“Half-genius, half-huckster, Danish bad boy Lars von Trier continues to confound. His most arrogant, insane confrontation yet, Antichrist is a film like no other. It’s provocative, sloppy and intellectually 
retarded—the entire picture feels like it’s sprung forth from the creator’s id without a second thought as to the consequences.” – Philadelphia Weekly, 10/28/2009

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“Yeah, it’s that kind of movie where the audience is congratulated and flattered for recognizing futuristic historical signposts. The whole movie reeks of taste—a lot of lavish moving parts buffed and finessed until there isn’t any life left in the thing. Eventually I just wanted Ms. Earhart to go crash her damn plane so I could go home already.” – Philadelphia Weekly, 10/28/2009

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Where The Wild Things Are

“What stays with you is the sadness. There’s an almost unbearable undertow of melancholy in director Spike Jonze’s awkward, arty adaptation of Maurice Sendak’s 1963 picture book that is entirely unexpected. Where the Wild Things Are taps such a rich vein of divorced-kid, 
absent-daddy issues, Steven Spielberg will be jealous.” – Philadelphia Weekly, 10/21/2009

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An Education

“Something about the movie still feels false. There’s nobody better than Hornby at dissecting the way people define themselves through their tastes, but in other respects his screenplay is too fussy and neat for its own good. This is a middlebrow view of what must have been a messy affair.” – Philadelphia Weekly, 10/21/2009

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A Serious Man

“Joel and Ethan Coen’s A Serious Man grapples with massive cosmic mysteries on a deceptively mundane stage. It’s a film about the silence of God, seething with profound existential panic, viewed through a hilariously cracked prism of everyday minutiae.
 There’s a lot to chew on here, hefty themes visualized in that droll, classically out-sized Coen fashion.” – Philadelphia Weekly, 10/14/2009

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The Boys Are Back

“Owen’s unvarnished helplessness battles against Hicks’ glossy Australian Tourist Board visual flourishes and a screenwriter’s notion of conflict resolution that could charitably be called absurd. There are plenty of times you can see an actor who’s too good for a particular movie. But rarely do you see one try and fix it on his own.” – Philadelphia Weekly, 10/07/2009

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The Invention Of Lying

“The stage is set for a blistering, heretical satire, but Gervais turns tail and flees from his most provocative ideas. Instead, the focus shifts to a thunderously banal love triangle, in which our hero tries to woo boring Jennifer Garner away from Rob Lowe’s slick cad. Really?” – Philadelphia Weekly, 10/07/2009

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