The Double Hour

“Like the pulp cousin to Certified Copy, The Double Hour also exists in two places at once, making sure to stay grounded in emotional truth. The bifurcated back-half fills in both of our main characters the way a straightforward telling of this story never quite could. It feels like Edith Wharton wrote a film noir.” – Philadelphia Weekly, 04/27/2011

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I Am

“I suppose the sheer, weird earnestness of the project is begrudgingly admirable, but I Am’s only real revelation is that a terrible filmmaker is a terrible filmmaker, regardless of ambition or subject matter. Personally, I was hoping for a twist ending—in which Shadyac bumps his head again, goes back to normal and makes Ace Ventura 3.” – Philadelphia Weekly, 04/27/2011

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“Super is just ugly and unpleasant. The brazenly hypocritical ending even employs the hack Hollywood trope of an actor mournfully shedding a single tear. If only I hadn’t foolishly gone and seen Sucker Punch, this would be the worst movie of the year so far.” – Philadelphia Weekly, 04/13/2011

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Scream 4

“Scream rejiggered horror movie conventions for an entire generation, so it’s impossible not to read this belated fourth entry as Craven (now 70) and Williamson (who is 46) hollering at all these goddamn kids to get off their lawn. Their crotchety anger is splenetic, and some kind of wonderful.” – Philadelphia Weekly, 04/20/2011

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“The problem here is that I wanted to murder the protagonist. Boasting a weasely, sex-offender moustache and an omnipresent cardigan draped over his shoulders, Michael Angarano plays one of the year’s most despicable heroes in first-time writer-director Max Winkler’s Ceremony.” – Philadelphia Weekly, 04/20/2011

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Certified Copy

“The pauses and the business happening just outside the frame suggest a larger world, where everything is unsteady and open to hours of interpretation. Every time you think you have a handle on the damn thing, it just keeps wriggling away. Certified Copy reminded me why I love movies.” – The Improper Bostonian, 04/13/2011

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“The best sequences involve Deneuve’s troubled history with a local labor activist, played by Gerard Depardieu. Now disturbingly larger than a mid-sized SUV, he’s still got a gruff charisma, and it’s a treat to watch these two titans of French cinema playing off one another, dropping hints about their storied pasts.” – Philadelphia Weekly, 04/13/2011

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