Grace Jones - Landmark Theatres

Apr 27, 2018 - an unpredictable media presence—Grace Jones is all these things and .... house, Nancy escapes frequently to the internet where she creates ...
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Ghost Stories

Racer and the Jailbird





HHHH! “Tense and taut horror… With jet-black humour abounding…Nyman and Dyson have created a fantastic entry in the pantheon of British horror flicks.”—Guy Edgar, BRITFLICKS HHHH! “An insidiously spooky homage to Hammer horror, Tigon terror and the portmanteaus of Amicus.”—Martyn Conterio, CINEVUE

Experience three spine-tingling tales of terror to haunt your dreams! A debunker of all things paranormal, Professor Phillip Goodman (Andy Nyman) has devoted his life to exposing phony psychics and fraudulent supernatural shenanigans on his television show, “Psychic Cheats.” His skepticism is put to the test, however, when he is challenged to explain a file of three chilling, inexplicable cases: a night watchman (Paul Whitehouse) haunted by terrifying visions as he patrols an abandoned asylum; an edgy young man (Alex Lawther, THE IMITATION GAME, TV’s “Black Mirror”) involved in a hellish car accident deep in the woods at night; and a wealthy former banker (Martin Freeman, BLACK PANTHER, THE HOBBIT, TV’s “Sherlock”) visited by the poltergeist spirit of his unborn child. Even scarier: each of these macabre stories seems to have a sinister connection to Professor Goodman’s own life. Will they make a believer of him yet? Expert sound design ups the tension in this unnervingly eerie, genuinely scary film. Written and directed by Jeremy Dyson and Andy Nyman. (UK, 2018)

“Schoenaerts and Exarchopoulos ooze with onscreen chemistry…Roskam finds the humanity in his characters—seedy and sophisticated alike…There’s nothing small about this story: it’s all big stakes, big love, and big consequences.” —Kerri Craddock, TORONTO INT’L FILM FESTIVAL

RACER AND THE JAILBIRD is the latest breathlessly stylish and sexy crime epic from Oscar-nominated director Michaël R. Roskam (BULLHEAD, THE DROP), set against an exciting backdrop of high-speed auto racing and high-stakes heists. Keeping his identity as a member of a notorious Brussels gang renowned for their expertly-executed robberies a deep secret, Gigi (Matthias Schoenaerts, RED SPARROW, THE DANISH GIRL, FAR FROM THE MADDING CROWD) tends to his front, a luxury automobile import-export business, in his downtime. Sparks fly when he meets glamorous and affluent race car driver Bibi (Adèle Exarchopoulos, BLUE IS THE WARMEST COLOR), and despite their wildly different backgrounds, the pair fall instantly and tragically in love. While Gigi attempts to break away from his illicit history, two things stand in the couple’s way to a happy life together: an unrelenting mob hungry for another heist, and the cops that are closing in on them. A triumph in on-screen chemistry and atmosphere, highlighted by an electrifying truck hijacking, RACER AND THE JAILBIRD is a fiery collision between thrilling ensemble crime saga and intimate fateful tragedy. (Belgium/France/Netherlands, 2017)

“An arresting cinemaniac documentary…Pure candy for Kubrick buffs.” —Owen Gleiberman, VARIETY “Movie love at its purest…A celebration of its anonymous inhabitants’ role in bringing our collective dreams to life.”—Ann Hornaday, THE WASHINGTON POST

Candid, often funny and sometimes shocking, this utterly fascinating documentary gives unique insight into the creative genius of one of cinema’s greatest directors—and the man who helped him fulfill his vision. It’s a rare person who would give up fame and fortune to toil in obscurity for someone else’s creative vision. Yet that’s exactly what Leon Vitali did after his acclaimed performance as Lord Bullingdon in Stanley Kubrick’s BARRY LYNDON. The young actor surrendered his thriving career to become Kubrick’s loyal right-hand man and jack of all trades. For more than two decades, Leon played a crucial role behind-the-scenes helping the notoriously meticulous Kubrick make and maintain his legendary body of work. The complex, interdependent relationship between Leon and Stanley was founded on devotion, sacrifice and the grueling, joyful reality of the creative process. Leon’s loyal service did not end with Kubrick’s death in 1999; it is thanks to his fanatical dedication that Kubrick’s oeuvre is preserved in the quality that the master would have demanded. With Ryan O’Neal, Matthew Modine, R. Lee Ermey, Stellan Skarsgård, Daniel Lloyd, Marie Richardson, Pernilla August and others. Directed by Tony Zierra. (USA, 2018)

