“It’s a crazy sort of look Guy had going on there, and apparently he came up with a lot of that on his own. Hillcoat told me Pearce just came out of the bathroom one day with this shaved line in his head. The eyebrows were gone and they were like, ‘Holy shit!'” – BOFCA, 08/30/2012

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“The fizzle of a finale fits the picture’s strange schizophrenia. Hillcoat tries to ramp it up with intonations of mythic grandeur, while at the same time rubbing our faces in grit and period authenticity. The two approaches cancel each other out. And I still couldn’t understand a single goddamn word Tom Hardy said.” – Philadelphia Weekly, 08/29/2012

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“One of those late summer time-wasters that will play like gangbusters on afternoon cable, but feels a bit thin when you’re shelling out upwards of 10 bucks for a night at the movies. It’s a tight little thriller, briskly told. And I’m already having a hard time remembering anything else about it.” – Philadelphia Weekly, 08/29/2012
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“For a while, it seemed like Red Hook Summer was going to be Spike Lee’s Gran Torino, where he gets to be all crotchety and tell those kids to put away their goddamn Apple products and get off his lawn. But there are surprising plot twists, and then there is batshit crazy. Red Hook Summer goes batshit crazy.” – Philadelphia Weekly, 08/22/2012

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“A pitch-black comedy about man’s foolhardy attempt to impose systems of order on nature’s chaos. The key here is Eric’s ‘asymmetrical prostate,’ which metaphorically stands in for the arbitrary randomness of an indifferent universe, and the irony is not lost on Cronenberg that the moral of this story can be found in Eric Packer’s asshole.” – Philadelphia Weekly, 08/22/2012
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“I happen to have grown up renting this kind of crap on VHS at my local video store every day after school, so there was never any chance that I wasn’t going to love this picture. But I realize such antediluvian customs are foreign to these crazy kids today, as well as to more refined, sober adults who actually enjoy good movies.” – Philadelphia Weekly, 08/22/2012
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“I find now that cinema is very formatted. It has become very narrow.  There’s nothing sticking out. I don’t like that. My film has a structure, and it’s very written, but I try to give a little feeling of freedom, a little madness. That’s why I love cinema from the 70’s. I love early Scorsese and late John Huston, films that are not perfect around the edges.” – Philadelphia Weekly, 08/15/2012
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