THE PRESIDENT’S WIFE
“This marks the feature film debut of director/co-writer Léa Domenach who shows a deft touch balancing both the comedy and the more dramatic moments. With the radiant Deneuve leading the way, The President’s Wife is a delight.” – Daniel M. Kimmel, North Shore Movies
SCRAP
“Scrap is the sort of festival film that should thrive on streaming. Never intended to be a blockbuster, it’s a grown-up movie that doesn’t make you feel like you’ve just wasted your time on two hours of explosions and special effects.” – Daniel M. Kimmel, North Shore Movies
THE WEDDING BANQUET
“Ultimately The Wedding Banquet stands as an example of a remake that was done for the right reasons. The world of 2025 is different from the world of 1993, and the new film reflects those changes in a positive way.” – Daniel M. Kimmel, North Shore Movies
“Great Danes are the king of dogs,” declares a character in The Friend. If you believe that, you may be engaged by this story of a woman bequeathed a hulking dog named Apollo. Otherwise, in spite of a game performance by Naomi Watts, it is a chaotic mess.” 
“For my second novel, Time on My Hands, I set out to spoof every cliché of the time travel story, a genre I enjoy. The makers of the British comedy Time Travel Is Dangerous have come up with something even I didn’t think of: having a time machine would come in really handy if you owned a shop selling vintage items.” 
“Do people even remember Andy Kaufman today? It’s hard to believe that this comedian/performance artist/actor has been gone for more than forty years, dying of lung cancer in 1984 at the age of 35. Thank You Very Much is a wonderful introduction to this unique talent. For those us who were around then, it provides interviews and insights into who he was and what made him tick.” 
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“While wearing its homages to the alien franchise on its sleeve, I don’t see this fact as a bad thing.” 
“The original film is not remembered fondly for its narrative, so there must have been an incessant amount of mental gymnastics to adapt this.”
“Ultimately, it’s the cast’s understated collective anxiety that sells the film’s stakes, and Soderbergh’s trademark casual cool that sets up its political allegory while obscuring it at the same time.” 
“October 8 makes no attempt to solve the issues between Israel and Palestinians. It isn’t a “Jewish film” in the sense that it’s not narrowcasting to a particular audience. It’s a message to all of America: the world’s oldest hate has staged a comeback – what are we going to do about it?”