SHORT TERM 12

Short Term 12

“Roger Ebert often said that it was never the sad moments in movies that made him cry, but rather when characters were unexpectedly kind to one another. I thought about that line a lot during Short Term 12, probably because the movie reduced me to a puddle somewhere around the forty-minute mark, and I remained that way for the following hour.” – Philadelphia Weekly, 08/28/2013

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BLUE JASMINE

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“Of course, it must be noted that nobody goes to see a Woody Allen movie for nuanced portrayals of the working class. Everything Woody knows about these people he learned from watching The Honeymooners, but I find something quaintly endearing about his cloistered, 1950s sensibility.” – The Improper Bostonian, 08/28/2013

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THE ARTIST AND THE MODEL

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“A film of lovely moments and quiet reflection, director Fernando Trueba’s The Artist and the Model takes a tender gaze at the creative process. Avoiding the hot-blooded emotional histrionics of most movie portraits of artists, this is a gentle picture emphasizing discipline, hard work and patience.” – Metro, 08/22/2013

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AIN’T THEM BODIES SAINTS

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“Stop me if you’ve heard this one, but the recurring visual motif involves a hand-held camera following Mara as she twirls through a sun-dappled field of wheat. I say this as a lifelong Terrence Malick fan: Enough with the chicks twirling through the goddamned sun-dappled fields of wheat already.” – Philadelphia Weekly, 08/21/2013

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KICK-ASS 2

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“An experience akin to being stuck at recess with a bunch of 10-year-old boys who just discovered profanity, the movie is so desperate to offend that it wallows in ugly sadism. But the problem with Kick-Ass 2 isn’t that it’s tasteless and immoral. The problem is that it just isn’t funny.” – Philadelphia Weekly, 08/21/2013

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LEE DANIELS’ THE BUTLER

The Butler

“The excitement of The Butler comes from watching the director’s rude energy chafe up against the stodgy constraints of a traditional Oscar-bait biopic. In other hands this could have been Driving Miss Daisy, but you know you’re watching a Lee Daniels film when Mariah Carey gets raped in the opening scene.” – Philadelphia Weekly, 08/14/2013

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DRUG WAR

Drug War

“There are no girlfriends, sidekicks or comic relief in Drug War. The movie itself seems as allergic to bullshit as the captain, who storms impassively through one white-knuckle set-piece after another with nary a flinch nor a single sop for audience affection. You’re not going to learn anything about this cop’s personal life — he’s working here, dammit.” – Philadelphia Weekly, 08/14/2013

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