NIGHTCRAWLER

“I can’t say how everyone else who sees it will receive NIGHTCRAWLER and its content, but I certainly found it to be a disturbed piece of work that’s also pleasantly thrilling.” – Jaskee Hickman, The Movie Picture Show

“NIGHTCRAWLER isn’t a horror movie, per se, but the underlying truth of Bloom and what he represents is horrifying.” – Andy Crump, Movie Mezzanine

“Gilroy ramps up the suspense while mining pearls of black humor as Louis becomes bolder in his quest for bigger paychecks and increasingly voyeuristic images. ” – Inkoo Kang, The Wrap

“For a movie that tries so hard to be disturbing, NIGHTCRAWLER is actually quite comforting. It takes a societal sickness and blames it all on a boogeyman.” – Sean Burns, Spliced Personality

CITIZENFOUR

“CITIZENFOUR plays like an international thriller, but the fact that it’s real makes everything you see in this film feel like a real and present threat.” – Kilian Melloy, Edge Boston

WHITE BIRD IN A BLIZZARD

“It’s easy to admire an ambitious letdown like WHITE BIRD IN A BLIZZARD, but much harder to be moved by it.” – Inkoo Kang, The Wrap

“While he may show some talent in capturing young Kat’s growth form virgin to seductress, Araki doesn’t have a clue how to weave that sexuality into the story in a way that adds to the mystery in any meaningful way. ” – John Black, Boston Event Guide

LISTEN UP, PHILLIP

“…a relentless downward spiral of a movie that finds the melancholy in misanthropy – like Llewyn Davis’ literary cousin.” – Sean Burns, Movie Mezzanine

“…a narcissistic asshole is still a narcissistic asshole.” – Jake Mulligan, Dig Boston

“Finally, there’s a movie that has the courage to let an asshole character remain an asshole from beginning to end.” – David Riedel, Santa Fe Reporter

“We’re invited to laugh at, not with, these people; the trick is to keep them sympathetic, and by virtue of their own self-flagellating honesty it’s a trick they pull off.” – Kilian Melloy, Edge Boston

HORNS

“Pulling this story off would require a juggling act of three tones: satire, trouble in small-town paradise drama, and religious parable. Aja attempts all three, and is largely successful with the first two.” – Kristofer Jenson, Dig Boston

“Stunt casting or not, Radcliffe singlehandedly elevates the entire goddamned picture, so the only question we’re left with is: What kind of film would this be without him?” – Andy Crump, Paste Magazine

“…a nihilistic, bloodthirsty manifestation of love that celebrates violent forms of hate.” – Charlie Nash, Edge Boston