SCREAM

“One of the more pointless examples of Hollywood’s fetish for IP strip-mining, this 26-years-later sequel to the winking ‘90s phenomenon surrounds a new cast with a few of your favorite old characters and basically re-enacts the original picture with enough nostalgic nods to give undiscerning viewers obsessed with their own childhoods quote-unquote all the feels.” – North Shore Movies, 01/14/2022

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THE TRAGEDY OF MACBETH

“At once an experiment and a retrenchment. After all, what is Shakespeare’s Macbeth but another of Coen’s beloved noirs? The Thane of Cawdor and his conniving bride commit a stupid crime and spend the rest of the picture compounding its consequences, trying to keep from getting caught as the corpses pile up around them. There are even two idiot hitmen.” – North Shore Movies, 01/14/2022

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TWO BY HAMAGUCHI: DRIVE MY CAR AND WHEEL OF FORTUNE AND FANTASY

“Hamaguchi has often cited Cassavates as an inspiration, which makes sense when you see the uptight etiquette as a Japanese equivalent to the American filmmaker’s backslapping bravado. They’re both false fronts that the movies take the time and care to peel away, revealing the roles we play and the emotions roiling underneath everyday life.” – WBUR’s The ARTery, 01/13/2022

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THE 355

“Jessica Chastain’s pet project is practically a textbook example of the kind of film you find playing to empty theaters during the January doldrums, squandering a spectacular cast on a snoringly generic espionage thriller with shoddy production values and some surprise plot twists that can be seen from space. Luc Besson made this stuff all look so easy.” – North Shore Movies, 01/07/2022

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A HERO

“While the great Iranian dramatist Asghar Farhadi’s Cannes Grand Prix winner isn’t exclusively about the internet, it uses social media as the motor for a characteristically complex examination of the ways in which we like to build people up in order to tear them down, and how situations are never as simple as they might appear on the surface.” – WBUR’s The ARTery, 01/06/2022

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THE LOST DAUGHTER

“Moms aren’t supposed to have lives of their own. What makes Gyllenhall’s debut such a fascinating film is that it doesn’t try to explain away the central character or justify her petty resentments. She instead makes visceral the fears and shame of mothers who feel themselves unfit, and the guilt that comes with wanting to keep a little piece of your life to yourself.” – WBUR’s The ARTery, 12/29/2021

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RED ROCKET

“In what will no doubt cause cardiac arrests for the social media hall monitors currently having conniptions over the age gap between the platonic lovers of Licorice Pizza, Baker’s film doesn’t just tell the story of a skeezy, fortysomething guy grooming and trying to turn out a teenage girl, it also dares to be amusing about it. Sometimes appallingly so.” – North Shore Movies, 12/23/2021

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LICORICE PIZZA

“No life lessons are learned and there’s no moral to the story that I can surmise, at least not beyond the deep appreciation of faded fads, forgotten pop songs and evenings that stretch out into the night with endless possibilities for adventure. It’s a thrilling movie to watch, hurtling forward with the headlong rush of two young people who can’t wait for their lives to begin.” – WBUR’s The ARTery, 12/22/2021

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THE TENDER BAR

“The most lovingly photographed of the Massachusetts locations is the Wakefield Bowladrome, where it has never stopped being 1978 and all the filmmakers had to do to make it period-specific was take down the ‘No Smoking’ signs. It’s also symptomatic of a certain carelessness on Clooney’s part. I mean, who ever heard of candlepin bowling on Long Island?” – North Shore Movies 12/20/2021

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SPIDER-MAN: NO WAY HOME

“But before the surprisingly rousing third act – for my money the first time since The Avengers assembled that a Marvel movie has achieved the giddy liftoff of all your action figures landing in the same sandbox – No Way Home is some seriously rough sledding, reflecting what a non-starter Tom Holland’s MCU incarnation of Peter Parker turned out to be.” – North Shore Movies, 12/15/2021

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