utopian ideals of the 1960s; source material for artists and researchers. And, that’s just the beginning of the various meanings and definitions the term cinema evokes.

Archival film stock was utilized in 60mm or 35mm film formats. Burris knew many artists interested in this dying art, and bringing this old film footage into their projects, so she created the project around the archival stock and artists in-terested in exploring the artform to turn a critical gaze into what the footage tells us about history. The results are thought provoking and stunning.

In the 1960s art on film, i.e. film foot-age became democratic. It was easier to

Burris knew many artists interested in this dying art, and bringing this old film footage into their projects, so she created the project around the archival stock and artists interested in exploring the artform to turn a critical gaze into what the footage tells us about history. The results are thought provoking and stunning.


the societal effects and benefits of the ease of media creation and viewing.

Another portion of this project featured vari-ous slides from a projector, along with an original book for the exhibit, on color and proper uses of color and color styles/formats/effects to create a pleasing image. It is a poetic look at color and photographic image vocabulary.

Burris’ previous work includes the exhibit Foreclosed: Between Crisis and Possibility at The Whitney Museum of American Art in spring 2011 which explored the various meanings associated with the term foreclosed. In today’s real estate market the word has a strong negative connotation for many, but the term has many other definitions as well. First

around the block

Among Equals will be another big exhibit forthcoming at ICA. From the website it’s explained as “Focusing on Los Angeles and Philadelphia, First Among Equals considers the various modes that contem-porary artists have developed to work with their peers and reach across generations. Cooperative, if at times contentious, contri-butions to the show include performance, publications, curatorial projects, and artworks that incorporate the work of other artists. Who comes first in these relationships?”

Keep your artistic eye on the ICA in University City and Jennifer Burris, each making waves in the art community of Philly. •

For more INFo VIsIT: http://icaphila.org/ &http://whitney.org/research/IsP/CuratorialProgram/2011exhibition

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DINING:White Dog Café3420 Sansom Street215-386-9224Nuevo American. Environmentally sustainable ingredients. The bar is a nice place to meet friends and enjoy a local beer or a glass of wine and burger. Their soups are excellent, as are the fresh fish entrees and chili. Don’t skip dessert! The setting is also perfect for a more formal dinner with family for a special occasion. A sister location in Wayne is simply gorgeous and features valet parking! Full bar.

Zocalo3600 Lancaster Avenue215-895-0139Traditional Mexican. Margarita Thursdays are a deal with $3.75 ‘ritas until closing. Crab and shrimp lettuce cups are fresh, tasty and healthy! The guac is delicious and chips/ tortillas are homemade. Wifi access and patio seating as well. What more could you want?! Full bar.

Vietnam Cafe New location with parking!816 South 47th Street215-729-0260Excellent noodle dishes. Pepper Chicken is delicious! Staff is friendly. Full bar.

Hummus3931 Walnut Street215-222-5300Fast food, Mediterranean style. Quick and inexpensive. Moroccan cigars, beets, carrots and falafel are all strong picks for a healthier take on fast food dining.

Manakeesh4420 Walnut Street215-921-2135You can’t go wrong with anything from this father and son venture in West Philly.

The manakeesh (flatbread with a variety of sweet or savory toppings), all of the desserts, chick pea stew, hummus, pita…are all mouth-watering and addictive. Ingredients are fresh, homemade and served with a smile with manager, Abd Ghazzawi behind the counter. They also serve various coffees, teas and espresso. Wifi is available as well. Located in a former bank, the building is beautiful with many fun architectural details. Open 7 days.

Landmark Americana3333 Market Street215-222-4500

retail:Urban Outfitters110 South 36th StreetSister Location to the Center City digs on Walnut Street. Trendy clothing, fun gifts for 20/30/40-somethings.

