Soul Power

George Plimpton shows up drunk, occasionally we see Ali riffing and chanting, and it’s nice to be reminded that James Brown was as insane off-stage as he was on. But the film feels more like the deleted scenes collection on an upcoming When We Were Kings DVD than an actual movie in its own right. Soul Power is a footnote to a masterpiece.” – Philadelphia Weekly, 07/29/2009

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500 Days Of Summer

“Half a brutally truthful warning about the perils of male-gaze self-deception, the other half a collection of cutesy-poo sitcom contrivances, director Marc Webb’s debut is a movie at war with itself. There are scenes in this film that made me want to vomit with pangs of horrific self-realization, followed by scenes that just made me want to vomit.” – Philadelphia Weekly, 07/22/2009

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The Answer Man

“Jeff Daniels stars as splenetically angry J.D. Salinger-esque recluse Arlen Faber, and the actor’s placidly suburban screen persona couldn’t possibly be more wrong for the role. For all intents and purposes this is an uncredited remake of As Good As It Gets, which was kind of a crap flick to begin with.” – Philadelphia Weekly, 07/22/2009

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Harry Potter

“This sixth but by no means final Harry Potter movie serves mainly as connective tissue. Not a self-contained story in its own right, the film doesn’t go anywhere or really do anything at all—and aside from one rather large, widely known spoiler that arrives in the final moments, nothing happens in Harry Potter and the Half-Blood Prince.” – Philadelphia Weekly, 07/15/2009

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“The whole thing just feels cheap and inanely pleased with itself, especially once we finally arrive at the starfucking circle-jerk finale. I don’t know about you, but I don’t have much patience for Cohen and Charles’ potshots at shallow, celebrity culture if Bono, Sting, Elton John and Harrison Ford are all in on the joke too.” – Philadelphia Weekly, 07/15/2009

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“Here’s one that feels like homework. Provost hasn’t the bite nor the inclination do this material justice, and everything is rendered in those typical dull, over art-directed prestigious French film CinemaScope medium-shots, with a preponderance of ugly natural light. The movie reeks of quality. What it needed was an edge.” – Philadelphia Weekly, 07/15/2009

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“Francis Ford Coppola’s Tetro is a dazzling mess. It’s a gorgeously overwrought family melodrama that feels almost anachronistic in its bold idealistic flourishes, literary ambitions and flights of stylistic recklessness. This is a bizarre, goofy movie out on limbs; gloriously alive in all the ways Coppola’s films haven’t been for a very long time indeed.” – Philadelphia Weekly, 07/08/2009

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