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No Concessions: “Social” and Antisocial
A status update on The Social Network tags the Wall Street sequel and Inside Job. But the sensitive may want to defriend the horrific Red White & Blue.
Read More »No Concessions: “Let Me In.” Listen. Obey.
Let Me In is a bloody good translation of the Swedish vampire classic, while on DVD Russell Brand disturbs the peace in a different way in the comedy Get Him to the Greek.
Read More »No Concessions: “Never Let Me Go,” “Catfish,” and POSSIBLE SPOILERS
Two years ago I took a friend to see the acclaimed Broadway revival of The Seagull, starring Kristin Scott Thomas. At intermission we got to talking about some of the plot specifics, including the
Read More »No Concessions: Critics, Audiences Relieved as Bummer Summer Ends
Was this the worst summer ever for movies? Depends on whom you ask. One acquaintance said 2000 was the low point, and stuck to it even when I threw out Gladiator, Chicken Run, and
Read More »No Concessions: “Inception,” Conception, and Other Mysteries of Life
There’s an upside and a downside to writing about a movie like Inception after it’s been in release for several weeks. The advantage, for me, is that you may very well have seen it,
Read More »No Concessions: “Cyrus” vs. “Predators”
As No Concessions heads off to the wilds of Wisconsin, land of Leinenkugels and cheese curds, for its annual constitutional a word must be said about Predators. The other week when I was off
Read More »No Concessions: The Wonderful, Horrible Life of Phil Spector, and More
The word “asshole” reverberated throughout New York’s Film Forum as the press screening of The Agony and the Ecstasy of Phil Spector, which plays there through July 13, ended. As in, “He’s an asshole”—for
Read More »No Concessions: Surviving, Selling, and Feeding the “Dead”
“Someone explain to me why everyone believes in an impending zombie apocalypse,” requested George A. Romero of the crowd gathered to meet him at a recent sold-out screening of his latest film, Survival of
Read More »No Concessions: Several Faces of “Robin Hood”
Is “I didn’t mind it too much” sufficient criticism of a $200 million dollar behemoth? Probably not for the front office, which demand that we be a little more forthcoming in our reviews. But,
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