Sean Durkin And Elizabeth Olsen

“We always wanted to expose for the outside, and let the interiors go dark. Always being able to see outside—that’s important, because that’s how she feels. This would be a totally different movie if everything was bright inside, and you couldn’t see outside. It gives you the feeling that something could always be out there.” – Philadelphia Weekly, 10/26/2011

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Martha Marcy May Marlene

“In the style of vintage Polanski, Durkin’s swaggeringly confident film utilizes long takes and tension within compositions to conjure an all-consuming sense of unease. There’s something just slightly off about the camera angles and the space between these characters. Nothing in this picture ever feels quite right. There’s no visual balance.” – Philadelphia Weekly, 10/26/2011

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Take Shelter

“There’s no suspense and little surprise, it’s just a grindingly slow, inexorable crawl toward ruin. At a criminally overlong 124 minutes, the movie endlessly repeats itself, with too-few contributions from an excellent supporting cast. There’s no relief from Shannon’s increasingly monomaniacal episodes. By the end I was rooting for the apocalypse, already.” – Philadelphia Weekly, 10/19/2011

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“Aren’t foodies dull? The script, by Billy Elliot scribe Lee Hall, contains an ugly whiff of class snobbery, and the entire endeavor feels like it was made to settle some old scores. By the time Toast is finally over you’ll wish Slater had just taken this all up with his therapist instead.” – Philadelphia Weekly, 10/19/2011

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“But the preacher should be keeping a closer eye on his teenage daughter Ariel (Dancing With The Stars’ Julianne Hough), who is something of a wild child, and in a bit of incongruous casting doesn’t look a day under 30 years old. When she finally tells Daddy she’s not a virgin anymore, I half-expected her to add that she’s also divorced.” – Philadelphia Weekly, 10/12/2011

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Ryan Gosling

“So why is this finely crafted, well-acted movie almost impossible to get excited about? Clooney’s directing style matches his acting, lean and no-nonsense. It’s solid all around, and a little stuffy. Much like his Good Night and Good Luck, this a sleek, striking adult entertainment that, ultimately, feels smaller than it probably should.” – The Improper Bostonian, 10/05/2011

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Margaret is either an hour too short or an hour too long, with lurching, mid-scene transitions and inconsistent color-timing issues that are shocking for a major release. Word around Hollywood for the past six years was that Lonergan didn’t know how to finish Margaret. This movie may be a lot of things, but finished isn’t one of them.” – Philadelphia Weekly, 10/05/2011

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