At Any Price A terrific melodrama about family, masculinity, and the crisis of the American dream, At Any Price features a peculiar performance by Dennis Quaid as Henry Whipple, a corrupt Iowan farmer trying to maintain his homestead. Sure, he acts like a shark to make a land grab at a funeral, and he is having an affair with Meredith (Heather Graham) on the side, but his bad behavior—which runs contrary to what he spouts about “respect, trust, and loyalty”—masks his personal crisis and professional crimes. Henry is estranged from his eldest/favorite son who is off in Argentina climbing mountains, and has a difficult relationship with Dean (Zac Efron) who would rather race cars than take over the family business. Henry’s other, more serious issue, however, is an investigation into seed washing that may cost him his livelihood. At Any Price certainly puts Henry through the wringer, but what happens—and the ripple effects involved—is intriguing. Director and co-writer Ramin Bahrani explores a dark underbelly of Americana here—how sons don’t always live up to their fathers’ expectations (not just Dean; Henry may not be living up to his own father’s expectations), and how the past influences the present. At Any Price shows how people do what they need to in order to survive on their terms—at any price. Dean is no saint, breaking into a store to steal a car part, and treating others badly. Bahrani takes on big themes about identity and corruption here, prompting viewers to consider the good and bad qualities of each character. In perhaps the film’s most telling scene, he shows all the major characters during a playing of the National Anthem. How they appear at this moment speaks volumes about each individual; the truth about them is revealed by the film’s end. Quaid’s performance is curious, and honestly, slightly off-putting, but it is fascinating. Efron distinguishes himself in another mature role. Best of all is Maika Monroe as Dean’s girlfriend Cadance, a wise-beyond her years young girl, who effortlessly steals this provocative film.

Also Opening

The Iceman The first two scenes of the cool, efficient crime drama, The Iceman, establish the character of Richard Kuklinski (Michael Shannon). In one, he is trying to charm his date, Deborah (Winona Ryder), whom he later marries. In the next, set in a pool hall, he takes a quiet, deadly revenge on a rival who insults him. Based on a true story, Ariel Vromen’s film alternates between showing Richard’s love for his family, and his love of killing. When Roy Demeo (Ray Liotta) closes down Richard’s day job (dubbing porn films) he hires the ice-cold guy as a contract hitman. However, when a job he does leaves a loose end, Richard is suddenly unemployed. After a while, he takes up work with Mr. Freezy (Chris Evans), which angers Roy, setting off a chain of double crosses. The Iceman slowly builds to Richard getting caught (the film unfolds as a flashback), but what makes the story compelling is how Richard keeps his personal and his professional lives apart. When his two worlds intersect—on his daughter’s birthday, or on Christmas—The Iceman ratchets up its tension. Shannon is fantastic as the tightly wound Richard, a man who does not flinch whether he is holding a gun on someone, or when someone is holding a gun on him. Just watch him angrily chase a motorist who insults his family. The actor speaks volumes with just his eyes, which burn through the screen, making scenes of him wearing sunglasses are especially menacing. Vroman also coaxes strong support out of Ryder—Deborah’s relationship with Richard is entirely convincing, as is her ignorance of his true work—as well as Evans and Liotta. If the film feels a bit detached even as paranoia sets in, it builds to a tense climax. True crime/hitman/mob dramas are familiar territory, and although The Iceman does not break any new ground, it is a fine addition to the genre.

Venus and Serena This entertaining documentary traces the lives and careers of the Williams sisters during 2011, when they both suffered from injuries and had less than championship seasons. Ironically, this prompts the film to investigate what makes these tennis superstars tick. Venus, the older sister, is seen in wonderful archival clips talking about wanting to be a winner. She insists on playing for as long as possible but is forced to make an important decision to bow out of an open because of health issues. Meanwhile, Serena, who is fifteen months younger, starts out 2011 with a pulmonary embolism and other injuries. She eventually returns to the courts, but displays an attitude towards a linesman that gets her into some professional trouble. It is clear that the pressure the tennis world puts on these two sisters who grew up in Compton, is nothing compared to the pressure they put on themselves. Venus and Serena documents how the women find strength in each other, God, and their family, but also how they grapple with issues regarding race, dating, and OCD behavior. There are some enlightening moments—as when Serena admits that she was determined not to become a statistic—and an amusing scene in which the athletes’ mother is asked by a reporter about her daughter’s grunting on the court. But despite interviews with Venus and Serena; their parents and former coaches; tennis legends John McEnroe and Billie Jean King; as well as comedian Chris Rock, President Bill Clinton, and Vogue’s Anna Wintour, there is something very slight about this documentary. It is as if the filmmakers—and by extension, the audience—will never really learn much about these amazing women who want to keep an air of mystery (and control) about themselves. Game and Set. They are Unmatched.