Last Word Bookshop220 South 40th Street215-386-7750

EMS3401 Chestnut Street215-382-0930

Arts/Culture:ICA118 South 36th Street215-898-7108

Addams Gallery200 S. 36th Street215-898-8374

WhAT To Do AND Where To eAT IN uNIVersITy CITy

around the block


International House Philadelphia3701 Chestnut Street215-387-5125

Mandell Theater at Drexel University 3300 Chestnut Street215-895-2787

Paul Robeson House4949-51 Walnut Street

Philadanco 9 N Preston Street 215-387-8200

Spiral Q Puppet Theater and Living Loft Puppet Museum3114 Spring Garden Street 215-222-6979

The Gathering Concert Series3916 Locust Walk610-734-1009

World Cafe Live 3025 Walnut Street215-222-1400

service organizations:Habitat for Humanity215.895.1328Drexel University Habitat for Humanity is affiliated with Habitat for Humanity International: an international nonprofit organization dedicated to providing affordable housing to those in need. The Drexel chapter serves this purpose for South and West Philadelphia. Drexel’s chapter aids South Philadelphia and West Philadelphia Habitat for Humanity Chapters in construction at their various donated sites. Habitat does various jobs around these sites such as painting, framing windows, leveling out backyards, and lots of other construction projects.

People’s Emergency Center325 North 39th Street215-382-7523PEC nurtures families, strengthens neighborhoods, and drives change. PEC is committed to increasing equity and opportunity throughout the entire community. They provide comprehensive supportive services to homeless women and their children, revitalize the West Philadelphia neighborhood, and advocate for social justice. •

around the block

City Tap House3925 Walnut Street • 215-662-0105

The Corner 102 South 13th Street • 215-735-7500

Dock Street Brewing Company701 S 50th Street, 215-726-2337

Interstate Draft House1235 E Palmer Street • 267-455-0045

Jack’s Firehouse2130 Fairmount Avenue • 215-232-9000

Kennett848 South 2nd Street • 267-687-1426

Memphis Taproom2331 E Cumberland Street215-425-4460

Pagoda Noodle Café125 Sansom Street • 215-928-2320

Water Works Restaurant640 Waterworks Drive • 215-236-9000

Warmdaddy’s1400 S Christopher Columbus Boulevard215-462-2000

1Meme’s David Katz and team whip up scrumptious and addictive fried chicken every Thursday—lunch only.2 The following Philly-area restaurants and/or their chefs received James Beard nomina-tions for this year’s awards ceremony, which takes place on May 4 and 7: (MAKE your RESERVATIONS now before they fill up after the winners are announced.)

The Farm & FishermanTashanZeppoliStandard TapBelle CakeryVetri (2 noms)Starr Restaurants Fountain TriaLe VirtuFondBibouKoo Zee DooKanellaBlackfishBarbuzzo

Continued from page 19

M is a Gem


soluTIoN To lAsT Issue’s CrossWorD Puzzle

47 North 3rd Street Philadelphia, PA 19106 | 215-923-0508 | www.margotcamille.com


84th Annual Academy Awards

Most cineastes justifiably scoff at awards shows. True genius in the arts is seldom embraced

by the masses and thus the films that typically receive widespread attention are safe, accessible cookie-cutters, driven through production with self-conscious eyes on the prize(s). The Academy Awards are a perfect example of this, though my claims, like the ceremonies themselves, are suspect, which is really part of the fun. If room allowed, I would gladly weigh in with my thoughts on why it’s a travesty that the humanist masterpiece The Descendants lost out to the cutesy gimmickry of The Artist, or how insane it is that Extemely Loud & Incredibly Close had any presence at the ceremony whatso-ever. Again, it’s all part of the fun.

The Oscars are the Super Bowl for movie lovers—like myself—whose sports

knowledge is limited to what we’ve seen on the silver screen. I have always ap-preciated the pageantry of the Oscars, but my true passion for awards season lies in the Oscar pools that I have participated in annually since 1995. I have only lost one of these, a defeat of my own making. It was 2008, the year of No Country for Old Men, when, in a hubris-driven effort to increase the level of my competition, I explained to my girlfriend at the time my traditional approach towards predict-ing the winners (a combination of Vegas odds, analyses of recent awards shows, and Entertainment Weekly’s picks). She obviously heeded my words, as we were both 21 for 24 categories by the time Best Picture rolled around. Supporting the underdogs usually pays off for me, but it just wasn’t meant to be for There Will Be Blood that year because, then, Denzel Washington handed the statuette to No

By Eric Bresler—Cinedelphia.com

True genius in the arts is seldom embraced by the masses and thus the films that typically receive widespread attention are safe, accessible cookie-cutters, driven through production with self-conscious eyes on the prize(s).

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Country producer Scott Rudin. And thus, the $40 pot was hers and my 13-year win-ning streak was forever broken.

