“Since little in the movie is explained aloud and the performances so restrained, The Invisible Woman must rely on compositions and blocking to express what the characters cannot. Far more attentive to visual storytelling than most actors who step behind the camera, Fiennes conveys shifting dynamics through positions within the frame.” – The Improper Bostonian, 01/22/2014

“These people are looking for accountability, which is all but impossible to find in this quagmire of corruption. Whitey sometimes feels a bit jumbled, as the two-hour-and-ten-minute running time probably isn’t enough to adequately address the full madness of this tragedy. But the film asks the right questions, and it seethes with a righteous furor.” – The Boston Herald, 01/19/2014

“Awards have a way of ruining everything, and thus a severely truncated, flattened and defanged August: Osage County is now being presented to movie audiences as a collection of Academy-friendly, For Your Consideration meltdown clips. Sigh, what I wouldn’t give to see a bare-bones Friedkin adaptation.” – The Improper Bostonian, 01/08/2014

“The entire film is easily summed up in the image of a horny fat-cat slapping repeatedly her in the face with a stack of cash, demanding that she prostitute herself simply because he can afford it. A Touch of Sin is a grueling experience, one that feels sadly necessary.” – EntertainmentTell, 01/02/2014