“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

“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