“Anders has been counted out for so long that his sudden reappearance becomes more of an inconvenience than a welcome reunion. Nobody wants to make much of an effort because he’s probably just going to let them all down again. So why even bother? That’s the awful, existential question posed by Oslo, August 31st.” – The Improper Bostonian, 07/25/2012

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The Dark Knight Rises pays a bit of lip service to our recent economic woes, staging shoot-outs on Wall Street trading floors and offering copious Occupy Gotham monologues. Still, there’s only so far you can go in this direction when your movie’s hero also happens to be a billionaire fascist who likes to dress up like a rodent and beat the shit out of people.” – Philadelphia Weekly, 07/18/2012

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“The damndest thing you’ll see this summer, first-time director Benh Zeitlin’s Sundance sensation is a junkyard rhapsody that seems to be inventing its own cinematic language as it goes along.  Deliberately abstracted with a fractured syntax, this folk tale about a young girl’s coming of age plays like Days Of Heaven by way of The Road Warrior.” – Philadelphia Weekly, 07/18/2012
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“Katy Perry’s buoyantly marzipan goody-goody persona makes for an often confounding mismatch with all those lyrics about kissing girls, doing too many shots and showing her your peacock. Perry presents herself as a curiously asexual sex object, sorta like Strawberry Shortcake in hot-pants with sparkly pinwheels on her boobs.” – Philadelphia Weekly, 07/11/12
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“A mashup of four disconnected shorts, this picture feels as though Allen was rifling through his desk drawer and came across some unfinished New Yorker pieces, then fashioned them after Italian omnibus films from the 1960s. Midnight in Paris was profound in a deceptively breezy way. To Rome With Love is just plain breezy, but I didn’t mind.” – The Improper Bostonian, 07/04/2012

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