“So many of the movie’s running gags are about how comfortably gay pop culture has become, including a mercilessly funny flashback to Bobby’s Queer Eye audition and a less successful Brokeback parody. These bits only amplify the disconnect between the picture’s posturing as a milestone and the feeling that it’s awfully late to the party.” – North Shore Movies, 10/02/2022

”It’s a perfect role for Sigourney Weaver, whose crisp, patrician air always seems to be keeping something wilder just barely in check. Directors Forbes and Wolodarsky try to liven things up by having her break the fourth wall and confide in the audience directly, a gimmick that’s been so abused on television as of late I’d be happy to see it retired for a while.” – North Shore Movies, 10/01/2022

“Plodding along in a bleary no man’s land between satire and sentimentality, Farrelly is too reverential of our boys in uniform to really reckon with that obscene conflict, settling for a po-faced acknowledgement that things ‘were complicated’ over there. It’s the most genial of war films, keeping the bloody violence (and the Vietnamese) almost entirely offscreen.” – North Shore Movies, 09/29/2022

“I don’t begrudge anyone for not wanting to sit through a movie this miserable and intentionally upsetting, but the trigger warning is right there in the NC-17 rating and there’s no shame in not being tall enough for the ride. There should be a place for films like Blonde to explore unpleasant images and ideas for an adult audience.” – WBUR’s Arts & Culture, 09/27/2022

“The biggest problem with Don’t Worry Darling is that it takes the audience maybe fifteen minutes to come to the same conclusion that Pugh finally figures out after a full two hours. It’s a drag being so far ahead of the characters the entire time, and Wilde’s maddeningly repetitive structure makes the viewer feel as trapped as the protagonist.” – WBUR’s Arts & Culture, 09/22/2022

“More a creepy psychological character study than a kill-crazy slasher movie, it cedes West’s can-you-top-this camera trickery to a stunning, go-for-broke performance by co-screenwriter Mia Goth that would no doubt be recognized by awards bodies everywhere if people who cared about movie awards watched movies like Pearl. She’s incredible.” – North Shore Movies, 09/19/2022

“Morgen overwhelms the audience with a multi-sensory barrage of vintage performance clips, television talk show appearances, contemporaneous stock footage, psychedelic animated interludes, semi-related art from other mediums and pretty much everything else including the kitchen sink. It’s a swirling, maximalist mosaic both electrifying and exhausting.” – WBUR’s Arts & Culture, 09/15/2022

”A film of relaxed but not inconsiderable pleasures. Updating the 1976 novel for a more sensitive era, Hamm and director Greg Mottola tone down the character’s unseemlier aspects and have a good time with his easygoing arrogance. Fletch always carries himself as if he’s the smartest person in the room, even if that’s only true about half the time.” – North Shore Movies, 09/15/2022

”This kind of thing is trickier than it looks. For every Knives Out or Only Murders In The Building you get a dozen Death On The Niles. Successful mystery sendups need to also work as examples of the genre, but the list of suspects in See How They Run contains no persons of interest, at least as far as the audience is concerned. Motives abound, none compelling.” – North Shore Movies, 09/15/2022

”Smith resides in a creative mausoleum of his own making, writing movies that aren’t just movies about other movies, they’re movies about other Kevin Smith movies. In Clerks III, the afterlife is depicted as a cruddy multiplex screening the first two Clerks films on an eternal loop, a purgatory to which followers of this once-promising career may feel already condemned.” – North Shore Movies, 09/11/2022