”The film’s boldest and most effective stylistic gamble is that Glazer never goes inside the gates of Auschwitz. Screams and bursts of gunfire echo faintly in the distance, almost but not quite out of earshot. We can barely hear dogs barking and commands being shrieked, all while the Höss family goes about their dull, daily routines.” – WBUR’s Arts & Culture, 01/11/2024

“Shot in stunning 6K resolution 3D by cinematographer Franz Lustig, it’s simply jaw-dropping to look at, bringing us into the massive installations and cavernous workshops of artist Anselm Kiefer. The sharp texture of these images takes your breath away, the objects seeming to float in front of us in the auditorium. You’ve never seen anything like this.” – WBUR’s Arts & Culture, 01/05/2024

“Both a dramatization of Orlando and a deconstruction of the text, the movie is a manifesto obsessed with tearing down boundaries in form and content. To Preciado, gender roles are ‘political fictions enforced by repetition and violence,’ which is why the film itself so flagrantly defies any genre categorizations. He’s trying to make a nonbinary movie.” – WBUR’s Arts & Culture, 12/04/2023

“The movie takes place in 1946 and could have been made then as well, were it not for the astounding special effects that somehow manage to render the most detailed, photorealistic Godzilla I’ve ever seen in a movie… yet he still kind of lumbers around like a man in a suit with a load in his pants. This is a tricky needle to thread, and Yamazaki does so brilliantly.” – North Shore Movies, 12/01/2023

”I know I’m in the minority on this, but I find Carey Mulligan to be one of the biggest buzzkills in cinema, always scowling and bringing scenes down. The second hour of Maestro is a drag even before it becomes a cancer movie. This is one of those biopics where the storylines are all resolved with a half-hour to go, and then you sit there waiting for everyone to die.” – WBUR’s Arts & Culture, 11/21/2023

”Phoenix’s pouty performance is going to be controversial, with lines like ‘Destiny brought me to this lamb chop’ already breaking the internet. I think he’s a hoot, and Vanessa Kirby’s magnetically imperious Joesphine is every bit as delightful, constantly calling her husband’s bluffs in a randy, dom-sub relationship that’s practically a dirty comedy act.” – WBUR’s Arts & Culture, 11/21/2023

”A sumptuously photographed, pansexual sleaze-feast with a thing for mood lighting and bodily fluids. When the movie’s really cooking it plays like Pasolini’s Teorema by way of Cruel Intentions. This is all fine, disreputable fun until what might be the stupidest, most misguided ending I’ve seen since… well, since Fennell’s previous picture, Promising Young Woman.” – North Shore Movies, 11/21/2023

”Haynes stages their scenes together with the two side-by-side, staring into mirrors, so we can better see Moore’s physicality bleeding into Portman’s. May December belongs to a rich tradition of great directors doing Persona riffs, like David Lynch’s Mulholland Drive or Robert Altman’s 3 Women. But there’s more going on here than mimicry and homage.” – WBUR’s Arts & Culture, 11/16/2023

”What’s so disappointing about Thanksgiving is that Roth has scrapped the sleazy, Reagan-era aesthetic of his original Grindhouse trailer and instead made an homage to a much lamer and tamer era of slasher movies. This is a crappy Scream knockoff with bad New England accents. It might as well be called I Know What You Did Last November.” – North Shore Movies, 11/16/2023

“It’s a fantastic premise, but it hasn’t been fully fleshed out into a story. Writer-director Borgli’s previous picture, the Norwegian import Sick Of Myself, ran out of places to go after about an hour. Faced with a similar impasse, Dream Scenario settles for being a facile satire of celebrity cancel culture. You can feel the film’s ambitions shrinking as it goes along.” – North Shore Movies, 11/16/2023