“Even if I was amused by how Serkis’ besotted sea captain consumes whiskey the way Popeye consumes spinach—it’s a fallacy that you can remember what you knew when you were blackout drunk just by getting wasted again. I’ve been disproving this theory on an almost weekly basis since my senior prom.” – The Improper Bostonian, 12/28/2011

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Michel Hazanavicus

“People think it’s intellectual to go see silent movies, but it is the exact opposite. Language is intellectual. Here it is about using images and music to create emotion. So it’s sensual. It’s sensorial. Movies in the 20s were made for people who were much less sophisticated than we are now. It’s not intellectual at all.” – Philadelphia Weekly, 12/28/2011

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The Artist

“Every year around this time I catch an early peek at a slight, little crowd-pleasing entertainment that somehow, over the course of a vigorous pre-release publicity campaign, mutates into such a wildly over-praised awards hog that I’ll often find myself resenting the damn thing before I even get around to writing my review.” – Philadelphia Weekly, 12/21/2011

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Tinker Tailor Soldier Spy

“The characters are all so remote and repressed, speaking jargon, using code-names and lying most of the time, there’s just no point of entry for the audience. I admired the rotted, dingy look of the film and the glum tenor of the performances from afar, but never felt like I was invited to take part.” – Philadelphia Weekly, 12/21/2011

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Mission Impossible Ghost Protocol

“What we’re looking at here is basically a delivery system for action set-pieces, and boy howdy Brad Bird’s Mission: Impossible – Ghost Protocol has several doozies, including the greatest stunt sequence I’ve seen in years. My acrophobia is so bad, I watched the scene through splayed fingers, temporarily unable to breathe.” – Philadelphia Weekly, 12/21/2011

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