The Great Beauty

“A richly symbolic meditation on aging, mortality and precious time wasted. Cinematographer Luca Bigazzi’s camera hurtles through surreal spectacles of exhausted decadence, as Servillo’s bemused gaze carries in it an existential ache for all that might have been, and a weary acknowledgement that every party must eventually end.” – Philadelphia City Paper, 11/28/2013

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“Lee sticks to the script and lets his muscular filmmaking chops speak for themselves. Oldboy has been put together with a bristling visual intelligence, and when Brolin goes Hammer Time on dozens of faceless baddies Spike finally directs a balls-to-the-wall action sequence. Who knew Mookie was such a chop-socky buff?” – EntertainmentTell, 11/27/2013

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Black Nativity 2

“You’re watching a musical, kids. Deal with it. This is a dearly sweet, often awkward movie that makes up in sheer sincerity what it lacks in finesse. Black Nativity is goofy and probably very easy to mock, but so full of positivity and good spirits that I can’t imagine why anybody would want to bother.” – EntertainmentTell, 11/27/2013

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Catching Fire

“What a difference a director makes. Pulpy melodrama continues apace, but this time with lush, burnished images and a budget to match the ambition. It’s quite engrossing until the movie abruptly stops mid-scene, teasing another sequel coming soon to a theater near you. Sigh, the perils of franchise maintenance.” – Philadelphia City Paper, 11/21/2013

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Go For Sisters

Go For Sisters is an absorbing, well-researched snapshot from the American class struggle with excellent performances and an evocative sense of time and place. It’s also a little bit dull and in the end feels like less than the sum of many admirable parts. In other words, it’s a John Sayles movie.” – EntertainmentTell, 11/21/2013

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Mother Of George

“Every shot from director Andrew Dosnumu’s sophomore feature could be hanging on a wall in a gallery, or should at the very least be on a coffee table somewhere. Photographed in rich and vibrant hues, it’s a remarkable visual achievement that remains maddeningly, often infuriatingly inaccessible.” – EntertainmentTell, 11/21/2013

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“Everything about Nebraska feels secondhand. It’s a gimmicky sitcom script gussied up with ‘artful’ affectations borrowed from the New Hollywood heyday of the early ’70s. Except it doesn’t even get those right. This picture’s entire aesthetic design comes off like a wise-ass kid dressing in his cool uncle’s old clothes and wearing them wrong.” – The Improper Bostonian, 11/20/2013

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