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Carrie Rickey, an Inquirer film critic since 1986, was born in L.A. around the time the Jennifer Jones/Laurence Olivier movie Carrie hit screens. Hence her name. Since then she's seen more than 12,000 films without losing her love of movies -- or wordplay. But don't envy her job too much. She has to sit through the likes of Battlefield Earth just so she can warn you not to.
 
Read Carrie's blog Blog Flickgrrl
Latest post: Camden County's immortal contribution to film - 06/05/2008
 
 
Email Carrie at crickey@phillynews.com
Posted 07/04/2008
This review originally appeared Wednesday. Directed by Patricia Rozema. With Abigail Breslin, Julia Ormond, Joan Cusack, Stanley Tucci and Chris O'Donnell. Distributed by Picturehouse. 1 hour, 40 mins. G (mild suspense). Playing at: area theaters.
"Kit Kittredge" comes to the big screen, teaching pleasantly episodic Depression history.
Posted 07/02/2008
On the subject of Kit Kittredge: An American Girl, a colleague rolled his eyes and snorted, "Can you believe it! A movie based on a doll?"
"Kit Kittredge" comes to the big screen, teaching pleasantly episodic Depression history.
On the subject of Kit Kittredge: An American Girl, a colleague rolled his eyes and snorted, "Can you believe it! A movie based on a doll?" Hello? We've had movies based on toys (Transformers), theme-park rides (Pirates of the Caribbean, and media franchises (Pokémon). What's so unusual about a movie based on a doll?
Indie-film distribution is changing: It's a "post- studio, pre-Internet era."
The Hulk, Iron Man, and a quartet of cosmo-sipping urbanites are casting a giant multiplex shadow on art houses across the country. On a recent weekday evening, the Ritz Five was so empty that, according to one e-mail correspondent, she and her 12-year-old enjoyed "what amounted to a private screening of Son of Rambow."
M. Night Shyamalan films are the wedge issue of American moviegoing, inspiring love 'em or hate 'em controversy. Full disclosure: Enjoyed The Sixth Sense, Signs, and The Village. Didn't get Unbreakable or Lady in the Water.
Zohan (Adam Sandler, with a credible Israeli accent) is the Jewish James Bond who snacks on hummus, brushes his teeth with it, uses it to tame the frizzies - and also to spackle the gaping plotholes of the unruly hank of slapstick, "You Don't Mess With the Zohan."
Artist/writer Lynda Barry can't - or won't - categorize "What It Is," her highly creative memoir. "Crazy book" might work, she says.
Lynda Barry, prairie dog of the arts, has tunneled her way from underground comix (Ernie Pook's Comeek) to novels (The Good Times Are Killing Me) to the illuminated memoir What It Is, a transporting volume that pretty much defies description. Would she call it a memory map of creativity's source and flow?
When Warner Bros. exec Jeff Goldstein went to bed Sunday night he was ecstatic about the record-breaking $55.7 weekend box office for Sex and the City.
A version of this review appeared yesterday Frothy as a Margarita and just as salty, Sex and the City all but mambos its way onto the screen.
Frothy as a Margarita and just as salty, Sex and the City all but mambos its way onto the screen.
Frothy as a Margarita and just as salty, Sex and the City all but mambos its way onto the screen. It may well be the most effervescent film fantasy since "Beauty and the Beast."
Director Sydney Pollack was an actor's director who saw stars in uncharacteristic conjunctions and alignments. He made Robert Redford and Barbra Streisand a couple in The Way We Were, Dustin Hoffman a woman in Tootsie, and eternal boy Tom Cruise a man in The Firm.
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