The safe bets in this year’s Academy Awards paid off well aside from Meryl Streep’s (The Iron Lady) surprising win over Viola Davis (The Help) in the Best Actress category. Early frontrunner The Artist went in with 10 nominations and came home with five statuettes includ-ing Best Picture (the first silent film to win this category since 1929’s Wings), Actor (Jean Dujardin), Director (Michel Hazanavicius), Costume Design, and Original Score. Hugo, which led the way with 11 nominations, also brought home five trophies including Cinematography, Art Direction, Visual Effects, Sound Mixing, and Sound Editing. It’s fitting, during these tumultuous times for public film exhibition, that 42% of the night’s 24 awards went to films that captured beloved eras of the medium’s past. The Descendants would have swept the show in a different year, but alas, it won only one of its five categories, Adapted Screenplay.

Christopher Plummer and Octavia Spencer were shoe-ins for the Supporting Actor (Beginners) and Actress (The Help) catego-ries as was Woody Allen in the Original Screenplay category (Midnight in Paris). Allen’s highest grossing film to date,

marked the writer/director’s fourth Oscar win. The Foreign Language Film category was a tight race between Israel’s Footnote, Poland’s In Darkness, and Iran’s A Separation, but the latter’s immersive and oftentimes frustrating exploration of social and familial responsibilities justifiably won the night (and just happened to be Woody Allen’s favorite film of 2011). Gore Verbinski’s Rango won for Animated Feature though I’m of the mindset that the strangely snubbed The Adventures of Tintin was a better film than all five of the animation nominees. Pixar’s La Luna lost the Animated Short category to Moonbot Studio’s adaptation of a former employee’s iPad book, The Fantastic Flying Books of Mr. Morris Lessmore. Documentary Feature predictably went to the underdog high school football film Undefeated... not that my fingers weren’t crossed for Wim Wenders’ Pina.

As for the rest of the winners: Documentary Short: Saving Face, Live Action Short: The Shore, Film Editing: The Girl with the Dragon Tattoo, Makeup: The Iron Lady, and original song went to Flight of the Conchords’ Bret McKenzie for “Man or Muppet” from The Muppets.

And in case you’re wondering, I went 19 for 24 this year, slightly below average for me, but still respectable. See you at the movies! •


arts calendarChestnut Hill Film GroupTuesday nights at the movies! The Chestnut Hill Branch of the Free Library8711 Germantown Avenue, 215-248-0977FREE screeningsTuesday Nights at 7:30 PM March 20 — ‘B’ Picture Double Feature:DICK TRACY MEETS GRUESOME (1947) & THE BRUTE MAN (1946)First Ralph Byrd faces off against Boris Karloff in what is widely considered one of the great comic book adaptations of all time. Second, Rondo Hatton is “The Creeper,” a disfigured psychopath who befriends a blind woman who may be able to curb the murderous rage in his heart. Co-starting Tom Neal. March 27NINOTCHKA (1939) “Garbo laughs!” Russian communist Greta Garbo falls for capitalist Melvyn Douglas in Paris against her better judgment in Ernst Lubitsch’s beloved romantic comedy with a delightful screenplay by Charles Brackett & Billy Wilder. April 3CANYON PASSAGE (1947) An exceptionally beautiful Technicolor Western directed by Jacques Tourneur set in the Oregon territory of 1856. April 10 THE MAN I LOVE (1947) Our 2011-2012 season finale is a rich, unmissable noir-melodrama. Ida Lupino stars in her fourth collaboration with director Raoul Walsh. This time she is a nightclub torch-singer visiting her troubled sister, avoiding the mob, and falling in love with a down-and-out pianist haunted by the past. Film introduced by Inquirer film critic Steven Rea.

City Hall Art Gallery ExhibitionsPhiladelphia Yarnbombing 101March 12 - May 11, 2012by Ishknits a.k.a. Jessie Hemmons, the Philadelphia’s Yarn Bomberwith accomplice artist, Christina LeFevreand Streets Dept documentarian, Conrad Benner.

Juried exhibition for professional local artists:Meta-FiberMarch 12 - May 11, 201215 local artists using fiber techniques and nontraditional materials. Juror: Sarah Archer, Philadelphia Art Alliance. Display cases on 1st and 2nd floors, NE corner.

