“An Aronofsky movie without any of the showmanship that makes Aronofsky movies watchable. Instead of bringing the old razzle-dazzle, he shoots it as drably and perfunctorily as he possibly can, boxing everything up into a cramped 1.33 aspect ratio in a dingy, cluttered apartment that looks like it smells bad. There’s not an interesting image in the entire picture.” – North Shore Movies, 12/18/2022

“Federico Fellini’s 8 ½ and Bob Fosse’s All That Jazz are two of the greatest movies ever made, and Bardo borrows from them egregiously. But Fellini and Fosse were wise enough to make their narcissistic stand-ins figures of fun. Iñárritu is not a filmmaker who has much of a sense of humor about himself. Or about anything else, for that matter.” – North Shore Movies, 12/16/2022

“Abbasi’s blunt-force, big-screen translation is not for the faint of heart. It’s in your face and unsparing of the horrors endured by these sad, dopesick sex workers. Hanaei liked to strangle his victims with the headscarves women are required to wear in public, a symbolic gesture that would feel hackneyed in a fictional story, but happens to be horrifyingly true.” – WBUR’s Arts & Culture, 12/16/2022

“To me it feels all of a piece, restlessly questioning what constitutes decency and respectability in America. One of the wealthiest families in the world can murder half a million people and purchase unprecedented immunity with a $6 billion settlement, yet this so-called polite society is scandalized by snapshots of strippers, sex workers and drag queens.” – WBUR’s Arts & Culture, 12/09/2022

“This might be Will Smith’s worst performance. One-note, remote, and emotionally constipated in that way movie stars can come off when they start believing their own messianic bullshit. (See also: the late works of Wahlberg, Mark.) Emancipation is not a historical document but rather an ugly, exploitative monument to one man’s out-of-control ego.” – North Shore Movies, 12/09/2022

“While I can personally confirm that managing a movie theater is an excellent way to end up in the booby hatch, Empire Of Light tries to cram too many big, serious issues into an unassuming setup, as if writer-director Sam Mendes’ memories of his childhood cinema didn’t feel important enough so he had to send neo-Nazis crashing through the front doors.” – North Shore Movies, 12/09/2022

“On the surface this might seem an inversion of the filmmaker’s entire modus operandi, the bustling casts of coolly observed ordinary people replaced by a single performer reading scripted lines, alone in a garden with a running time a fraction of his usual three or four hours. And yet A Couple is still spiritually a Frederick Wiseman film through and through.” – WBUR’s Arts & Culture, 12/01/2022

“I’ve seldom seen a film that has less faith in its audience. It gently spits the pre-chewed meanings of scenes into the viewers’ mouths like we’re little baby birds at feeding time. The Fabelmans is the kind of movie that a lot of critics are going to love because it’s done all the interpretation for you in advance. Attendance is barely mandatory, our attention optional.” – North Shore Movies, 11/23/2022

“It’s an insanely uneven picture, conjuring a genuinely disturbing menace when not wallowing in sappy, po-faced YA tropes. Only Guadagnino would think that shooting Stephenie Meyer’s Trouble Every Day was a bright idea, and yet the movie’s gross-out romantic climax boasts such a birdbrained commitment to the bit that I begrudgingly surrendered.” – North Shore Movies, 11/23/2022

“Johnson again takes great pleasure in subverting audience expectations, doubling back and re-setting the story every time you think you’ve got it figured out. But Glass Onion is hardly a reprise of the previous picture, switching things up from autumnal, old money New England to the sun-drenched nouveau riche and striking a more overtly farcical tone.” – WBUR’s Arts & Culture, 11/21/2022