“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

“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