PATRIOTS DAY

“The narcissism is grotesque. In PATRIOTS DAY, Wahlberg can’t even walk down the street without people stopping him just to say what a great guy he is.” – Sean Burns, North Shore Movies

“…the amazingly faux Hollywood heroism of the fictional Tommy Saunders topples the film into outright insult and insensitivity to the real heroes accomplishments and memory.” – Tim Estiloz, El Mundo Boston

“Be warned that the re-creation of the confusion and carnage in the immediate aftermath of the explosions is intense and realistic. Rest assured, though, that the film — for its occasional gaps in coherence — avoids a sense of exploitation.” – Kilian Melloy, Edge Boston

“…personal baggage aside, the film is too choppily made, rushed and heavy-handed to be anything greater than a by-the-numbers, “based on true events” pic.” – Allyson Johnson, Cambridge Day

“PATRIOTS DAY is able to give viewers an inside look at one of the most insane and illogical periods in recent Boston history.” – Jaskee Hickman, Cinematic Essential

PASSENGERS

“PASSENGERS is the last what-the-fuck-were-they-thinking debacle to be released in a year that’s been lousy with them.” – Sean Burns, Spliced Personality

“The plot point of the man’s malfeasance is necessary to give the film depth and force, and the woman’s forgiveness provides the only possible upbeat resolution, but the very nature of the situation, saddled as it is with gender-role baggage that’s sure to chafe, can’t help but create a huge PR problem.” – Kilian Melloy, Kal’s Movie Blog

“PASSENGERS is a movie that hopes to bring something different from what is normally demanded of Hollywood these days.” – Jaskee Hickman, Cinematic Essential

“PASSENGERS lacks the derring-do of ROGUE ONE or the deep-dish philosophizing of ARRIVAL, but it is a solid and worthy science fiction effort that treats its characters–and its audience–as adults.” – Daniel M. Kimmel, North Shore Movies

LION

“This is, at its very heart, a simple story about a young boy desperately wanting to be reunited with his mother again.” – Allyson Johnson, The Young Folks

“The drop-off that separates Pawar’s LION from Patel’s is so sheer that it’s vertiginous. Cut half of the latter from the picture and maybe you’d have something—at the very least you’d have a much leaner, and much more watchable, production.” – Andy Crump, Paste Magazine

“Like a lot of The Weinstein Company’s recent Oscar bait, LION ends with more than half a dozen pages of onscreen text telling you all sorts of things the filmmakers couldn’t figure out how to fit in the story – including an explanation for the title.” – Sean Burns, Spliced Personality

ASSASSIN’S CREED

“It does what it has to do for its target audience, but isn’t likely to reach out beyond that.” – Daniel M. Kimmel, North Shore Movies

“Alas, this movie does not transcend either its genre nor its technical expertise.” – Kilian Melloy, Edge Boston

SING

“As with the year’s best animation, ZOOTOPIA and KUBO AND THE TWO STRINGS, it’s a movie that adults can go to without any kids and enjoy it on their own.” – Daniel M. Kimmel, North Shore Movies

FENCES

“For a first-timer, the film would be an achievement. For Washington, it’s further proof of his indelibility as an actor.” – Andy Crump, Paste Magazine