“To the extent that The Menu works at all, it’s as a coming-out party for newly minted movie star Taylor-Joy, proving charismatic enough carry even a piece of junk like this on her shoulders. The rich shadings and deep shadows of Peter Deming’s marvelous cinematography play especially great on her angular features. You can see why the chef is smitten with her.” – North Shore Movies, 11/20/2022

“If there’s a term for global warming in the Quechua language, we don’t hear it aloud. We don’t need to. Our impending climate catastrophe colors every action in the film, which is about what happens when a way of life becomes unsustainable. Utama is not exactly what one would call a subtle or particularly complex piece of storytelling. Nor does it need to be.” – WBUR’s Arts & Culture, 11/17/2022

“The rest of the film is given over to an unimaginative quest for revenge and advertisements for upcoming Disney content, eventually coming back around to familiar Marvel dogma that the most powerful weapons in the world are best left unchecked in the hands of royal families and benevolent billionaires, who will always have our best interests in mind.” – WBUR’s Arts & Culture, 11/08/2022

“Good lord, is Terrifier 2 disgusting. It’s also a blast, if you’re into this kind of thing. Thornton has a terrific physicality. There’s something silly about him, a lightness that makes the ridiculously extended dismemberments feel like an elaborate joke: a gag in both senses of the word. It’s all in good fun even while being one of the grossest movies ever made.” – North Shore Movies, 10/27/2022

“McGregor still hasn’t figured out how to do an American accent, tripping over his over-enunciated R’s like they’re loose floorboards. He’s otherwise fine as the fussbudget brother to Hawke’s mercurial musician, the two actors suggesting a rich backstory for which Garcia’s schematic screenplay provides only the boldest of melodramatic strokes.” – North Shore Movies, 10/21/2022

“Ticket To Paradise feels like being handed a glass of water after a long walk across the desert. It’s lukewarm tap water and a little cloudy, but you’re grateful for it all the same. The picture coasts almost entirely on the charisma of its superstar leads and the massive amount of affection we in the audience have accrued for them over the years.” – WBUR’s Arts & Culture, 10/20/2022

“More of a conversation-starter than an argument, asking questions for which there are no easy answers and playing upon our sympathies to trick the audience into interrogating our own personal permission structures. There’s nothing didactic about Tár, nor any simple moral you can hashtag or put on a bumper sticker. The film is complicated. Difficult.” – WBUR’s Arts & Culture, 10/12/2022

“The whole point of going to a Dario Argento picture is to see the gorgeously operatic, over-the-top set-pieces. But while Arnaud Rebotini’s score finds an appropriately soaring 1980’s synth groove, the murky cinematography by Matteo Cocco is strictly amateur hour, offering none of the director’s trademark kinky colors or lurid camera movements.” – North Shore Movies, 10/12/2022

“David O. Russell’s top-heavy, Prohibition-era farce lumbers down a very long runway without ever really taking flight. Reckless and sometimes quite silly, nothing about Amsterdam works, per se. And yet, there’s a loopy, eager energy to the picture that inspires a peculiar affection. It’s a blundering mess of a movie, but an endearing one.” – WBUR’s Arts & Culture, 10/06/2022

“Judging from her first three movies, I still have no idea if writer-director Ana Lily Amirpour is capable of telling a straightforward story. I’m also not sure she’s particularly interested in doing so. The fiercely talented filmmaker is a dazzling designer of environments, creating luminous and dangerous spaces in which her archetypal characters can roam.” – North Shore Movies, 10/06/2022