BOHEMIAN RHAPSODY
“Watching Queen come together, work together, and perform elevates the movie and gives it just about all of the value that it has.” – Jaskee Hickman, Cinematic Essential
“[Malek] burns up the screen as Mercury whether dealing with intimate personal issues, ego-driven conflicts behind the scenes, or on stage in performance.” – Daniel M. Kimmel, North Shore Movies
SUSPIRIA
“SUSPIRIA is cut off from the aesthetic pleasures of [Guadagnino’s] previous pictures, suffocated in the self-serious stupidity of trying to make his sexy witch movie into a statement about the Holocaust.” – Sean Burns, North Shore Movies
“SUSPIRIA is wholly its own film and offers frantic energy and lush visuals to make for a nearly perfect cinematic experience.” – Deirdre Crimmins, High-Def Digest
THE NUTCRACKER AND THE FOUR REALMS
“… an imaginative and charming movie for the upcoming holiday season.” – Daniel M. Kimmel, North Shore Movies
“Were it not for the lush art direction and occasional nods to Tchaikovsky, THE NUTCRACKER AND THE FOUR REALMS would be a vapid, money-grabbing release for the Christmas season.” – Deirdre Crimmins, High-Def Digest
WILDLIFE
“…a quietly devastating work from Dano, leaving behind scar tissue you may not even notice until the credits have rolled.” – Charlie Nash, Edge Boston
“…WILDLIFE, while distant in its approach at the start, is a lingering familial drama that promises a rising, directorial talent.” – Allyson Johnson, Cambridge Day
CAN YOU EVER FORGIVE ME?
“The greatest pleasure CAN YOU EVER FORGIVE ME? offers, though, is the chemical reaction between [Melissa] McCarthy and [Richard E.] Grant, perhaps an unlikely pairing but no more perfect a pairing than you will find in theaters as we roll into the juddering doldrums of awards season.” – Andy Crump, Paste Magazine
MUSEO
“…in the end it’s the questions this restlessly intelligent film asks about the shifting values we ascribe to objects that make “Museo” worth the price of a ticket.” – Sean Burns, The ARTery
MONROVIA, INDIANA
“MONROVIA, INDIANA begins with a series of strikingly beautiful, postcard-worthy vistas featuring cornfields, mailboxes, blue skies and assorted other familiar, stock images of Americana. It ends with a shot of a grave.” – Sean Burns, The ARTery
