“The entire film is shot from the perspectives of our protagonists, two Black teenagers sent to a brutal, segregated reform school in the Jim Crow-era South. But Nickel Boys doesn’t aspire to be a work of muckraking outrage, instead opting for something more lyrical and experiential. You’re not just in there with the kids, you’re seeing everything through their eyes.” – WBUR’s Arts & Culture, 12/27/2024

“By my rough estimate, it is the eleven-billionth adaptation of this material. We’ve seen it all before, but you’ve never seen it looking quite like this. The movie is a triumph of period-accurate production design and silvery, moonlight cinematography. I saw Nosferatu about a month ago and had a blast, though I haven’t thought about it once since leaving the theater.” – WBUR’s Arts & Culture, 12/24/2024

”So much of the post #MeToo discourse has addressed the inevitable power imbalances inherent in relationships and writer-director Reijn wants you to know she’s read it all. But desire is something messier and more mysterious than can be sorted out by a human resources department. You could even classify Babygirl as a romantic comedy. Sort of.” – WBUR’s Arts & Culture, 12/24/2024

”He’s got all the tics and mannerisms, the smoked eyelids and punched cigarettes, but what’s missing is Dylan’s mischief. The role needed the rascally charisma of a young Jack Nicholson or Leonardo DiCaprio’s ability to coax the audience into a conspiratorial relationship. Chalamet nails Dylan’s smirk but not the sly twinkle behind it. It ain’t him, babe.” – WBUR’s Arts & Culture, 12/23/2024

“As in the ghastly 2019 remake, thousands of digital artists have been employed to render almost-but-not-quite photorealistic animals who sing Elton John songs. Except this time they’re Lin-Manuel Miranda songs. Disney honcho Bob Iger insists on calling Mufasa ‘live-action’, even though nothing in the film was live or acted. It’s just an uglier kind of animation.” – North Shore Movies, 12/17/2024

“These are the unreliable memories of a man who knows he’s damned but is no longer sure for exactly what; an inchoate self-loathing that’s a sure sign we’re in Schrader Country. The film is haunting and elegantly made, if perhaps a bit chilly. It’s a simmering, satisfying cerebral exercise. But the best Schrader movies feel like they’re going to explode.” – North Shore Movies, 12/12/2024

”It’s impossible not to be moved by Pitt playing off the avuncular likes of Buscemi and Perlman, or by watching Joe Pesci level his whole screen presence and legacy into a shattering, wordless cameo in a nursing home. Pitt heartbreakingly holds his own with all of them, reminding us once more that this young actor could have been a contender.” – North Shore Movies, 12/12/2024

”It’s all kind of overwhelming in the way that a child remembers such celebrations — full of family members you’re supposed to know, even if you’re not entirely sure how they fit into the picture. Everything’s a bit larger-than-life, but also a little smaller. The morning after I watched the movie, it already felt like something I’d seen years ago.” – North Shore Movies, 12/06/2024

”The film alludes to the author’s accidental shooting of his second wife, Joan Vollmer, but doesn’t reckon with it in any real way. It’s there for the same reason as the Cobain songs and the bugs from Naked Lunch that turn up from time to time. These are things that people associate with William S. Burroughs, so they’ve got to be in the movie somewhere.” – WBUR’s Arts & Culture, 12/05/2024

“A literary conceit in search of a visual analogue. Heller’s insufficiently stylized direction can’t bear the metaphorical weight. It looks like a cable show. She’s a terribly pleasant filmmaker, and Nightbitch plays things way too safe for its own good, coming close to a couple of uncomfortable realities before sheepishly backing away. She barks, but the movie has no bite.” – WBUR’s Arts & Culture, 12/05/2024