PIRATES OF THE CARIBBEAN: ON STRANGER TIDES

Pirates 4

“Um, did anybody ask for this? Truth be told, Pirates Of The Caribbean: On Stranger Tides isn’t even a particularly terrible movie. It’s just not interesting enough to get angry about. Director Rob Marshall’s maiden voyage at the helm is skimpy and almost defiantly pedestrian. It lacks the ambition to inspire any strong feelings.” – Philadelphia Weekly, 05/25/2011

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BRIDESMAIDS

Bridesmaids

“Sorry gals, we understand that it’s supposed to be your special day and all, but weddings are absurdly expensive. Sometimes they’re also huge pain in the ass. Wiig proves she can carry a movie, and Feig has finally gotten around to directing one. Hopefully next time they’ll ditch the crass interludes and shoot one from the heart.” – The Improper Bostonian, 05/18/2011

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JODIE FOSTER

Jodie Foster

“It was different when I was growing up. There was a different philosophy about the separation between news and celebrity. News was not entertainment. If I was 17 now, I don’t think I would be an actor. I don’t think it’s a life, anymore. I think we’re seeing the aftermath of that now in a lot of empty young people. “ – Philadelphia Weekly, 05/18/2011

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HOBO WITH A SHOTGUN

Hobo With A Shotgun

“Tarantino infuses junk-movie tropes with a sly sensibility and post-modern intellect. Hobo With A Shotgun doesn’t bother with any of that clever stuff. It’s a proudly trashy exploitation picture that has no reason for being. I’m sorry, but I rented enough of this shit when I was in elementary school. I don’t get the nostalgia. Philadelphia Weekly, 05/18/2011

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13 ASSASSINS

13 Assassins

“Eschewing all the quick-cut, close-up slo-mo that has become too fashionable in action pictures of the past 20 years, Miike shoots the ever-escalating mayhem in retro wide and medium shots, granting a welcome spatial coherence to the extraordinary fight choreography. Also, five words: Flaming oxen used as weapons.” – Philadelphia Weekly, 05/11/2011

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THE BEAVER

The Beaver

“A low-budget labor of love for Jodie Foster, the film grapples sincerely with mental illness within a patently absurd context. It doesn’t quite work, but it provides something of a cinematic exorcism for the public’s increasingly conflicted relationship with Gibson. It also gives a platform for one of his most indelible performances.” – The Improper Bostonian, 05/04/2011

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