“Lost on Ebert and other pearl-clutchers at the time was the movie’s seriousness of purpose. For all its shocking content and garish excesses, The Devils is a pointedly political picture about how shame and religion are weaponized by the wealthy and powerful to advance their economic interests. It may be more relevant today than it was in 1971.” – WBUR’s Arts & Culture, 10/15/2026
“This is a wild, mind-melting movie people are going to be talking about for the rest of the year, and probably long after that. Fielder and Oppenheim have ingeniously assembled a gut-busting cringe comedy that doubles as an unexpectedly hefty philosophical inquiry into the nature of perception. It’s also the story of a master manipulator meeting his match.” – WBUR’s Arts & Culture, 10/14/2026
“Shockingly incompetent. Affleck’s TNT-coded oeuvre always had the sturdy polish of a studio craftsman, but this feels like one of those cheap, 1980s potboilers that were phoned in by an elderly journeyman long past his classic Hollywood heyday. Paging Golan and Globus, is it possible that Affleck has entered his J. Lee Thompson era?” – Spliced Personality Substack, 10/14/2026
“A stunning piece of filmmaking. The minimalist aesthetic allows the viewer room to really sit with the horror of what is being said. Abraham and Szor’s lay descriptions of atrocities over distant shots of people in their Tel Aviv apartments, quietly going about their uneventful evenings. They’re 47 miles from the dropping bombs and an entire world away.” – Spliced Personality Substack, 10/10/2026
“All these missing pieces and moveable parts are hardly seamless. But the fragmented quality becomes key to the movie’s nightmarish effect. Othello’s world is falling apart around him, and it feels like the film is as well. We see Iago lead him down, down, down a byzantine maze of columns, canals and liminal spaces as the green-eyed monster takes hold.” – Crooked Marquee, 10/09/2026
“Jeremy Allen White talks too slow to star in an Aaron Sorkin movie. Madison winds up lapping him during their attempts at banter. Curiously, Sorkin’s screenplay contains no cultural references post-1964. Topics of conversation in this film about the 21st century internet include Show Boat, Gilligan’s Island and Frank Capra’s Lost Horizon. OK boomer.” – Spliced Personality Substack, 10/07/2026
“Segan’s melancholy caper/character study assembles 1990s NYC indie icons Turturro, Steve Buscemi and Giancarlo Esposito for a tale of small time crooks realizing the times have passed them by. Any overlaps between these old-school criminals and the aging stars of an outmoded kind of independent movie are entirely intentional, and especially effective.” – WBUR’s Arts & Culture, 10/06/2026
“This is the movie Gray has been trying to make. The nostalgic trappings of the early ‘80s setting underscore the haunted, wistful atmosphere. It hangs heavy with the realization of how suddenly we can discover that the good times are in the rearview. ‘I took risks,’ Teller confesses to his kids, who are only half-listening, ‘And we already had everything.’” – Spliced Personality Substack, 10/06/2026
“As you may have surmised from the title, this is the first Herzog movie one could conceivably call cutesy. It has little of the primal, forbidding strangeness of his early work. One imagines that the old Herzog would’ve made the sisters more feral and a little frightening. But I guess it’s silly of me to fault two billionaire heiresses for not being Bruno S.” – Spliced Personality Substack, 10/02/2026
“Digger periodically pauses to insist that real life is far more complex and less cathartic than phony, simplistic satires like this one, but we still have to sit through the rest of this phony, simplistic satire anyway. It’s a baffling creative choice. The movie rips the rug out from under us, then continues vacuuming for another 90 minutes or so.” – WBUR’s Arts & Culture, 10/01/2026
