BOFCA MID-WEEK ROUNDUP 11/16/2016

Andrew Crump breaks down The Ten Best Movies In Theaters Right Now

Spoilerpiece Theatre talks ORIGIN OF VIOLENCE, ARRIVAL, MOONLIGHT and LOVING

Bob Chipman talks GHOSTBUSTERS and The Election

Sean Burns looks at DOG EAT DOG

Kristofer Jenson’s Boston Reel has Repertory Picks

BOFCA REVIEW ROUND-UP: 11/11/2016

7d47ec7ea66ca8c8_soyld04713332c2r2 ARRIVAL

“This is science fiction for grown-ups, ready to follow three-dimensional characters grappling with deep ideas.” – Daniel M. Kimmel, North Shore Movies

“As far as spawning soulless aesthetic imitators goes, I think it’s now safe to say that THE TREE OF LIFE has done more damage to the American cinema than anything since PULP FICTION.” – Sean Burns, Spliced Personality

“By sheer stroke of timing, it’s about global fracturing, global and national cultures split by mistrust, and enmity fostered through years of intercontinental strife.” – Andy Crump, Paste Magazine

“While there are moments to ponder surely, ARRIVAL is an emotional experience, much greater than the intellectual, thoughtful experience one may expect.” – Allyson Johnson, The Young Folks

“ARRIVAL has a big budget, but it’s got the heart of a smaller, more thoughtful project; it’s more THE DAY THE EARTH STOOD STILL than EARTH VERSUS THE FLYING SAUCERS – Kilian Melloy, Edge Boston

“From first scene to last, the film leads you from darkness into light, on a continuous journey of life and death, where communication is key to an ever widening horizon; it’s a journey both strange and familiar; you’ll know when you’ve arrived.” – Joyce Kulhawik, Joyce’s Choices

 

lovingLOVING

“LOVING is a slow burn that’s contents to experience solitude, spirituality and nature without ever relenting on the human spirit.” – Allyson Johnson, The Young Folks

“Nichols, once again, proves too timid to dig deep enough into his subject matter to mine something, anything, for us to latch onto.” – Andy Crump, Paste Magazine

 

 

almostchristmas3ALMOST CHRISTMAS

“In the end, the filmmakers’ poor choices are highlighted in the outtakes shown during the credits, featuring some of the best one-liners and most buoyant, improvisational comedy of the movie.” – Michael Cox, Edge Boston