Kon-Tiki This Oscar-nominated film tells the true story of Thor Heyerdahl who sailed across the Pacific in a raft with a crew of five men.

Something in the Air Director Oliver Assayas’ wistful, personal film about growing up/coming of age in the radical, revolutionary Sixties

Star Trek: Into Darkness The Enterprise takes another voyage—into darkness. Chris Pine and Zachary Quinto co-star in this sequel to the franchise reboot.

Amy Schumer recently appeared on Letterman to plug her new (and seriously underwhelming) show on Comedy Central, “Inside Amy Schumer.” While talking about her various experiences performing around the country, she happens to elucidate the strange though somewhat non-existent anomaly that is Philly’s metrosexual meathead population.

Hey, it may not be true, but it’s still kind of funny.

Potentially bad news for those of you who like to smoke, drink and generally have a good time in the city of Philadelphia. In an effort to raise an estimated $90 million for city schools, Mayor Nutter recently proposed some hefty taxes that would bring us just a bit closer to the tax wonderland that is New York.

The specifics of his plan include a rise from 10 to 15% on bar tabs and an extra $2 tax on packs of cigarrettes (bringing them to about $9, according to my own estimate). He also intends to actually collect taxes owed to the Philly School District, which could amount to an added $28 million.

School officials have been seeking to plug a gaping, $60 million hole in their budget, so Mayor Nutter’s new “fun tax” (as were calling it) would surpass that amount by around $30 million.

While the proposal is enjoying support from Harrisburg, Councilman Kenney points out that tobacco lobbyists will likely seek to squash the cig tax, ”I’m not a fan of the cigarette industry, but I know, like all industries that have large amounts of lobbyists and a keen interest in not being taxed anymore, I suspect, they are going to fight it.” According to NewsWorks, Council President Darrell Clarke is also concerned that the extra windfall may stymie future funding from Harrisburg.

Adding to their concerns is the fact that this entire plan needs to be enacted by June, when the city’s budget proposal is due, which means this just may be your last tax free summer.

Source: NewsWorks

By now you’ve probably heard about our governor’s most recent slip of the tongue, when he stated that “There are many employers that say we’re looking for people but can’t find anyone who has passed a drug test. That’s a concern for me…”

His comments, made during an interview with PAMatters.com, have spawned a rather robust backlash from critics, including some presumptive gubernatorial candidates for 2014. One of those likely candidates, state Treasurer Rob McCord, has already pounced for political leverage, saying, “This is the typical blame game from someone who doesn’t understand the economy and doesn’t understand how to create jobs.”

It’s difficult to interpret Governor Corbett’s comments as anything but a “blame game,” considering they were made after he was asked about his job creation record–or lack thereof. According to Arizona State University report, PA has slipped from 7th in job creation to an abysmal 49th in the nation, though PA Republicans have refuted those findings as inaccurate, since other states have been experiencing a more volatile economic climate.

Nevertheless, Governor Corbett has since attempted to clarify his statement, indicating that he was strictly referring to gas drilling companies, which apparently can’t find enough suitable employees to further screw up our environment hire. His office has released a play-by-play of the interview, and Corbett’s spokeswoman, Christine Cronkright, has commented, “Obviously, the clear reference here is to the hands-on drilling work for which employers, out of safety concern, require proof that an employee is drug-free.”

Unfortunately, this is not the first major gaffe Corbett has suffered. While some are more transparent then others, it’s become apparent that Gov. Corbett lives in fantasy fact-land, where reality is obscured by obtuse and off-the-cuff sound bytes made at the expense of ordinary, working Pennsylvanians.

For instance, Governor Corbett previously alleged there was massive voter fraud in Pennsylvania, demanding a new Voter ID law be hastily implemented before the last presidential election. While that law was eventually passed over, his claim of rampant voter fraud was proven wrong, time and time again.

Then there was his most infamous gaffe, which occurred while he was slumping for the dubiously titled “Woman’s Right to Know” Act, a measure would require women seeking an abortion to forcibly view an ultrasound of their child. Governor Corbett deftly responded to critics’ claims that the law was too Orwellian by saying, ”You can’t make anybody watch, okay? Because you just have to close your eyes. As long as it’s on the exterior and not the interior.”

