WORLD OF WONG KAR WAI

“There’s a certain irony in the idea of a Wong Kar Wai retrospective, as so many of his characters are already living in the past. His best films feel like memories of themselves, rhapsodies of regret and lingering visions of the ones that got away. Watching a Wong Kar Wai movie in a theater is like living inside of somebody else’s dream for a little while.” – WBUR’s The ARTery, 12/11/2020

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I’M YOUR WOMAN

“It’s a 1970s crime picture told from the POV of the gun moll, a character continually cast to the side and kept in the dark. It’s a brilliant concept, forcing viewers to ask ourselves all sorts of important and uncomfortable questions about who we gravitate to at the center of our stories and why. If only the film’s execution were half as exciting as its ideas.” – WBUR’s The ARTery, 12/10/2020

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THE GODFATHER, CODA: THE DEATH OF MICHAEL CORLEONE

“This probably sounds like common sense, but it really is amazing what a difference it makes when you put the scene that starts the story at the beginning of the movie. Coppola’s revelatory revision of his saga’s final chapter feels like a far more focused and purposeful film, even if there are some things that can’t be fixed in an editing room.” – WBUR’s The ARTery, 12/07/2020

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BLACK BEAR

“As enjoyable as I found the Virginia Woolf mechanics and Cassavetes homages, I’m not convinced it adds up to much more than a skillful genuflection to some excellent influences. Levine’s focus on filmmakers and the boozy, bifurcated structure suggests an American version of Hong Sangsoo picture, another reference in this movie-mad hall of mirrors.” – North Shore Movies, 12/07/2020

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CROCK OF GOLD: A FEW ROUNDS WITH SHANE MACGOWAN

“Like most sons of the Emerald Isle, MacGowan is a prodigiously gifted shit-talker, registering discontent with damn near all of his collaborators over the course of a career that merged traditional Irish music with the sneer of punk rock, bringing lachrymose poetry to the mosh pit and updating old rebel songs for the anarchy in Maggie Thatcher’s UK.” – North Shore Movies, 12/07/2020

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AMMONITE

“It’s a more tactile picture than most, concerned with cold mornings and cramped, permanently damp interiors. Dialogue and music are scarce, with an aggressive sound design dominated by rattlings of old houses, the dull roar of the ocean and howls of freezing winds. I paused the movie about halfway through to go put on a sweatshirt.” – WBUR’s The ARTery, 12/03/2020

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ANOTHER ROUND

“Vinterberg explores the social structures in which boozing has become embedded with wry humor and a great deal of ambivalence. Carrying a lighthearted, libertine kick, Another Round captures the loose, low-key euphoria you feel somewhere around the end of your second beer, and isn’t it funny how the problems always seem to start after the third one.” – WBUR’s The ARTery, 12/02/2020

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STARDUST

Stardust is a David Bowie movie for people who hate David Bowie, demeaning and debasing the artist’s life and process in overly explanatory, sitcom vignettes and boring, biopic clichés that have little to do with what actually happened and even less to do with rock n’ roll. It’s like if Bohemian Rhapsody and Green Book had a really ugly baby.” – North Shore Movies, 12/01/2020

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MOSUL

“One yearns for the knotty moral complexity directors like Kathryn Bigelow and Clint Eastwood brought to similar battlefield stories. Mosul, however, is a rah-rah revenge picture with a fist-pumping finale, the freshness of its Iraqi setting and Arab actors a smokescreen for the oldest, moldiest formula in the Hollywood handbook: This time it’s personal.” – North Shore Movies, 12/01/2020

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