SETH ROGEN AND WILL REISER

Seth Rogen And Will Reiser

“We’re comedy writers. So we dealt with it by making jokes. We never talked about it seriously. I never asked Will about his feelings—we just tried to get medicinal marijuana cards. There probably have been movies made about young people with cancer, and they’re probably just fucking miserable. We didn’t feel like our experience had been represented in films.” – Philadelphia Weekly, 09/28/2011

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50/50

50 50

“’Did you ever see Terms Of Endearment?’ Gordon-Levitt asks mom Angelica Huston, in a terrible conversational attempt to prepare her for his diagnosis. That shaggy, laughing-through-the-tears M.O. of James L. Brooks’ cable classic is obviously what 50/50 is striving for. Sometimes it even gets there.” – Philadelphia Weekly, 09/28/2011

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TUCKER AND DALE VS. EVIL

Tucker And Dale

“Eighty minutes is a long time to spend with one joke. Rinse. Wash. Repeat. Craig keeps circling back to the same gruesome gags with rapidly diminishing returns. Playing like a promising short film dragged kicking and screaming out to feature length, Tucker & Dale Vs. Evil beats a dead horse all the way to the glue factory.” – Philadelphia Weekly, 09/28/2011

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MONEYBALL

Moneyball

“Pitt finally surrenders and turns in the kind of megawatt, charismatic and old-fashioned movie star performance we’ve all secretly been waiting for. He’s playing the role exactly the way Robert Redford would’ve in the 1970’s. A movie about baseball that contains surprisingly little actual baseball, it’s more like The Bad News Bears with an economics degree.” – The Improper Bostonian, 09/21/2011

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KILLER ELITE

Killer Elite

“Meanwhile, we’ve got Robert De Niro, who in the year when this movie was set gave a life-changing performance as Jake LaMotta in Raging Bull. Now he’s half-assedly muttering one-liners and, in the movie’s most emotionally honest moment—helping himself to a giant bag of money.” – Philadelphia Weekly, 09/21/2011

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DRIVE

Drive 2

“It’s romantic in both the capital and lowercase sense of the word, positioning performers as icons in front of expansive L.A. landscapes. Gosling emerges as a Tiger Beat Steve McQueen. Okay, so it’s a bit self-conscious — but also so dreamy, ultraviolent and swaggeringly made. Drive is pulp delirium. Anybody got a toothpick?” – Philadelphia Weekly, 09/14/2011

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HIGHER GROUND

Higher Ground

“How do you dramatize doubt? That’s Higher Ground’s main virtue and also something of a flaw, and I don’t know how it would work at all if Farmiga were not one of the most effortlessly expressive actresses working in films right now. So much of the movie is us watching her watch other people.” – Philadelphia Weekly, 09/14/2011

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