“I can’t even begin to parse all the creepy anti-sex, body-horror abortion debate issues bubbling around the ugly subtext, as I was too distracted by the gang of wolves having a psychic strategy discussion just outside the birth chamber, because it looked like an out-take from Up. And all that was before the toothy vampire cesarean.” – Philadelphia Weekly, 11/25/2011

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“Above all else, a great love story. Forget the steroidal sequels and watch how our lonely palooka latches on to pet shop wallflower Adrian. They’re both banished to the far corners of the frame, growing in stature as the picture progresses. I love how even after that final fight, he’s concerned because she lost her hat.” – Philadelphia Weekly, 11/23/2011

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Jack And Jill

“Isn’t this exactly the kind of movie Sandler was ragging on in Funny People? His venture into Big Momma’s House territory is just fucking appalling, even by the half-assed standards of Happy Madison productions. This is the worst Adam Sandler picture yet, which is saying something.” – Philadelphia Weekly, 11/16/2011

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J Edgar

“In many ways J. Edgar Hoover is a classic Clint character. He’s a principled fellow who lets his unwavering workaholic tendencies and private codes destroy his personal life, until moral gray areas blur into darkness. This is the same movie Eastwood has made 40-odd times over the past several decades. Except this one is terrible.” – The Improper Bostonian, 11/09/2011

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“Von Trier might be a huckster and may be a clown. Just this past year he got himself banned from the Cannes Film Festival after making stupid Nazi jokes and giving bad interviews—but who cares? The man is an artist. And Melancholia wounded my soul. This is the greatest movie ever made about depression, full stop.” – Philadelphia Weekly, 11/09/2011

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Hell And Back Again

“The combat sequences are almost distractingly beautiful. Dennis eschews the standard shaky-cam war photography cliche in favor of still, thoughtfully composed frames. You’ve never seen Afghanistan like this before, its barren ugly spaces punctuated by the occasional jarringly verdant tree. Indeed, the camerawork during battle is almost too unruffled.” – Philadelphia Weekly, 11/02/2011

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Tower Heist

“The Occupy movement now has a crappy Hollywood blockbuster to call its own. Brett Ratner continues to be the most tedious, anonymous filmmaker working today, with every cut and music cue arriving exactly where expected. What a dreadful shame that Eddie Murphy finally came back to play for such enervating hackwork.” – Philadelphia Weekly. 11/02/2011

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