ICEBERG AHEAD: HISTORY IS MADE AT NIGHT


“There’s a kamikaze quality to History Is Made At Night, a breathless, anything-can-happen flood of events that mirrors the headlong feeling of falling in love for the first time. The preposterous plot follows an unassailable emotional logic, so what sounds insane in synopsis seems perfectly reasonable onscreen, like a love story that starts with a phony kidnapping.” – Crooked Marquee, 12/02/2022

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A COUPLE


“On the surface this might seem an inversion of the filmmaker’s entire modus operandi, the bustling casts of coolly observed ordinary people replaced by a single performer reading scripted lines, alone in a garden with a running time a fraction of his usual three or four hours. And yet A Couple is still spiritually a Frederick Wiseman film through and through.” – WBUR’s Arts & Culture, 12/01/2022

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THE FABELMANS


“I’ve seldom seen a film that has less faith in its audience. It gently spits the pre-chewed meanings of scenes into the viewers’ mouths like we’re little baby birds at feeding time. The Fabelmans is the kind of movie that a lot of critics are going to love because it’s done all the interpretation for you in advance. Attendance is barely mandatory, our attention optional.” – North Shore Movies, 11/23/2022

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BONES AND ALL


“It’s an insanely uneven picture, conjuring a genuinely disturbing menace when not wallowing in sappy, po-faced YA tropes. Only Guadagnino would think that shooting Stephenie Meyer’s Trouble Every Day was a bright idea, and yet the movie’s gross-out romantic climax boasts such a birdbrained commitment to the bit that I begrudgingly surrendered.” – North Shore Movies, 11/23/2022

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GLASS ONION: A KNIVES OUT MYSTERY


“Johnson again takes great pleasure in subverting audience expectations, doubling back and re-setting the story every time you think you’ve got it figured out. But Glass Onion is hardly a reprise of the previous picture, switching things up from autumnal, old money New England to the sun-drenched nouveau riche and striking a more overtly farcical tone.” – WBUR’s Arts & Culture, 11/21/2022

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THE MENU


“To the extent that The Menu works at all, it’s as a coming-out party for newly minted movie star Taylor-Joy, proving charismatic enough carry even a piece of junk like this on her shoulders. The rich shadings and deep shadows of Peter Deming’s marvelous cinematography play especially great on her angular features. You can see why the chef is smitten with her.” – North Shore Movies, 11/20/2022

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APRES NOIRVEMBER: ELEVATOR TO THE GALLOWS


“Moreau wanders the Paris streets at night, abandoned and alone. Malle and cinematographer Henri Decaë shot these scenes with their camera in a baby carriage, the scandalously makeup-free star illuminated only by the lights of the city surrounding her. Quietly revolutionary, it’s one of the most heartbreakingly beautiful passages in any movie of its era.” – Crooked Marquee, 11/18/2022

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UTAMA


“If there’s a term for global warming in the Quechua language, we don’t hear it aloud. We don’t need to. Our impending climate catastrophe colors every action in the film, which is about what happens when a way of life becomes unsustainable. Utama is not exactly what one would call a subtle or particularly complex piece of storytelling. Nor does it need to be.” – WBUR’s Arts & Culture, 11/17/2022

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QUENTIN TARANTINO’S CINEMA SPECULATION


“Tarantino has a voracious appetite for cinema but it is by no means boundless, existing within sharply circumscribed parameters of genre and exploitation movies. His disdain for anything that could be perceived as highfalutin’ or hoity-toity is like living on a diet entirely of cheeseburgers, leaving the reader wishing that Quentin might try a salad once in a while.” – WBUR’s Arts & Culture, 11/16/2022

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BLACK PANTHER: WAKANDA FOREVER


“The rest of the film is given over to an unimaginative quest for revenge and advertisements for upcoming Disney content, eventually coming back around to familiar Marvel dogma that the most powerful weapons in the world are best left unchecked in the hands of royal families and benevolent billionaires, who will always have our best interests in mind.” – WBUR’s Arts & Culture, 11/08/2022

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