Grace Jones: Bloodlight and Bami

Boom for Real: The Late Teenage Years of Jean-Michel Basquiat

Claire’s Camera




“A sumptuous sensory treat.”—Stephen Dalton, THE HOLLYWOOD REPORTER “Pure energy, fierce, and empowering…If you want a rock-n-roll, sexy, feel good, empowering film, pull up to the theater in your most audacious outfit and get ready for the Grace Jones experience.”—Ronda Lee, THE HUFFINGTON POST

“Vivid and beautifully meditative…It shows how one of the most emblematic American artists of the late 20th century found his voice in the rubble.”—Chris Barsanti, AV CLUB “A treasure…Conveys [Basquiat’s] personal magnetism, eccentricity and non-stop creativity without romanticizing him.”—John DeFore, THE HOLLYWOOD REPORTER

This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones contrasts musical sequences with intimate personal footage, all the while brimming with Jones’s bold aesthetic. A larger-than-life entertainer, an androgynous glam-pop diva, an unpredictable media presence—Grace Jones is all these things and more. Sophie Fiennes’s documentary goes beyond the traditional music biography, offering a portrait as stylish and unconventional as its subject. Taking us home with her to Jamaica, into the studio with long-time collaborators Sly & Robbie, and behind-the-scenes at gigs around the world, the film reveals Jones as lover, daughter, mother and businesswoman. But the stage is the fixed point to which the film returns, with eye-popping performances of “Slave to the Rhythm,” “Pull Up to the Bumper,” “Love Is the Drug,” and more. Jones herself has said watching the film “will be like seeing me almost naked” and, indeed, Fiennes’s treatment is every bit as definition-defying as its subject, untamed by either age or life itself. From the director of OVER YOUR CITIES GRASS WILL GROW and THE PERVERT’S GUIDE TO CINEMA. (Ireland/UK, 2017)

BOOM FOR REAL gives an intimate view of Jean-Michel Basquiat’s life pre-fame in the period 1979-1981, and how New York City, the times, the people and the movements surrounding him formed the artist he became. Using never-before-seen works, writings and photographs, director Sara Driver (SLEEPWALK, WHEN PIGS FLY) worked closely and collaboratively with her friends and other artists who emerged from that scene: Nan Goldin, Jim Jarmusch, James Nares, Fred Brathwaite (aka Fab 5 Freddy), Lee Quiñones, Luc Sante and many others. Providing their thoughts, period film footage, music, images and anecdotes of their young friend, they helped visually tell the story of Basquiat’s downtown NYC—pre AIDS, President Reagan, the real estate and art boom—when the urge to create was not driven by money and ambition. The definition of fame, success and power were very different than today; to be a penniless but published poet was the height of success, until everything changed in the early 1980s. This is New York City’s story before that change. (USA, 2018)

“A delightful, teasing wisp of a tale.”—Justin Chang, LOS ANGELES TIMES “Charming and funny...One of Hong’s most formally intuitive and sharply written films.” —Sam C. Mac, SLANT “Huppert’s comic vein is not tapped often enough, and here she’s relaxed and ironic as the faux-naive tourist.”—Deborah Young, THE HOLLYWOOD REPORTER

A refreshingly sunny performance from Isabelle Huppert (THE PIANO TEACHER, ELLE) is at the center of this comic charmer from writer/director Hong Sangsoo, one of the most established auteurs in contemporary Korean cinema. Huppert plays Claire, a school teacher with a Polaroid camera (that might be magical) enjoying her first visit to Cannes. She happens upon a young woman film sales assistant, Manhee (Kim Minhee, THE HANDMAIDEN), who has just been abruptly fired mid-festival for no apparent reason. Claire likes to take snapshots of everyone she meets, and this leads to serendipitous connections. Claire and Manhee wander together around the seaside resort town, unlikely detectives of sorts, working to better understand the circumstances of Manhee’s firing—and developing new outlooks on life in the process. Intricately plotted with wit and charm to spare, CLAIRE’S CAMERA explores the power of images to transform us. “The only way to change things,” says Claire, “is to look at them again very slowly.” (France/South Korea, 2018)


The Misandrists



APRIL 27 – JUNE 28, 2018

PHILADELPHIA RITZ FILMCALENDAR Jennifer Peedom’s MOUNTAIN HHHH! “A sublime rush of adrenaline and orchestral beauty.”—Janine Israel, THE GUARDIAN “A ravishing feat of vertiginous filmmaking...Should be seen only on the biggest of screens.”—Harry Windsor, THE HOLLYWOOD REPORTER

