WIM WENDERS

“I think as soon as independent filmmakers really start using it, we will start seeing a multitude of revolutions that 3-D brings about. I feel it would be going backward for me to make a flat film again. Cinema has been waiting for this for so long; it’s still evolving and developing. I think it is an adventure.” – Philadelphia Weekly, 01/25/12

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MAN ON A LEDGE

“As befitting the blunt dullness of the title, director Asger Leth’s first feature somehow manages the neat trick of being curiously watchable without ever crossing the line into remotely interesting. This is a very silly film, but kudos to the production designers for making authentic New York City locations look like much cheaper Toronto fakes.” – Philadelphia Weekly, 01/25/12
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THE FLOWERS OF WAR

“A florid, melodramatic tear-jerker of questionable taste but undeniable emotional impact. Zhang’s unapologetically Old-Hollywood story-telling has more than a bit in common with a certain Steven Spielberg epic in theatres right now. He might as well have called it War Whores.” – Philadelphia Weekly, 01/18/12
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EXTREMELY LOUD AND INCREDIBLY CLOSE

“The film warps a moment of unspeakable horror into a digestible fable, with a moral delivered by Sandra Bullock. When 9/11 inevitably becomes a national holiday devoted to sales at mattress discounters and used-car lots, we can all look back on cheapjack movies like Extremely Loud and Incredibly Close and thank them for paving the way.” – The Improper Bostonian, 01/18/12

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DEE REES AND ADEOPRO ODUYE

“You can leave your home and find a place for yourself, but you still can’t be yourself at home. There’s a fragmenting of identity, where you are constantly being asked to leave a part of yourself behind. You’re either leaving your queerness behind or leaving your blackness behind as you move between worlds.” – Philadelphia Weekly, 01/11/12
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PARIAH

“The most I can ask from a movie is that it takes me into a world where I’ve never been. So at least credit first-time writer-director Dee Rees’ debut feature for establishing a lived-in community of black teenage lesbians—people we’re not exactly used to seeing onscreen. Such a shame the rest of the picture hews so closely to the stereotypical indie playbook.” – Philadelphia Weekly, 01/11/12
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JOYFUL NOISE

“I’d be lying if I said I wasn’t fascinated watching all these plasticized, ill-fitting spare parts attempt to emote. Not since seeing Cher in Burlesque have I had such a grand old time watching an iconic performer struggle so mightily just to get words out of her mouth.” – Philadelphia Weekly, 01/11/12
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