“This is where the movie’s strange alchemy takes place, in the mundanity of the grunt work and phone calls — so many phone calls — in the spaces between the books and exhibitions and things we think constitute a brilliant career. That’s where life happens. That’s where the time goes. Days like this and the next day, one after another until there aren’t any more.” – WBUR’s Arts & Culture, 11/20/2025

“This breathless tumble of incident is paced very much like the second act of a Broadway musical, hurtling along trying to cram in a few more tunes and wrap things up so we can all go back to the hotel. When it was over, I didn’t feel like I had seen a movie. There’s no rising and falling action. It doesn’t have a beginning, middle and an end. It’s all falling, all end.” – WBUR’s Arts & Culture, 11/18/2025

“Anchored by a playful, career-topping turn from Skarsgård as a father amusingly oblivious to his own shortcomings, the touching and often very funny Sentimental Value follows the Borg family’s slow surrender to reconciliation. It’s a movie about how holding grudges will eat you alive and sometimes it’s healthier to just forgive people for being who they are.” – WBUR’s Arts & Culture, 11/13/2025

“The film stops in its tracks and forces us to watch a commercial for Liquid Death, which is somehow even more undignified than having to drink out of a can with that stupid heavy metal logo on it after you’ve just paid eleven dollars for water at a concert. If movies are going to make us watch ads I feel morally obligated to mock the product.” – North Shore Movies, 11/13/2025

“This is kiddie shit. It’s also not particularly well put together, which is surprising because director Dan Trachtenberg did such a terrific job with Prey. Badlands – which despite the title has nothing to do with the Terrence Malick movie or my favorite Springsteen song — is a lot of samey, weightless CGI battles that all take place in a dusky, low-contrast haze.” – North Shore Movies, 11/06/2025

“Another not-for-the-timid exploration of mad love and mental illness from Lynne Ramsay, a filmmaker whose movies tend to feel like fugue states. Die My Love is somewhat misleadingly being sold as an issue drama about postpartum depression, but it’s really more of a morbid comedy about how everyday life is enough to drive anybody insane.” – WBUR’s Arts & Culture, 11/06/2025

“It’s a film full of heavy breathing and plunging necklines. Forget Chekov’s gun, Hedda wears the key to her father’s whole gun cabinet around her neck – the shiny metal dangling between her bosoms for maximum foreshadowing. When Løvborg pulls the trigger, my viewing on Prime Video was interrupted by a commercial for UberEats. Ibsen would have loved that.” – North Shore Movies, 11/03/2025

“Linklater turns the unorthodox production of Breathless into one of his ramshackle hangout comedies like Dazed And Confused or Everybody Wants Some!!, except with cinephiles instead of stoners and jocks. Aubry Dullin’s laid-back, up-for-anything boxer-turned-actor Jean-Paul Belmondo could have strolled out of either of those party pictures.” – WBUR’s Arts & Culture, 10/31/2025

“Blue Moon is basically a movie about pretending to be happy at your ex’s wedding. Ethan Hawke’s tour-de-force performance runs an extraordinary gamut of emotions from pettiness to horniness to heartbreak, spitting catty quips and spinning long-winded stories like he’s afraid that if he stops talking for a second everyone will realize how sad he is.” – WBUR’s Arts & Culture, 10/31/2025

”Lanthimos lingers on the squalor, leering at the ugly haircuts and bad food in irritatingly asymmetrical compositions. But as always, he’s wallowing from a safe distance, making another movie in which the human race is put on trial and found wanting. I never feel like he considers himself part of the problem. His films don’t hurt because he doesn’t have any skin in the game.” – North Shore Movies, 10/24/2025