Spencer has a lot of the same problems as Lisey’s Story, Larraín’s eight-hour Stephen King adaptation that aired to little notice on Apple TV+ this past summer. He’s a filmmaker who thinks in bold, often abstract images and concepts that don’t always sit well alongside conventionally scripted scenes. I liked the movie a lot until I didn’t anymore.” – WBUR’s The ARTery, 11/04/2021

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“Dismissed in some circles as a Spanish spin on Girls, the filmmaking has such a wispy, gossamer touch it’s easy to miss how much she’s getting at here in the guise of a breezy confection. Only in the fiendishly clever closing credits do you realize the deep denial diagnosed in El Planeta is suffered not just by these two characters, but also the modern world.” – North Shore Movies, 11/04/2021

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“A film about mourning, but in an especially British, stiff upper lip fashion. As in the original movie, which dealt with the ravages of addiction in an almost oblique, muted mode, the roiling emotions are kept close to the vest. Hogg again employs an eggshell color palette and elliptical edits. The surfaces are placid, beneath them lies turmoil.” – North Shore Movies, 11/04/2021

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“It’s the mortifying prepubescence of Wright’s worldview that gets under my skin. The guy is my age but his films still feel like a kid playing with action figures. It’s a cinema for collectors: the movies are like Mondo limited edition posters of themselves, designed to be ranked on Letterboxd lists and parsed on Reddit threads for clever references to earlier, better films.” – North Shore Movies, 10/28/2021

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“Villeneuve’s adaptation of Frank Herbert’s 1965 sci-fi eco-fable is a gargantuan spectacle, pummeling viewers with visual splendor and a sound mix that feels like an assault. It’s as massive a movie as you’re going to see this year and possibly the next. I’m talking huge. You don’t watch Dune so much as you surrender to it. At least I did, quite happily.” – WBUR’s The ARTery, 10/21/2021

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“A tribute not to the legendary filmmaker’s techniques but to his restless, questioning spirit, unafraid to dive into the messy overlap between art and life. Yet this is a much kinder, gentler film than any by Bergman, taking a moment to champion the virtues of Sweden’s other chief export ABBA, before ultimately finding a little serenity in the silence.” – North Shore Movies, 10/15/2021

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“There’s an agreeably rambling, ragtag energy that when it’s cooking has the sidewinding appeal of an old country tune, packed with colorful characters and a lot of stuff happening that stubbornly refuses to rise to the level of story. It only gets into trouble when Corsbie runs out of verses to Snider’s song and attempts to impose a plot on the proceedings.” – North Shore Movies, 10/14/2021

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“The best Bond since Craig’s initial outing in Casino Royale, and the first since the character’s 2006 re-introduction to remember that these films are supposed to be funny. Thanks presumably to a well-publicized dialogue polish by Fleabag writer Phoebe Waller-Bridge, No Time To Die is full of punchy, prickly banter and has a refreshing silly streak.” – WBUR’s The ARTery, 10/07/2021

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“I’m not sure Lamb is ultimately about much beyond atmosphere and arresting visuals, but this hypnotic little whatzit from Reykjavik gets a lot of mileage out of a central visual gimmick so sublime it carries the film over a lot of dead air. Is the image of a baby sheep dressed in people clothes enough to sustain an entire movie? The answer might surprise ewe.” – North Shore Movies, 10/07/2021

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“An anti-nostalgia nostalgia trip, it’s a knotty character study about insular tribes, empty gestures and performative macho rituals full of sound and fury, signifying nothing. No storyteller delights in the subversive anticlimax quite like David Chase, and I worry that this excellent film will be judged against audience expectations it has no interest in fulfilling.” – WBUR’s The ARTery, 09/30/2021

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