First Person Art

StorySlams take place on the second Monday of each month at World Cafe Live and the fourth Tuesday of each month at L’Etage. World Cafe Live is located at 3025 Walnut Street. L’Etage is at 6th & Bainbridge Streets. Doors open at 7:30PM, and the slam begins at 8:30.

Philadelphia Antiques ShowBenefiting Penn MedicinePA CONVENTION CENTERApril 28 - May 1 ADA “AWARD OF MERIT” DINNERApril 28 • 8 – 10 PMThe annual event hosted by the Antiques Dealers’ Association of America will feature the presentation of the 2012 Award of Merit to The American Folk Art Society in recognition of its outstanding contribution to the fields of art and antiques. For information, contact Lincoln R. Sander, Executive Director, ADA [email protected]. $95/person.

International House Philadelphia3701 Chestnut Street, 215-387-5125Free to IHP members - $7 students + seniors - $9 general admission.Wednesday, April 18 at 7PMArchive Fever! 3.0: A Trip to the Moon with The Extraordinary VoyageThe magical Georges Méliès, one of the celebrated heroes of Martin Scorsese’s Hugo, was the creator of that image, and his A Trip to the Moon thrilled audiences in 1902. Now, thanks to one of the most technically sophisticated and expensive restorations in film history, A Trip to the Moon can delight audiences once again in color.


A Trip to the Moondir. Georges Méliès, France, 1902, video, 16 mins, color, silent w/ recorded musical accompaniment by Air. The Extraordinary Voyagedir. Serge Bromberg and Eric Lange, France, 2011, video, 60 mins, color.

Philadelphia Film SocietyThe Artist As A Filmmaker presented by the Philadelphia Film Society & UArtsGershman Hall, 401 S. Broad Street$5 General Admission (Door only, no advance sales), 7:30pmFree to PFS Members & UArts Students/FacultyThe series will debut on Wednesday, April 11, 2012 with Jim Jarmusch’s film Stranger than Paradise, a benchmark in the progression of independent cinema. Monthly film lineup is available at www.filmadelphia.org. •

reACh PhIlADelPhIA AreA’s mosT

ADVeNTurous resIDeNTs!

Advertise in

For advertising rates & Information, contact:

Jamie Berman610-609-1635

[email protected]

Ritzfilm

Please see page 11 for RFM’s: “Spring Theater 2012 at a Glance” listing


now showing

The KID WITh A BIKe DirectorsJean-Pierre and Luc Dardenne CastCécile de France, Thomas Doret, Jérémie Renier, Fabrizio Rongione, Egon Di Mateo, Olivier Gourmet Run time | 87 MinutesFrench with English subtitles

Winner of the Grand Jury Prize at this year’s Cannes Film Festival, the deeply moving new film by the Dardenne brothers (L’enfant, Rosetta) delves into the emotional life of troubled 11-year-old Cyril (newcomer Thomas Doret). When his father (Jérémie Renier) abandons him, Cyril obsessively tries to find his bicycle— after all, his father must have cared about him enough not to sell that off, he reasons. Almost by accident, he becomes the ward of a kind hairdresser (Cécile de France), a woman who seems surprised to find herself so determined to help him. With his wild, unpredictable behavior and his disas-trous search for father figures, Cyril risks losing her—though she refuses to give up without a fight. Full of heartbreaking betrayals and unexpected grace, THE KID WITH A BIKE is a film about a child, aban-doned to the elements, learning to become good.

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Visit www.landmarktheatres.com for movie schedules and additional information.


The rAID DirectorGareth Huw Evans CastIko Uwais, Joe Taslim, Doni Alamsyah, Yayan Ruhian Pierre Gruno, Ray Sahetapy, Tegar Satrya, Iang Darmawan Run time | 100 MinutesIndonesian with English subtitles.

As a rookie member of an elite special-forces team, Rama (Iko Uwais) is instructed to hang back during a covert mis-sion involving the extraction of a brutal crime lord from a rundown fifteen-story apartment block. But when a spotter blows their cover, boss Tama (Ray Sahetaphy) offers lifelong sanctuary to every killer, rapist and thief in the building in exchange for their heads. Now Rama must stand in for the team’s fallen leader Jaka (Joe Taslim) and use every bit of his fighting strength – winding through every floor and room to complete the mission and escape with his life.

