“Turturro sprints haphazardly through Blier’s loosey-goosey narrative, rushing down an obligatory checklist of Lebowski references early on as if getting them out of the way, before ditching the bowling alley altogether for a progression of atonal episodes (and usually group sex) with celebrity guest stars and famous friends of the filmmaker.” – North Shore Movies, 03/27/2020

”The rococo wonders of Bacurau, with its naked elderly folks wielding shotguns in the shower and a drone camera disguised as a 1950s sci-fi movie flying saucer, are in the service of an underlying optimism that frankly feels like a balm right now. We might all be off the map at the moment, but this movie reminds us that we’ve still got each other.” – WBUR’s The ARTery, 03/25/2020

“O’Sullivan’s screenplay neatly sidesteps the cliches inherent in its narrative hook. But her most astute observation is that everybody’s faking it to some degree or another, and if we all could be more open about our shortcomings then, in Bridget’s words, ‘maybe women wouldn’t feel so f–kin’ lonely all the time.’ This is the kind of movie that makes you feel less lonely.” – WBUR’s The ARTery, 03/25/2020

“Potboilers are my preferred comfort food, and this nifty Maine-set murder mystery hit the spot. It’s a New England spin on the Coen brothers’ Rube Goldberg crime contraptions with a welcome feminist bent, though Krudy and Cole are less enamored of the Fargo filmmakers’ cosmic absurdity and a bit more sympathetic to their characters’ predicaments.” – WBUR’s The ARTery, 03/20/2020

“It took me a while to come around on Pete Davidson, but seeing Big Time Adolescence at Sundance last year really won me over. He’s got the zonked, wiseacre affectlessness of vintage Bill Murray but with a post-millennial fragility; cocky in a manner that comes off as deeply, touchingly insecure. He’s an underachiever for an anxious age.” – WBUR’s The ARTery, 03/19/2020

“It pretends to be a political allegory but the shockingly shallow screenplay by Nick Cuse and Damon Lindelof never engages with these characters’ beliefs long enough for the jokes to land as anything besides empty signifiers. It feels like someone took an old action movie script from the ‘80s and peppered it with buzzwords they picked up on Reddit.” – WBUR’s The ARTery, 03/12/2020

“Progress is on the march, in ways both great and small. Since this is a Kelly Reichardt picture the emphasis is on the small, telling a tiny story about forgotten people with the deceptive simplicity of a folk tale. But don’t be fooled by this movie’s modest demeanor. It’s a glimpse of America in the process of becoming itself, for better and worse.” – WBUR’s The ARTery, 03/11/2020

“The screenplay is pretty boilerplate stuff. Think Hoosiers with Dennis Hopper as the head coach, or The Bad News Bears if Buttermaker’s alcoholism was supposed to be sad. But the thing about formulas is that they work, and it’s impossible not to get swept up in the familiar beats of a misfit coach turning around his losing team just in time for the playoffs.” – North Shore Movies, 03/08/2020

“It’s all exhausted Southie stereotypes and donkey Irish burlesques, most characters carrying on like that Casey Affleck Dunkin’ Donuts commercial from Saturday Night Live. The low point is probably a bar brawl during a Sox game while everybody’s singing ‘Sweet Caroline.’ This is the kind of Boston movie you’d expect from a couple of Lakers fans.” – North Shore Movies, 03/06/2020

“Balagov’s extraordinary second feature is about life amid the ruins. It’s a story about carrying on after the unimaginable, when things are supposed to go back to normal as if they ever really could. The production design externalizes these characters’ inner lives, the crumbling city and its shellshocked inhabitants bearing the scars of a five-year siege.” – WBUR’s The ARTery 02/27/2020