The Social Network

“As far as pure, propulsive entertainment goes, The Social Network is a giddy, two-hour rush of hot-blooded vertiginous dialogue and cucumber-cool cinematic curlicues. A 162-page script (Hollywood’s usual formula dictates a-page-a-minute) blurted out in just under two hours, the movie is a barrage of intoxicating, rapid-fire chatter.” – Philadelphia Weekly, 09/29/2010

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Waiting For Superman

“Guggenheim presents an alarming array of statistics, often visualized by snarky cartoons. I won’t pretend to be knowledgeable enough on the subject to debate the blanket assertions, but he’s overlooking some larger issues regarding systemic poverty and social inequities, while the tricky matter of private funding is elided altogether.” – Philadelphia Weekly, 09/29/2010

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Jack Goes Boating

“Wait, is this the one where Philip Seymour Hoffman plays a loser? One of our finest actors and his own worst enemy, Hoffman has ghettoized himself lately in cloying sad-sack roles. Here, he pushes the boundaries of schmaltz, making his directing debut with a desperately cutesy adaptation of a play by longtime pal Bob Glaudini that reeks of condescension.” – Philadelphia Weekly, 09/29/2010

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Catfish feels fake, as if Schulman and his co-conspirators stumbled into a weird story and retroactively overcompensated by shooting bogus footage to make themselves look like suckers for the first hour. Could this all be some sort of performance piece? And if it is, why isn’t it more interesting?” – Philadelphia Weekly, 09/22/2010

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The Town movie image JON HAMM

“Following up his shockingly sturdy Gone Baby Gone, Ben Affleck takes a header with The Town, a formulaic cops-and-robbers vanity project with an emphasis on local color and dropped R’s. Mostly Ben just juts out his lower lip, overselling his comical Boston accent and letting that underbite do the acting on his behalf.” – Philadelphia Weekly, 09/15/2010

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The American

“Synced to a different time signature than other contemporary thrillers, The American is all long silent spells and existential dread. Cinematographer Martin Ruhe paints a lush canvas of verdant riverbanks and dim, foreboding streets at night. The anxious stillness gets under your skin.” – Philadelphia Weekly, 09/08/2010

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“She’s a potty-mouthed, hard-partying girl who isn’t afraid to admit that she enjoys sex. It’s impossible to imagine uptight Us Weekly drones like Aniston or Heigl indulging in the kind of giddy, stoned lasciviousness that Barrymore gets away with here. She carries the movie on lusty giggles and F-bombs.” – The Improper Bostonian, 09/08/2010

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