Recently named one of 2012’s “Directors To Watch” by Variety – Gareth Huw Evans reteams on THE RAID with Iko Uwais, the star and fight choreographer of the cult sensation Merantau – which first brought the Indonesian martial art of Pencak Silat to global attention. Already a word-of-mouth sensation at the Toronto Film Festival, where it played to sold out crowds; the film is now poised to reach global audiences with a propulsive new score by alternative rocker/composers Mike Shinoda of Linkin Park and Joseph Trapanese of M83.

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Gianni is a retiree who has become invisible to most everyone around him. In response, he tries his best to generate some kind of extracurricular love life.

The sAlT oF lIFe (GIANNI e le DoNNe) DirectorGianni Di Gregorio CastGianni Di Gregorio, Valeria De Franciscis and Alfonso Santagata Run time | 90 Minutes


Winner of the Silver Bear for Best Screenplay at the Berlin Film Festival, the powerful and richly textured second feature from Joshua Marston (Maria Full of Grace) focuses on an Albanian family caught up in a blood feud. Nik (Tristan Halilaj) is a carefree teenager in a small town with a crush on the school beauty and ambitions to start his own Internet café. His world is suddenly up-ended when his father and uncle become entangled in a land dispute that leaves a fellow villager murdered. According to a centuries-old code of law, this entitles the dead man’s family to take the life of a male from Nik’s family as retribu-tion. His uncle in jail and his father in hiding, Nik is the prime target and confined to the home while his younger sister Rudina (Sindi Laçej) is forced to leave school and take over their father’s business. Working with non-professional Albanian actors and a local co-writer, Marston boldly contrasts antiquated tradi-tions with the lives of the young people whose future is put at risk by them.

The ForGIVeNess oF BlooD DirectorJoshua Marston CastTristan Halijaj, Refet Abazi, Zana Hasaj, Erjon Mani, Luan Jaha Run time | 109 MinutesFully subtitled

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Featuring Audrey Tautou. Nathalie has everything to be happy—she is young, beautiful, and contentedly married. But then her husband’s accidental death stops her in her tracks. For several years, she buries herself in her work and puts her love life on hold. Then suddenly, without really knowing why, she kisses one of her col-leagues, Markus, a very atypical man. A peculiar love affair ensues between this highly improbable couple that gives rise to bewilderment and aggressiveness amongst Nathalie’s colleagues. Do we really choose the way in which life is reborn? Nathalie and Markus end up fleeing so as to live their relationship and joy in peace. This story of a rebirth is also one about the strangeness of love.

lA DelICATesse (DelICACy) DirectorsDavid Foenkinos and Stephane Foenkinos CastAudrey Tautou, Francois Damiens, Bruno Todeschini, Pio Marmai, Melanie Bernier Run time | 108 Minutes

IN DArKNess DirectorAgnieszka Holland CastRobert Więckiewicz, Benno Fürmann, Agnieszka Grochowska, Maria Schrader, Herbert Knaup Run time | 145 MinutesPolish/German/Yiddish/Ukrainian, with English Subtitles.

From acclaimed director Agnieszka Holland, IN DARKNESS is based on a true story. Leopold Socha, a sewer worker and petty thief in Lvov, a Nazi occupied city in Poland, one day encounters a group of Jews trying to escape the liquidation of the ghetto. He hides them for money in the labyrinth of the town’s sewers beneath the bustling activity of the city above. What starts out as a straightforward and cynical business arrangement turns into something very unexpected, the unlikely alliance between Socha and the Jews as the en-terprise seeps deeper into Socha’s conscience. The film is also an extraordinary story of survival as these men, women and children all try to outwit certain death dur-ing 14 months of ever increasing and intense danger.

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BEING FLYNN is the new dramatic feature from Academy Award-nominated writer/director Paul Weitz (About a Boy). Adapted from Nick Flynn’s 2004 memoir “Another Bullshit Night in Suck City”, the movie explores bonds both unbreakable and fragile between parent and child. Evocatively told, ruefully funny, and mov-ing in its depiction of the ties that bind, BEING FLYNN tells a story that reveals universal truths, featuring a star-studded cast including Robert DeNiro, Olivia Thirlby and Paul Dano!

