“This bummed me out. If you’re from Boston, you probably have an outsized emotional investment in these guys, and it’s sad that there’s no ambition to the picture, no aspiration to excellence. Disposable even by the standards of Netflix movies, it diminishes them and their partnership to appear in something like this. It’s Matt and Ben’s Righteous Kill.” – North Shore Movies, 01/16/2026

“Adapted from Yuknavitch’s 2011 memoir, the film is a fragmented flood of images and sensations putting us in the anguished headspace of its protagonist. Stewart asks a lot of the viewer, leaving us to stitch together story threads through flashes of a sometimes unreliable memory. We don’t see scenes so much as slivers and shards of a shattered life.” – WBUR’s Arts & Culture, 01/15/2026

“Fastvold frames Lee’s life as a musical folk tale, with old Shaker hymns repurposed into earworms by Oscar-winning composer Daniel Blumberg. Seyfried’s ardent, bug-eyed performance sells her testimonies with a devout certainty that’s oddly comforting. You can see why so many people followed her to America. I’d follow Amanda Seyfried anywhere.” – WBUR’s Arts & Culture, 01/15/2026

“The rest is rather pandering in a fan service-y fashion. Around the third Duran Duran song I was like, ‘Yeah, we got it.’ Dr. Kelson is much cuddlier than he was in the previous picture. The genius of Fiennes’ performance was that he seemed to be playing Colonel Kurtz and The Wizard of Oz at the same time. In this one he’s more like Mr. Rogers.” – North Shore Movies, 01/15/2026

“It’s a film of quiet yearning and missed connections, about people who want to love each other but can’t seem to figure out how. Pokerfaced and exacting even by Jarmusch’s deadpan standards, this is one of those movies that’ll cause some viewers to complain that nothing happens, even though everything does. It all comes in under the radar.” – WBUR’s Arts & Culture, 01/08/2026

“Cooper’s third directorial effort is an intermittently pleasant muddle with three credited screenwriters in search of a clear idea what the movie is supposed to be about. There are so many supporting characters you’ll need a dance card to keep track of everyone, but instead of a bustling ensemble they all feel like half-developed remnants from previous drafts.” – North Shore Movies, 01/08/2026

“With his pockmarks, unibrow and sleazy little moustache, Timée seems to be actively trolling his teen idol persona, playing a fast-talking hustler who’s all guts and gumption, arrogantly convinced of his own greatness and almost entirely devoid of redeeming qualities. It’s the most appealing he’s ever been onscreen. I get the Chalamet thing now.” – WBUR’s Arts & Culture, 12/23/2025

“Few actresses can light up the screen like Kate Hudson, which is easy to forget because she’s usually starring in garbage. She’s incandescent in Song Sung Blue, rocking mom jeans and a Midwestern accent, beaming beatifically through their duets. The movie soars on those songs, and they compensate for a couple of curious storytelling choices.” – WBUR’s Arts & Culture, 12/23/2025

“Chaplin brings an unhinged physicality and unprecedented erotic heat to the previously chaste planet of Pandora. We’ve never seen anything in these pictures like what she’s doing here. For the first half of Fire And Ash, I was asking myself, ‘Do I finally like an Avatar movie?’ and perhaps more pressingly, ‘Am I getting turned on by a giant turquoise lady?’” – WBUR’s Arts & Culture, 12/19/2025

“A clever little mousetrap of setups and misdirection, with some twists I didn’t see coming because I’m either too dumb or just punchy from serious movie season. It’s a knowing throwback to one of those trashy domestic invasion thrillers that were all the rage back in the 1990s, except this time we can never be sure whose hand is rocking the cradle.” – North Shore Movies, 12/19/2025