“It’s through these sad eyes that we see the movie, glimpsed in half-understood fragments of an adult world Cáit can’t quite comprehend yet. Bairéad keeps the camera low to the ground or banished to the backseat of the car, focusing on the kind of stray details that burn into a child’s memory. It’s a delicate film of small gestures and the slow building of trust.” – WBUR’s Arts & Culture, 02/28/2023

“This is slovenly meme shit designed to be lapped up by insecure audiences desperate to feel like they’re hip and in on the joke, no matter that there isn’t one. The screening resounded with such performative over-laughing; the intense brays and forced conviviality of folks insisting you understand that they are cool, and that they get it. It’s a bear on cocaine.” – North Shore Movies, 02/24/2023

“So little is known about Emily’s actual life and times that the film is free to indulge in thrillingly salacious speculations. O’Connor gins up a randy melodrama of missed connections, undelivered letters and deathbed confessions in the doomy, romantic spirit of her subject. It’s a very modern movie about the idea of being Emily Brontë, misfit of the moors.” – WBUR’s Arts & Culture, 02/23/2023

“A film for anyone who has ever anxiously sweat through those endless seconds after the cashier swipes your card while you’re wondering if the payment will be approved. It’s a panic attack of a movie about a single mom during a week when ends won’t quite meet, and how sometimes it takes the stamina of a superhero just to get through the goddamn day.” – North Shore Movies, 02/17/2023

”Not a movie so much as a scaffolding site for the perpetuation of more Marvel product. There’s no longer any difference between the coming attractions and the feature. These days, the world’s largest entertainment franchise is capable only of churning out advertisements for itself. At what point does this slop finally become insulting to its target audience?” – North Shore Movies, 02/15/2023

“On paper this all sounds perfect, yet almost nothing in the picture works. I found myself leaning forward in my seat, wondering why I wasn’t enjoying it more. The past fifteen years of trashy action films have clearly taken their toll on Neeson. One should never come away from a femme fatale seduction scene thinking the detective needs a nap.” – WBUR’s Arts & Culture, 02/14/2023

“Soderbergh is back in the director’s chair, using Mike as a prism for another crisis or two. Very much a post-pandemic and post-#MeToo movie, on the surface it’s an old-fashioned musical. But look closer and you’ll see a more serious film about artists in transition, trying to figure out paths forward in the new normals when the old ways aren’t working anymore.” – North Shore Movies, 02/10/2023

“She doesn’t over-accentuate anything for the camera, and you’ll never catch her actors acting. Events both life-changing and banal unfold within the same, steady rhythms of ordinary, everyday existence. Such understatement can make Hansen-Løve’s films feel a little anticlimactic while you’re watching them, but they linger in the memory longer than most.” – WBUR’s Arts & Culture, 02/09/2023

“Like an even more explicitly religious revision of Signs with a former wrestler instead of alien invaders. Behind the camera, Shyamalan is precise, inventive and keeps a lot of the action offscreen to make your mind do the dirty work. He also still can’t write, which is a problem when you’re trying to parse as many big ideas as this picture keeps throwing around.” – North Shore Movies, 02/03/2023

“There’s no way to look at the groundbreaking career achievements of Lily Tomlin, Jane Fonda, Rita Moreno or Sally Field and feel good about watching this slapdash sponsored content, a shrine to an increasingly weird Florida Man producing his own unseemly vanity project. Is this the best Hollywood can offer these women who have given the movies so much?” – North Shore Movies, 02/02/2023