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BeING FlyNN DirectorPaul Weitz CastRobert De Niro, Paul Dano, Olivia Thirlby, Lili Taylor, Wes Studi, and Julianne Moore Run time | 102 Minutes

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The lADy DirectorLuc Besson CastMichelle Yeoh, David Thewilis, Jonathan Reggett, Jonathan Woodhouse, Susan Wooldridge, Benedict Wong, Htun Lin, Agga Poechit

THE LADY is the extraordinary story of Aung San Kyi and her husband, Michael Aris. It is also the epic story of the peaceful quest of the woman who is at the core of Burma’s democracy movement. Dispite distance, long separations, and a danger-ously hostile regime, their love endures.

A story of devotion and human understanding set against a backdrop of political turmoil that contin-ues today. THE LADY as written over a period of three years by Rebecca Frayn, interviews with key figures in Aung San Suu Kyi’s entourage enabled her to reconstruct for the first time the true story of Burma’s national heroine.


FOOTNOTE is the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are both eccentric professors, who have dedicated their lives to their work in Talmudic Studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. Meanwhile his son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition.

FOOTNOTE is the story of insane academic competi-tion, the dichotomy between admiration and envy for a role model, and the very complicated relationship between a father and son.

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FooTNoTe DirectorJoseph Cedar CastShlomo Bar Aba, Lior Ashkenazi, Alisa Rosen, Alma Zak, Daniel Markovich, Micah Lewesohn, Yuval Scharf, Nevo Kimchi Run time | 105 MinutesHebrew with English subtitles

JeFF Who lIVes AT home DirectorsJay Duplass and Mark Duplass CastJason Segel, Susan Sarandon, Ed Helms, Judy Greer

sAlmoN FIshING IN The yemeN DirectorLasse Hallström CastEwan McGregor, Emily Blunt, Kristin Scott Thomas Run time | 112 Minutes

Dispatched from his basement room on an errand for his mother, slacker Jeff might discover his destiny (finally) when he spends the day with his brother as he tracks his possibly adulterous wife.

When Britain’s leading fisheries expert is approached by a consultant to help realize a sheikh’s vision of bringing the sport of fly-fishing to the desert, he imme-diately thinks the project is both absurd and unachiev-able. But when the Prime Minister’s overzealous press secretary latches on to it as a “good will” story, this unlikely team will put it all on the line and embark on an upstream journey of faith and fish to prove the impossible, possible.


TIm AND erIC’s BIllIoN DollAr moVIe DirectorsTim Heidecker andEric Wareheim CastTim Heidecker, Eric Wareheim Run time | 91 Minutes

An all new feature film from the twisted minds of cult comedy heroes Tim Heidecker and Eric Wareheim (Tim and Eric Awesome Show, Great Job). Tim and Eric are given a billion dollars to make a movie, but squander every dime… and the sinister Schlaaang Corporation is pissed. Their lives at stake, the guys skip town in search of a way to pay the money back. When they happen upon a chance to rehabilitate a bankrupt mall full of vagrants, bizarre stores and a man-eating wolf that stalks the food court, they see dollar signs—a billion of them. Featuring cameos from Awesome Show regulars and some of the biggest names in comedy today!

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CrAzy horse DirectorFrederick Wiseman CastDaizy Blu, Philippe Decouflé, Philippe Katerine Run time | 134 Minutes

Paris France’s Crazy Horse cabaret is the most famous nude dance show in the world. Here, acclaimed documentary filmmaker Frederick Wiseman (Titicut Follies, High School) explores one of the most mythic and colorful places dedicated to women. Founded in 1951 by Alain Bernardin, the legendary cabaret club has become the ‘must’ of Parisian nightlife for visitors, ranking alongside the Eiffel Tower and the Louvre. Wiseman’s impeccable eye finds the CRAZY HORSE a uniquely French showcase, with an emphasis on ele-gance, perfectionism and a grueling schedule (2 shows a night and 3 on Saturdays—7 days a week). The film chronicles the rehearsals for, and the unveiling of the brand new show, Désir, created by the renowned French choreographer Phillippe Decoufle.

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We NeeD To TAlK ABouT KeVIN DirectorLynne Ramsay CastTilda Swinton, John C. Reilly, Ezra Miller Run time | 112 Minutes

An exquisitely realized adapta-tion of Lionel Shriver’s bestselling novel, “We Need To Talk About Kevin”, the film was an audi-ence and critics favorite follow-ing its competition screenings at the 2011 Cannes Film Festival. Tilda Swinton turns in a stun-ning and breathtakingly fragile performance as Eva, a concerned mother with a troubled, angry son - Kevin. Eva is a haunted middle-aged woman trying to grapple with her own feelings towards her son as he grows up to be a brooding teenager. His unimagi-nable actions will shatter her life.