According to The Philadelphia Business Journal, The Pennsylvania Chamber of Business and Industry, the Pennsylvania Business Council, the Pennsylvania Manufacturers’ Association and the National Federation of Independent Business have all backed Corbett’s drug testing comment at a recent conference. Gene Barr, chamber president, commented that “What the governor said is absolutely valid,” and Pennsylvania state director of the National Federal of Independent Business also echoed the sentiment, saying “They don’t have the skills, and drug testing is a problem.”

Well, there you have. Since we’re all on the pipe, we’re to blame for this shit-conomy. Not Corbett.

Source: HUFF PO

Our friends at Center City Comedy have decided to do some good for a change and will be hosting a benefit show at Helium Comedy on May 14th. As you might have guessed from the title, 4 Headliners for a Cause will feature… four headliners, including Talent Harris (Def Jam, host of Apollo), Mike Vecchione (Tonight Show), Greer Barnes (Chappelle Show, Comedy Central) and Jermaine Fowler (MTV 2′s Guy Code).

Chris Cotton, of the Eric Andre Live Show, will be hosting the night, and all proceeds will be donated to the National MS Society and Team Raven Lounge, which will be riding in the MS150 City to Shore Bike Ride to raise even more cash money for MS research.

Purchase tickets here, and take advantage of this opportunity to see five outstanding comedians for the price of one while supporting a worthy cause!

For more details on the show or how to donate, please visit the following links.

Donate to this Fundraiser | Donate to MS | Donate to Team Raven Lounge

Kiss of the Damned An American-made Eurotrash vampire flick. Djuna (Joséphine de La Baume) meets screenwriter Paolo (Milo Ventimiglia) in a video store one night. She tells him she can’t be exposed to the sun, but he is smitten, and then later, bitten. When she asks him to chain her to a bed, she “turns him” into a vampire during sex. However, this ageless couple’s domestic bliss is threatened by the arrival of Djuna’s evil sister Mimi (Roxande Mesquida). Xan Cassavetes’ seductive vampire tale walks a fine line between sophistication and camp. Everyone looks so elegant, but it’s hard not to snicker when a character describes a blood cocktail as “the beluga of politically correct plasma.” Kiss of the Damned is wildly uneven. From bloody/gory horror moments, to an amusing turn by Michael Rapaport as Paolo’s agent, and an erotic threesome scene, Cassavetes can’t find a tone. Even the soundtrack shifts between retro Sixties lounge and upbeat house. All the heavily accented talk about morality and humanity is likely meant to give Kiss of the Damned depth, but just sit back and soak in the good-looking cast behaving badly.

Also Opening

The Great Gatsby Call it “The Great Gasp-by,” as Baz Luhrmann’s eye-popping, head-scratching, 3-D adaptation of the F. Scott Fitzgerald classic—complete with period design and contemporary music—will induce gasps. Some viewers will be impressed by the excess and the divine decadence, however, others will drop their jaws at the film’s total wrongheadedness. Artificial from the get go, this film has Nick Carraway (a very badly miscast Tobey Maguire), a naïve young man, recounting his friendship (in flashback) with the title character (Leo DiCaprio). Gatsby is rich man in love with Nick’s married cousin Daisy (Carey Mulligan)—the one thing he can’t quite possess. But the tragedy of their romance is, well, tragically presented—Luhrmann zaps the film of all emotion, putting 2-D characters in a 3-D film. At least the dazzling costumes, kaleidoscopic sets, and bottles of champagne that spray in viewers’ faces provide some visual interest. But once the Red Bull-like jolt of the parties wear off and the plot kicks in, the film becomes like a bad hangover, and hearing Gatsby utter the phrase “Old Sport” every few minutes gets irksome. The grand sweep of American tragedy is missing here, and a significant death seems glossed over, not shocking, as it should be. The Great Gatsby does contains some of Fitzgerald’s elegant prose, but typed out on the screen, the words floating in 3-D, does not make the text come alive—especially when Maguire is reciting it badly and without feeling.

Hava Nagila This celebratory documentary goes on a “Hava Quest” to unlock the history and the mystery of the popular Jewish song/earworm. Tracing the social and cultural roots, filmmaker Roberta Grossman travels to the song’s birthplace in Sadagora, Ukraine, before schlepping to the Middle East, and eventually to Philadelphia—where Temple History professor Lila Cora Berman provides some insights at the National Museum of American Jewish History. Hava Nagila skillfully chronicles the song’s origins—and who wrote it—as well as how it was embraced by assimilated post-war suburban Jews, looking to forget the horrors of the past. What is most interesting is the fact that “Hava Nagila” has crossed over and been sung by a variety of ethnic groups, with folks like Johnny Yune, Celia Cruz, and Connie Francis making the song their own. Hava Nagila also features amusing archival clips, like Harry Belafante and Danny Kaye performing a “Hava” duet, or comedienne Jo Anne Worley mocking the song, along with candid interviews with Belafante, Leonard Nimoy, Glen Campbell, and Regina Spektor. While the film is informative to the extent it will provide a nice discussion at the next Jewish wedding or Bar/Bat Mitzvah viewers attend, it still proves difficult to get the song—love it or hate it—out of one’s head after seeing this doc.

