BLONDE


“I don’t begrudge anyone for not wanting to sit through a movie this miserable and intentionally upsetting, but the trigger warning is right there in the NC-17 rating and there’s no shame in not being tall enough for the ride. There should be a place for films like Blonde to explore unpleasant images and ideas for an adult audience.” – WBUR’s Arts & Culture, 09/27/2022

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DON’T WORRY DARLING

“The biggest problem with Don’t Worry Darling is that it takes the audience maybe fifteen minutes to come to the same conclusion that Pugh finally figures out after a full two hours. It’s a drag being so far ahead of the characters the entire time, and Wilde’s maddeningly repetitive structure makes the viewer feel as trapped as the protagonist.” – WBUR’s Arts & Culture, 09/22/2022

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PEARL


“More a creepy psychological character study than a kill-crazy slasher movie, it cedes West’s can-you-top-this camera trickery to a stunning, go-for-broke performance by co-screenwriter Mia Goth that would no doubt be recognized by awards bodies everywhere if people who cared about movie awards watched movies like Pearl. She’s incredible.” – North Shore Movies, 09/19/2022

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MOONAGE DAYDREAM

“Morgen overwhelms the audience with a multi-sensory barrage of vintage performance clips, television talk show appearances, contemporaneous stock footage, psychedelic animated interludes, semi-related art from other mediums and pretty much everything else including the kitchen sink. It’s a swirling, maximalist mosaic both electrifying and exhausting.” – WBUR’s Arts & Culture, 09/15/2022

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CONFESS, FLETCH


”A film of relaxed but not inconsiderable pleasures. Updating the 1976 novel for a more sensitive era, Hamm and director Greg Mottola tone down the character’s unseemlier aspects and have a good time with his easygoing arrogance. Fletch always carries himself as if he’s the smartest person in the room, even if that’s only true about half the time.” – North Shore Movies, 09/15/2022

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SEE HOW THEY RUN


”This kind of thing is trickier than it looks. For every Knives Out or Only Murders In The Building you get a dozen Death On The Niles. Successful mystery sendups need to also work as examples of the genre, but the list of suspects in See How They Run contains no persons of interest, at least as far as the audience is concerned. Motives abound, none compelling.” – North Shore Movies, 09/15/2022

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CLERKS III


”Smith resides in a creative mausoleum of his own making, writing movies that aren’t just movies about other movies, they’re movies about other Kevin Smith movies. In Clerks III, the afterlife is depicted as a cruddy multiplex screening the first two Clerks films on an eternal loop, a purgatory to which followers of this once-promising career may feel already condemned.” – North Shore Movies, 09/11/2022

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FUNNY PAGES

“Robert hangs out all day in a comic book shop where everyone’s trying to out-snob each other, bolstering their street cred with assorted esoterica that nobody could possibly care about beyond these walls. While I came of age in video and record stores instead of comic shops, the film still prompted chills of recognition from this particular critic.” – North Shore Movies, 08/26/2022

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THE GOOD BOSS

“Bardem’s Blanco cuts costs by cruelly laying off longtime employees, covers for cronies who can’t do their jobs properly, uses the company’s internship program as a dating pool and generally embodies every awful trait of the avaricious and overcompensated executives who make our world a more miserable place. You also can’t help but kinda like him.” – North Shore Movies, 08/26/2022

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THREE THOUSAND YEARS OF LONGING

“George Miller’s cerebral fantasia is the kind of oddball, beguilingly personal project an artist makes after a smashing success like Fury Road, cashing in $60 million worth of goodwill on his obsessions and personal peccadilloes. It’s a deeply weird flight of fancy, alternating heady discussions with the most miraculous images you’ll see all year.” – WBUR’s Arts & Culture, 08/24/2022

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