What was her role in it? Did she resent her son since birth…? How much of what Kevin did was her fault? What could she have done to help him?

This is a fearless film that will provoke and enthrall audiences in equal measure, raising questions of guilt, regret and loss. At the heart of the story is an eerie portrait of the idea of nature vs. nurture, and a bold look at the alienation of parenthood. Chilling but absolutely captivating, WE NEED TO TALK ABOUT KEVIN is directed by visionary filmmaker Lynne Ramsay (Morvern Callar, Ratcatcher), who constructs a mesmerizing, intimate piece of cinema.


Music for a While... shall all your cares beguile. or so henry Purcell’s song says. This month we celebrate the musical score. From mozart to mancini to The rolling stones, we salute only a few of the composers and performers who have wrenched our hearts and sometimes our guts, brought us to the edge of our seats and have made us laugh and cry. Above all, they have beguiled our cares through their use in film.

By stuart Papavassiliou

Stuart Papavassiliou is a transplanted Texan who has lived in Philadelphia for the past 28 years. He is an editor of two commercial finance publications who suffers from an addiction to pre-1970s movies. He and his partner live in Fairmount.

Across6. Give us the first name of Russia’s Nevsky. Prokofiev scored the film.

8. This diva’s voice is heard in gripping scene from Demme’s “Philadelphia.”

9. Setting for “Midnight in the Garden of Good and Evil.” It’s also Johnny Mercer’s hometown.

11. This eerie sounding electronic instrument has us “Spellbound” in Hitchcock’s 1945 classic.

12. Travolta, Thurman, Misirlou and The DelTones meet in this film from 1994.

14. This jazz royalty played Pie-Eye in “Anatomy of a Murder.”

15. This great American composer scored William Wyler’s “The Heiress.” When it comes to composing, he was no “common man.”

19. This actress says, “One does not applaud the tenor for clearing his throat.” Last name only please or else you’ll go too far.

20. A Tale of Two Kinskis: She played Robert Schumann’s wife in Spring Symphony in 1983.

21. Birthplace of great film composer Max Steiner. Some say it’s a City of Dreams.

22. This singer was born Jasper Cini in South Philly in ‘27, but he went on to croon “Hush, Hush Sweet Charlotte” in ’64.

24. Henry Mancini won an Oscar for this original song in ’61. Andy Williams made it his theme song.

25. A Tale of Two Strauss’: This one was “The Waltz King.” First name only, bitte.

26. A Tale of Two Strauss’: Although he wrote a great waltz in “Der Rosenkavalier” this Strauss is better known in film in “2001: a space odyssey.” Again, first name only.

28. Speaking of “Philadelphia,” his “Streets of Philadelphia” won him an Oscar.

31. This film composer went only by his last name and he wrote the scores to “Pillow Talk” and “Whatever Happened to Baby Jane?” Talk about versatile.

32. Musical version of “All About Eve.”

DoWN1. A Tale of Two Kinskis: He played “Paganini” in ’86.

2. Subject of Corbiau’s film of an 18th century “rock star.”

3. “Pleased to meet you … Tell me baby, what’s my name.” Think final scene of “Interview With the Vampire.” (2 words)

4. Robbins plays his “Sull’aria” to Freeman and the other guys in the yard in “The Shawshank Redemption.”

7. Bernard Herrmann’s “Psycho” score … he uses only these.

10. Setting for “Songcatcher.”

13. Beethoven’s Ninth Symphony plays a part in this Kubrick film.

17. In 1960, this song took the Oscar…a first for a foreign film. The song title and film title are the same … but don’t worry, you can hear it any day of the week.

18. He scored “The Godfather.” Full name, prego.

23. His Fourth Symphony, not a lullaby, are featured in “The Tree of Life.”

27. This composer, pianist and conductor is a musical legend and can do it all. And once upon a time was his, not “My Fair Lady.” Last name please.

29. His Don Quixote songs were composed for film, although they were never used. They were his last work. What’s his last name?

30. If you know minimalist music, it’s crystal clear that he scored “Notes on a Scandal.”

Look for the answers in the next edition of Ritz Film Magazine.

Documents

Ritz Film Magazine March 2012