“Such an earnest little puddle of feel-good inspiration that I feel like an asshole for disliking it so much. Aesthetically atrocious, The Sessions is one of the drabbiest-looking movies you will see this year.  It’s all so plodding and beige, yet giving this movie a bad review is like kicking a kitten.” – Philadelphia Weekly, 10/31/2012
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“Everything here is intentionally grotesque to service the filmmaker’s cheap shots, and somehow Maguire always ends up let off the hook for his bad behavior because in this movie’s universe, women and black people are just plain crazy.” – Philadelphia Weekly 10/31/2012

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“This thing has happened in the industry where movies are very expensive. They have a very short shelf life, so you have an expensive movie that has to make all of its money back in three days. For that to happen, all the world has to see the movie. And if everybody in the world has to see the movie, then by definition, it can’t be about anything, right?” – Philadelphia Weekly, 10/31/2012

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“The trouble with most films about addiction is that the monotony becomes numbing. He climbs on the wagon; he falls off the wagon. He climbs on the wagon again and then guess what happens next? He self-destructs over and over again until it’s eventually time to recite ‘The Serenity Prayer’ so the movie can finally end.” – The Improper Bostonian, 10/31/2012

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“A lot of the time, Cloud Atlas feels like D.W. Griffith’s Intolerance by way of Zardoz. Yet the kitsch factor is weirdly in keeping with the movie’s ardent, disarming sincerity. Even at its most risible, this oddball picture has a groovy, inclusive spirit that feels downright revolutionary in this sterile, blockbuster age.” – Philadelphia Weekly, 10/24/2012

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“Keyed to roughly the same excitement level as Perry’s monotone, Alex Cross is the usual over-familiar mélange of forensic evidence and titillating torture porn that reminds me why I don’t watch network television procedurals. Take him out of the dress, and the guy’s got nothing.” – Philadelphia Weekly, 10/24/2012
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“Shot on obvious shoestrings—with little regard for conventional notions of pacing, production values or what we in the 99-percent crowd might call ‘entertainment’ —the first two installments in this projected trilogy are like seeing a greedy billionaire’s most feverish nightmare realized with all the amateurish panache of a daytime soap opera.” – Philadelphia Weekly, 10/17/2012
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