Midnight’s Children A sumptuous adaptation of Salman Rushdie’s prize-winning novel—featuring both a screenplay and narration by Rushdie himself—Midnight’s Children is only periodically spellbinding. This 2½-hour journey through decades of Indian history features a hero, Saleem (Satya Bhabha as an adult), who hears voices in his head, can smell feelings like love, and conjure up other children, who like himself, were born at midnight during the precise moment of India’s independence. The film charts “the weight of Saleem’s experience.” He was conceived a poor man, but because he was switched at birth by Mary (Seema Biswas), he is raised by a wealthy family and given opportunities he would not otherwise have in life. As his Candide-like story unfolds—he is abandoned and later orphaned by his (adoptive) parents, falls in love with his (unrelated) sister, and fights wars in Pakistan—Midnight’s Children shows how he is rejected by family, love and country. These are big themes, especially given the epic historical overlay, but the impact of events such as Saleem spending years in a coma, or in jail, barely seem to register. If that is the film’s point—that Saleem is an empty vessel to project Indian history upon—so be it, but director Deepa Mehta fails to wring any emotion from the story. Midnight’s Children is enchanting in its first half hour, chronicling Saleem’s grandfather meeting his wife, but as the film labors along, it fails to enthrall. The last hour, when Saleem lives among witches, magicians, and snake charmers, is too plot heavy; this story should have been a miniseries. Still, the film has its pleasures. The cinematography is exquisite, and the ideas of love being a rare thing, or war being an act of reinvention, resonate even if the overall tale fails to excite.

No One Lives A horror film about a man (Luke Evans) who is taken hostage by a group of thieves only to off them one by one until there are none.

Tyler Perry Presents Peeples A lower-class entertainer (Craig Robinson) meets his girlfriend’s (Kerry Washington) parents (David Allen Grier and S. Epatha Merkerson) to ask for their daughter’s hand in marriage.

The Reluctant Fundamentalist Mira Nair’s slick adaptation of Moshin Hamid’s bestseller opens with a kidnapping taking place under the opening credits. Soon, Bobby (Liev Schreiber), a journalist, interviews Changez (Riz Ahmed) in an effort to gain information on the professor being held captive. What unfolds, however, is Changez’s American assimilation story, which takes place ten years earlier, in 2001. Changez takes a financial job evaluating firms and recommending cuts to increase profits. He also finds an unexpected romance with Erica (Kate Hudson), an artist grieving after losing her previous lover. His career and relationship, however, are disrupted after the 9/11 attacks, and the Pakistani becomes the subject of racism and anti-Arab hostilities. He is detained while traveling on business, mistaken for a terrorist, and even told that a beard he grows–to feel more in touch with his homeland–is dangerous. Chagez also makes decisions about his work and romance that prompt him to re-evaluate his life. The Reluctant Fundamentalist tackles heavy themes of patriotism and vulnerability as seen through an immigrant’s devotion to an adopted empire. The film also makes parallels between how Changez’s work decides the fate of people he does not know, and how those who attacked American did a similar thing. But it is the smaller, intimate scenes of Changez arguing with his poet father (Om Puri) or considering a client who steers him to a new path that make this drama so engrossing. Although the relationship between Erica and Changez is the weakest part of the film, it is still critical to the story. Nair coaxes a complex, intelligent performance out of Ahmed–he is often the smartest man in the room, but rarely arrogant, and he shows his mettle as he grapples with what someone calls, “the slice of violence in life.” This is a dense and serious film, and it is  worthwhile.

Also Opening

In the House French enfant terrible François Ozon’s amusing film tells the story of a teacher (Fabrice Luchini) who is intrigued by a series of stories one of his pupils writes in his classroom.

Mumia: Long Distance Revolutionary A documentary on Mumia Abu-Jamal, the prisoner and activist who has spent the past 30 years in jail for killing a cop in Philadelphia.

Iron Man 3 Robert Downey, Jr. returns in this latest installment of the superhero franchise.