Narrated by Willem Dafoe, MOUNTAIN is a dazzling exploration of our obsession with mountains. Only three centuries ago, climbing a mountain would have been considered close to lunacy; peaks were places of peril, not beauty. Millions are now enchanted by the magic of mountains, and daring adventurers are attracted to challenge their heights. Where once their remoteness protected their purity, mountains have today become theatres for recreation. But their greatest value lies in their power to inspire wonder and awe: to remind us of the limits of our schemes and ambition. Full of breathtaking footage, both beautiful and thrilling, MOUNTAIN was photographed by the world’s leading high altitude cinematographers, including Renan Ozturk (MERU). A unique cinematic and musical collaboration between director Jennifer Peedom (SHERPA) and the Australian Chamber Orchestra, MOUNTAIN is an unforgettable experience, scored with classical works and new music by Richard Tognetti. Filmed on location in Antarctica, Argentina, Australia, Austria, Bolivia, Canada, Chile, France, Greenland, Iceland, India, Italy, Japan, Nepal, New Zealand, Pakistan, Papua New Guinea, Scotland, South Africa, Switzerland, Tibet and the United States. (Australia, 2017)

Grade: A. “A gift from the queer cinema goddesses.”—INDIEWIRE “The Misandrists is a cinematic Molotov cocktail mixing screwball comedy, hard-core sex, and radical politics to explosive effect. It’s also a total hoot.”—Charlie Fox, ARTFORUM “A camp and gloriously crass essay on gender politics, The Misandrists is just a bigot’s worst nightmare—and all the better for it.”—Douglas Greenwood, i-D MAGAZINE

When an injured male leftist on the run discovers the remote stronghold of the Female Liberation Army—a radical feminist terrorist group whose mission is to usher in a female world order—one of the members takes pity on him and hides him in the basement, though it is strictly forbidden. He’s just one of many secrets threatening to disrupt the FLA’s mission from within. The FLA is ruled by the strict Big Mother (Susanne Sachsse), who doesn’t appreciate that her girls have brought a male into their domain and decides he must be changed in a most radical way. Meanwhile the women are planning to make a new style of lesbian porn to be used as propaganda. Balancing sharp social commentary and salacious popcorn entertainment, iconic filmmaker Bruce LaBruce (HUSTLER WHITE, GERONTOPHILIA, OTTO; OR, UP WITH DEAD PEOPLE) has created an experience that’s a blast to watch and just as much fun to dissect afterwards. In English. (Germany, 2017) No one under 18 admitted!



• All shows prior to 6pm Monday – Thursday • First show Friday – Sunday and Holidays

FRIDAYS AT MIDNIGHT AT THE RITZ AT THE BOURSE Classic and cult movies every Friday at midnight! Check local listings or visit for titles!

RITZ AT THE BOURSE 400 Ranstead St. (215) 440–1181 RITZ EAST 125 S. Second St. (215) 925–4535 RITZ FIVE 214 Walnut St. (215) 440–1184

“You’ll come away knowing you’ve seen a master at work.”—Sara Stewart, NEW YORK POST “Andrea Riseborough’s remarkable performance is the main attraction in this twisted and wholly satisfying psychological thriller, while filmmaker Christina Choe’s writing is as taut and incisive as it comes.”—Kate Erbland, INDIEWIRE

© 2018 Landmark Theatres

Andrea Riseborough (THE DEATH OF STALIN, BATTLE OF THE SEXES) gives a subtly haunting performance as Nancy, a lonely 35-year-old woman who makes things up to brighten her otherwise boring life. Taking care of an ailing and demanding mother (Ann Dowd), trapped in a messy house, Nancy escapes frequently to the internet where she creates elaborate identities and hoaxes under pseudonyms. When she hears about a couple whose five-year-old daughter was stolen 30 years ago, she wonders if she could be that missing daughter. The projected portrait of the missing girl looks remarkably like Nancy, and she decides to contact the parents, who invite her to visit. The traumatized mother (J. SmithCameron) wants to believe it might be possible, but the father (Steve Buscemi) is more skeptical. Fact and fiction begin to blur in Nancy’s mind, and she becomes increasingly convinced these strangers are her real parents. As their bond deepens, reasonable doubts give way to willful belief—and the power of emotion threatens to overcome all rationality. With John Leguizamo. Written and directed by Christina Choe, winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival. (USA, 2018) /RitzMovieTheatres @LTPhiladelphia @RitzBourse Email sign up: LANDMARKTHEATRES.COM/PHILADELPHIA