“Individual vignettes have purpose and snap while the larger point of it all remains a little fuzzy and out of focus. Still, it’s refreshing to see a movie about senior citizens in which their sex lives aren’t played for horrified laughs. Like its three leading ladies, the film is a class act and even if the destination is a bit disappointing this is still a trip worth taking.” – WBUR’s The ARTery, 12/17/2020

“It’s a 1970s crime picture told from the POV of the gun moll, a character continually cast to the side and kept in the dark. It’s a brilliant concept, forcing viewers to ask ourselves all sorts of important and uncomfortable questions about who we gravitate to at the center of our stories and why. If only the film’s execution were half as exciting as its ideas.” – WBUR’s The ARTery, 12/10/2020

“As enjoyable as I found the Virginia Woolf mechanics and Cassavetes homages, I’m not convinced it adds up to much more than a skillful genuflection to some excellent influences. Levine’s focus on filmmakers and the boozy, bifurcated structure suggests an American version of Hong Sangsoo picture, another reference in this movie-mad hall of mirrors.” – North Shore Movies, 12/07/2020

“Like most sons of the Emerald Isle, MacGowan is a prodigiously gifted shit-talker, registering discontent with damn near all of his collaborators over the course of a career that merged traditional Irish music with the sneer of punk rock, bringing lachrymose poetry to the mosh pit and updating old rebel songs for the anarchy in Maggie Thatcher’s UK.” – North Shore Movies, 12/07/2020

“It’s a more tactile picture than most, concerned with cold mornings and cramped, permanently damp interiors. Dialogue and music are scarce, with an aggressive sound design dominated by rattlings of old houses, the dull roar of the ocean and howls of freezing winds. I paused the movie about halfway through to go put on a sweatshirt.” – WBUR’s The ARTery, 12/03/2020

“Vinterberg explores the social structures in which boozing has become embedded with wry humor and a great deal of ambivalence. Carrying a lighthearted, libertine kick, Another Round captures the loose, low-key euphoria you feel somewhere around the end of your second beer, and isn’t it funny how the problems always seem to start after the third one.” – WBUR’s The ARTery, 12/02/2020

“Stardust is a David Bowie movie for people who hate David Bowie, demeaning and debasing the artist’s life and process in overly explanatory, sitcom vignettes and boring, biopic clichés that have little to do with what actually happened and even less to do with rock n’ roll. It’s like if Bohemian Rhapsody and Green Book had a really ugly baby.” – North Shore Movies, 12/01/2020

“One yearns for the knotty moral complexity directors like Kathryn Bigelow and Clint Eastwood brought to similar battlefield stories. Mosul, however, is a rah-rah revenge picture with a fist-pumping finale, the freshness of its Iraqi setting and Arab actors a smokescreen for the oldest, moldiest formula in the Hollywood handbook: This time it’s personal.” – North Shore Movies, 12/01/2020

“Ron Howard’s horrendous adaptation is a staggeringly inauthentic attempt at cornpone melodrama that plays like this year’s Cats, except with screaming rednecks instead of singing strays. These characters aren’t inhabited so much as they are placed on display like zoo animals for further study. Whatever’s happening here, it isn’t empathy.” – WBUR’s The ARTery, 11/24/2020

“Allegedly the protagonist, Beth gets lost in the crowd of characters. Fine performers like Lois Smith, Judy Greer and Margo Martindale are stuck sitting around the living room with little to do, the latter seemingly only here because I think there’s some sort of law that you aren’t allowed to make a movie like this without Margo Martindale.” – WBUR’s The ARTery, 11/24/2020