“A MacGuffin involving genetically engineered super-corn is curiously fitting, as Unknown is nothing if not turbo-charged corniness. But it is also a movie that knows what it’s doing and does it very well. Like Taken, it’s the kind of flick that will play forever on cable.” – Philadelphia Weekly, 02/23/2011

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Hall Pass

“Sadly, the Farrellys don’t seem to have much interest in their own premise. Instead, Hall Pass is awash in weirdly grafted-on pee-pee and doo-doo jokes, with the gross-outs feeling phoned in from another universe and often hurled at the screen having nothing to do with the picture’s rich central idea.” – Philadelphia Weekly, 02/23/2011

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Just Go With It

“Aniston’s natural inability to commit to a film—her plasticized TV-sized reaction shots and avoidance of character details by always being our favorite jilted celebrity, ‘Jennifer’—serve her well here. She appears as annoyed and disgusted with the plot machinations and supporting characters as we are.” – Philadelphia Weekly, 02/16/2011

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Cedar Rapids

“Cedar Rapids , like Arteta’s other films, is a Sundance Special with a frisson of something slightly more sinister. Watch Reilly collapse into the motel pool, wearing a trashcan on his head while demanding to be called ‘R2-D2’ and cackling into the abyss, then tell me there’s not something stirring under the surface.” – Philadelphia Weekly, 02/16/2011

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“The dingy rock backdrops and sparse lighting aren’t a clever match for 3-D’s natural inevitable color and brightness diminishment. But because this is a James Cameron production, we’ve also got operatic emotional reconciliations conveyed through the most inane dialogue imaginable. I couldn’t wait for these people to drown.” – Philadelphia Weekly, 02/09/2011

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The Rite

“Meanwhile, if you’ve seen one young girl writhing around in restraints, hissing obscenities in foreign tongues, you’ve seen them all, yet the PG-13 rating insures that her invective is limited to the likes of: ‘Your mother darns socks in heck,’ and no crucifixes were harmed in the making of this picture.” – Philadelphia Weekly, 02/02/2011

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“The Bataan Death March of impeccably art-directed sorrow, Alejandro González Iñárritu’s fourth feature, Biutiful, is as miserable a slog as I’ve ever endured. The movie oozes anguish from every frame, wallowing in abject hopelessness, rubbing your nose in filth, sadness and a despair so overwhelmingly suffocating, eventually it becomes comical.” – Philadelphia Weekly, 02/02/2011

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