“Screenwriter Knight smartly caters the role to everything at which Hathaway excels. Linda is type-A, buttoned-up and wild at heart, over-talking her way through sanctimonious speeches with a rigid physicality that keeps getting distracted and going all slinky whenever her lusty eyes light up. I’d kill to see her play Beatrice in Much Ado About Nothing.” – North Shore Movies, 01/15/2021

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“Stallone spills his saga with a breathtaking lack of self-awareness and the undisguised mean streak of the perpetually aggrieved. I suppose there’s something potentially tragic about a less-talented little brother feeling forever outshined, but the documentary is just a giant whine. It’s 73 minutes of Fredo’s ‘I’m smart and I want respect!’ speech from Godfather II.” – North Shore Movies, 01/11/2021

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“After fifteen years of hotshot young directors ripping off Alfonso Cuarón’s battle sequences from Children Of Men, apparently now they’ve moved on to stealing the stillbirth scene from Roma? I suppose one can admire the technical bravado required to choreograph the 1917 of crib death while also wondering why such a thing would be necessary.” – WBUR’s The ARTery, 01/07/2021

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“It’s an ungainly film but not ineffective, particularly in the silent scenes with a gruff Clooney hidden behind a large David Letterman beard, his haunted eyes filling in the missing dialogue. An unexpected spirit of can-do positivity carries it through to a revelation you can see coming lightyears away, yet made me cry all the same. Look, it’s been a long year.” – WBUR’s The ARTery, 12/17/2020

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“For such a square story it feels wonderfully subversive, as Ashe has moved the entire aesthetic of the Technicolor melodrama uptown. These perfectly painted sets and impeccably pressed clothes aren’t attempting to replicate reality, but rather a dream life in the movies from which people who look like the cast of Sylvie’s Love have always been excluded. Until now.” – WBUR’s The ARTery, 12/17/2020

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“The search for authentic experiences in our over-mediated age can be an elusive one, almost as slippery as this provocative mood piece from writer-director Kiyoshi Kurosawa. In the film’s quieter moments we feel the character’s yearning for real connections in a modern world where everything, to some degree or another, is a performance being staged.” – WBUR’s The ARTery, 12/17/2020

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“Director Wolfe hasn’t made much of an attempt here to reimagine the play as a movie. Which is fine, because when the cast and the material are this strong sometimes it’s preferable to just have a record of the performances. Especially Boseman’s, which feels like the first role in the electrifying second act of a career cut heartbreakingly short. What an incalculable loss.” – WBUR’s The ARTery, 12/17/2020

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Tenet is practically a Christopher Nolan fetish film, fawning over all the director’s favorite things: temporal loops, bespoke suits, large-format photography, sexless saviors, Michael Caine, dialogue-muffling masks and a curiously stunted way of looking at the world that feels derived almost entirely from James Bond movies of the 1960s and ’70s.” – WBUR’s The ARTery, 12/17/2020

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“Individual vignettes have purpose and snap while the larger point of it all remains a little fuzzy and out of focus. Still, it’s refreshing to see a movie about senior citizens in which their sex lives aren’t played for horrified laughs. Like its three leading ladies, the film is a class act and even if the destination is a bit disappointing this is still a trip worth taking.” – WBUR’s The ARTery, 12/17/2020

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“It’s a 1970s crime picture told from the POV of the gun moll, a character continually cast to the side and kept in the dark. It’s a brilliant concept, forcing viewers to ask ourselves all sorts of important and uncomfortable questions about who we gravitate to at the center of our stories and why. If only the film’s execution were half as exciting as its ideas.” – WBUR’s The ARTery, 12/10/2020

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