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Steven Rea   

Steven Rea has been an Inquirer reporter since 1982, writing about film and filmmakers, books, pop music and popular culture. He has been a movie critic since 1992.

He was born in London and raised in New York City, where he graduated from Stuyvesant High School. He graduated from San Francisco State University with a major in English and Creative Writing and attended the Writers Workshop graduate program at the University of Iowa.

His work has appeared in Entertainment Weekly, TV Guide, Family Fun and other publications. He also writes fiction and poetry.

His column, "On Movies," appears Sundays in Arts & Entertainment, and his reviews normally run in the Weekend section on Fridays.

 

 
Read Steven's blog On Movies Online
Latest post: "Up," Up and Away - 07/08/2009
 
Email Steven at srea@phillynews.com
Posted 07/09/2009
'This doesn't have to be a bad time in your life," the Army shrink tells the soldier. "This could be fun."
Video: The Hurt Locker
Posted 07/09/2009
If it weren't for the fact that it's directed by Home Alone/Harry Potter hitmaker Chris Columbus, it would be easy to dismiss I Love You, Beth Cooper as just another insipid teen comedy that has been Superbadded-up with underage drinking and a little raunch.
Video: I Love You, Beth Cooper
OK, you've slurped that tub of soda, and you downed a couple of iced lattes before you took your seat. So you're sitting there watching Optimus Prime battle some Decepticons in Transformers: Revenge of the Fallen, and you realize you probably need to hit the restroom.
Inquirer film critic Steven Rea offers short takes, outtakes, information and interviews on films at http://go.philly.com/ onmovies
The Girl from Monaco isn't the only recent French flick to deal with murder, messy family histories and a sexy TV weathercaster.
'My mind's been acting kind of weird lately," a worried Sam Bell says to his constant, and only, companion, a robot named Gerty 3000.
The 1930s gangster movie is back.Does anybody care? "Public Enemies," set in the "golden age of bank robbery," when the likes of Baby Face Nelson, Ma and Pa Barker, and Bonnie and Clyde were looting and shooting across the land, is the first A-list Depression-era crime pic since Brian DePalma's "The Untouchables."
It takes a while for Patricia Clarkson to make her entrance in Woody Allen's Whatever Works, but when she does, look out.
Spain, 1922. Political repression and moral conservatism pervade. But as the opening titles of Little Ashes inform us, "a breeze is stirring through the land."
Who'd have thought that the progeny of John Cassavetes - the raging, unruly indie auteur of the 1960s and '70s - would turn out to be such a sap?
It's a match made in misanthrope heaven: Larry David, the cringe-inducing crank of HBO's Curb Your Enthusiasm, and Woody Allen, the existentialist worrywart with the catalog of one-liners about love, death, and hypochondria.
It's a real Philly ex-spokes-ition at Moore: A grand show of two-wheel history, culture and art.
'Think of bicycles as rideable art that can just about save the world." That quotation, from Grant Petersen - a legendary bike-builder whose Rivendell brand is the lust object of cycling enthusiasts of a certain retro stripe - is on the wall at the galleries at Moore College of Art and Design. There are quotations there too f
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