To The Wonder AgainTO THE WONDER

“This is a Terrence Malick film set in supermarkets, fast-food joints and gas stations. These characters are lost spiritually and culturally. It is about the struggle to long for transcendence while simultaneously debating whether to get a Coca-Cola or a milkshake.” – Jake Mulligan, EDGE Boston

“The real challenge of the film lies in untangling its meaning from its poetic structure. To put it another way: your mileage may vary. It’s the kind of picture that refuses to hold its viewers’ hands, but it is one of Malick’s most purely cinematic.” – Andrew Crump, Go See Talk

“The relationship that brings Kurylenko and Affleck together? Hard to describe. She dances and he likes that. He’s American and she’s not. I think taking her to Oklahoma really fuels the drama.” – David Reidel, Santa Fe Reporter

“The story isn’t related so much as allowed to evaporate. Malick has taken his narrative minimalism too far here, creating gorgeous images but neglecting his role as storyteller. As a result, TO THE WONDER is wispy, tenuous and insubstantial.” – Kilian Melloy, Kal’s Movie Blog



“The film is brimming with breathtaking cinematography, quotes from Thoreau, and, well, odd scenes on a pig farm. Think Terrence Malick with an even bigger affinity for symbolism. It has that same devotion to incredible scenery and visceral emotion.” – Monica Castillo, The Artery

“I have no doubt many viewers will get hung up on a literal level. But if UPSTREAM COLOR manages to burrow its way into your brain, you won’t be likely to expel it anytime soon.” – Jake Mulligan, EDGE Boston

It’s obtuse on purpose, but that doesn’t make it good—or bad. But whether you find it good or bad will likely depend on your prevailing mood, your sense of equanimity and whether you like pigs. And worms.” – David Riedel, Santa Fe Reporter



“Instantly enters the pantheon of great baseball movies. A history lesson about America and about how, no matter how painful it might be, in the end we struggle to do the right thing.” – Daniel M. Kimmel, North Shore Movies

“Can we go back to the 1990s and rally behind Spike Lee’s attempt to craft a more truthful rendition of Robinson’s life? What we’re left with is saccharine, cheesy fakery that doesn’t do enough to honor Robinson and his legacy.” – Andrew Crump, Go See Talk

“At times, the dialogue is sappy and the music heavy-handed. The volume seems to increase when you’re supposed to feel inspired. But this is one of those sports stories that just makes you feel good.” – Evan Crean, Starpulse

“The rest is pretty dull. And in a revelation that will surprise no one, Harrison Ford, as Branch Rickey, is terrible. Rickey is supposed to be a character, not a caricature.” – David Riedel, Santa Fe Reporter

“It can’t seem to muster up enough invention to justify it’s existence, other than to give next year’s crop of overworked and underpaid schoolteachers one more contemporary movie to throw in the VCR during Black History Month.” – Bob Chipman, The Escapist



“Redford directs, giving the film a high level of gloss. What it lacks is any sense of drive. There’s an essential energy missing. You almost care about this long-dormant hippie-era version of the culture wars… almost.” – Kilian Melloy, EDGE Boston

“Long, lumbering and unabashedly earnest, it’s the kind of talky, politically-minded adult thriller that went out of fashion decades ago, except nobody told Redford. It feels like a relic from another time, which isn’t exactly a bad thing.” – Sean Burns, Philadelphia Weekly

“Instead of dealing with something interesting, like, say, radicalism and politics and leftist causes and some of the violence that resulted, the movie is a sort-of weepie about fathers and daughters.” – David Riedel, Santa Fe Reporter




“A muddled movie that tries to distract the audience from its fundamental silliness with switchback twists and turns. Even Danny Boyle’s masterful skills cannot shape this garish material into something harmonious and unified.” – Kilian Melloy, EDGE Boston

“TRANCE exists to take its audience on a ride, but it’s a ride you won’t care about and probably won’t remember taking. It presents a story not worth telling by a director who’s capable of telling great stories.” – David Riedel, Santa Fe Reporter



“Apologies to all in attendance, but the ludicrousness eventually peaked at such inane heights that I doubled over with laughter, gasping for air.” – Sean Burns, The Improper Bostonian



“Ed Koch was a consummate ham and a bit of scoundrel. Neil Barsky’s documentary tries to pay tribute to both. 
It gets the first part right.
” – Sean Burns, Philadelphia Weekly

To paraphrase a line from MONEYBALL, he’s the kind of guy who enters a room and his dick has already been there for two minutes.” – David Riedel, Santa Fe Reporter