SURVIVAL OF THE DEAD

Survival Of The Dead

“Romero keeps dropping unsubtle hints that these once-terrifying monsters should no longer be feared, but pitied. His affection clearly now lies with the undead, and it’s our miserable, violent, irrational grudge-holding human race that turns out to be the real plague.” – Philadelphia Weekly, 05/26/2010

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SHREK FOREVER AFTER

Shrek Forever After

“Such a desultory, half-assed slog that I longed for the manic, dated, too-eager-to-please pop-culture references that stood in for jokes in previous awful Shrek pictures. Making fun of Ricky Martin years after he faded into obscurity was embarrassing, but at least it felt like they were trying.” – Philadelphia Weekly, 05/26/2010

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MOTHER AND CHILD

Mother And Child

“Watts is mean and prickly. Bening is no prize, either. In fact, long stretches of Mother And Child make you wonder if the message of the movie is that the process of adoption turns women into vicious hags. But that can’t be right, can it? A better movie would have been content leave us watching these bitter creatures sort out their resentments.” – Philadelphia Weekly, 05/19/2010

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PLEASE GIVE

Please Give

“Holofcener’s strongest picture since her offhandedly brilliant debut Walking and Talking, and it again stars Catherine Keener in a role that shouldn’t be remotely sympathetic—but, one of the great actresses of our time, Keener conveys depths of vulnerability even as she’s saying exactly the wrong thing at precisely the wrong-est moment.” – Philadelphia Weekly, 05/12/2010

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IRON MAN 2

Iron Man

“You won’t find a more overqualified cast all year, as Downey, Rockwell, Gwyneth Paltrow, Garry Shandling and Don Cheadle step on each other’s lines with improvisation as Rourke glowers menacingly from the sidelines. Then come the CGI effects, and everything becomes a yawn.” – Philadelphia Weekly, 05/12/2010

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THE GOOD, THE BAD, THE WEIRD

The Good The Bad The Weird

“The film is all about the joys of kitschy kineticism. Kim Ji-woon seems to be deliberately challenging himself as to how many moving parts he can juggle within a given action sequence. Sadly, nothing in The Good, The Bad, The Weird lingers with the mythic resonance of the films it relentlessly references. But surface-level pleasures are still pleasures, no?” – Philadelphia Weekly, 05/05/2010

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BABIES

Babies

“A lot of shots of babies acting like … babies. They coo, they warble, sometimes they cry. End of plot synopsis. Spending time with a baby you know is a moment-to-moment journey of miraculous discovery. But when it’s a stranger, who gives a shit? This isn’t a movie. It’s a screensaver.” – Philadelphia Weekly, 05/05/2010

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