“Attempting to inflate this tawdry true crime tale into some sort of metaphysical meditation, Hawley leaves out the diaper detail, which is a shame because the movie’s so full of shit it could’ve used one. It’s impossible not to wonder what the hell he was trying to get at here, overloading every scene with show-offy camera tricks and empty intonations.” – North Shore Movies, 10/10/2019

“An oddball, archly comic examination of the 2016 Panama Papers scandal, this is in many ways a typical Soderbergh picture, in that it’s a sardonically amusing tale of economic malfeasance fixated on process and procedure. But it’s also weirdly half-baked and under-realized, the most slapdash of the director’s efforts since his 2002 Full Frontal.” – WBUR’s The ARTery, 10/10/2019

“A monotonous slog that won’t stop patting itself on the back for being ‘edgy’ when really it’s just another dull corporate product gussied up with adult-ish affectations and dorm room philosophizing about ‘society, man.’ Joker carries on as if it’s imparting some sort of serious social commentary while being extremely careful not to actually say anything at all.” – WBUR’s The ARTery, 10/03/2019

“A diabolically funny romp that sends clichés careening into each other with a prankster’s perversity. Two innocent lovers flee from an ever-expanding gallery of peculiar criminals during an evening of slapstick misunderstandings that come to gruesomely amusing ends. The movie doesn’t have a thing on its mind besides mayhem and I enjoyed it enormously.” – WBUR’s The ARTery, 10/02/2019

“A deliriously twitchy Laurence Fishburne goes way over the top. Cutting his cartel stash to side-hustle a toxic cocktail of cocaine, fentanyl and heroin, this perpetually gacked, hooker-happy horndog is always trying to stay one step ahead of his employers, the feds and his ex-wife’s child support lawyers. As long as the movie sticks with Fishburne it’s a blast.” – North Shore Movies, 09/26/2019

“Monos has a trippy, hypnotic energy that calls to mind such rumbles in the jungle as Apocalypse Now and Aguirre, The Wrath of God. It begins in a place of madness and only goes further out from there. Landes and his cinematographer Jasper Wolf have a knack for making even the simplest interactions look thrillingly, forbiddingly strange.” – WBUR’s The ARTery, 09/25/2019

“A reactionary crock even by the standards of this series, and the dullest of all the Rambo movies by several measures. What follows is a hard-R, even more racist re-write of Taken, chock full of trendy, Fox News fear-mongering about our neighbors to the South, complete with loving shots of border walls that land like elbows to the ribs.” – WBUR’s The ARTery, 09/20/2019

“The supernatural can also be a salve, making palatable that which would otherwise be unbearable to watch. Such is the case with Tigers Are Not Afraid, a bullet-strewn fairy tale about Mexican orphans of cartel violence. It’s a heightened, harrowing children’s adventure spiked with moments of pure terror, great sadness and pointed politics if you’re listening for them.” – WBUR’s The ARTery, 09/18/2019

“I didn’t think I needed to see another zombie movie ever again, but Ueda takes the genre’s oversaturation to giddy new levels of meta. It’s a movie about zombies attacking the set of a zombie movie, captured in a single unbroken shot by a daredevil cinematographer who at one point discreetly tries to wipe blood off the lens. Or at least it is until it isn’t.” – North Shore Movies, 09/12/2019

“A sinking feeling comes with the realization that every cast member is going to get their own set piece before we can get back to the plot that already isn’t moving in any particular hurry, so for the movie’s middle hour-and-a-half we have to sit and watch what is for all intents and purposes the same scene six times in a row. It’s a massive structural miscalculation.” – WBUR’s The ARTery, 09/05/2019