TAKE ME SOMEWHERE NICE

“It’s a film about listlessness and inertia, and being bored in unfamiliar places. Take Me Somewhere Nice unfurls in a hazy torpor, like a record playing at the wrong speed. So many scenes begin with Alma waking up and wondering where she is, a groggy sensation that the movie makes mutual. But when it’s over you feel like you’ve been someplace.” – North Shore Movies, 06/17/2021

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SWEET THING

“Shot in stunning, super-high-contrast 16mm black-and-white, the picture presents a child’s-eye perspective of endless possibility and wonder, in which every landscape looks like a cross between a junkyard and a playground. This is the kind of movie that you want to hold dear, even when it’s being as messy and mood-swingy as one of the kids it chronicles.” – WBUR’s The ARTery, 06/17/2021

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HOLLER

“An antidote to pandering crap like Hillbilly Elegy, the movie eschews melodramatic flourishes, and I could have watched these characters busting each other’s chops in the factory breakroom or goofing around down at the roller rink all day. Writer-director Riegel says it was inspired by her own experiences growing up and you can tell from the textures.” – North Shore Movies, 06/10/2021

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THE AMUSEMENT PARK

“Romero’s great subject as an artist was the scary precarity of our society, and how quickly men become beasts when the comforts of civilization are rudely ripped away. The Amusement Park is his explicit warning about a crass, commercial culture with no regard for anything but the present, and how we are all doomed to soon be forgotten and ignored.” – North Shore Movies, 06/08/2021

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LISEY’S STORY

“Larraín’s entrancingly artsy Jackie turned the White House into the Overlook Hotel, with Natalie Portman’s blood-spattered widow wandering the historic halls like a ghost in a pillbox hat. The best segments of Lisey’s Story have a similarly shell-shocked effect, collapsing past and present with scenes from their marriage bleeding into the echoey, empty now.” – WBUR’s The ARTery, 06/03/2021

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