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“You might want to avoid getting caught in this web.” – Brett Michel, The Improper Bostonian

“THE GIRL IN THE SPIDER’S WEB is a nearly solid action film, but it’s underutilization of its main character stunts the film, and denies Lisbeth the opportunity to continue her life’s mission.” – Deirdre Crimmins, High-Def Digest

“…an entertaining thriller that falls short of the excitement and originality of the Swedish originals…” – Daniel M. Kimmel, North Shore Movies


MV5BYjEzMmMwNTUtNmQxOS00N2UzLTliNGUtNDU4NjkwMTZmYWRhXkEyXkFqcGdeQWtlbGFyc2Vu._V1_CR8,0,1419,798_AL_UY268_CR2,0,477,268_AL_THE GRINCH

“In a perfect world, films would only be remade when there’s room for improvement.” – Brett Michel, The Improper Bostonian

“Without a truly grumpy Grinch, and without the Seussical aesthetic, THE GRINCH is just a standard and serviceable Christmas movie.” – Deirdre Crimmins, High-Def Digest

“This GRINCH is not the mess that the live action movie was, and should entertain family audiences. Skeptics will remain unconvinced that there was any need for a new version.” – Daniel M. Kimmel, North Shore Movies




“OVERLORD is not a memorable movie or one that you have to rush out to see. However, being disappointed after watching it is highly unlikely.” – Jaskee Hickman, Cinematic Essential



boy-erased-2BOY ERASED

“…means well but is exactly the kind of star-studded, issue-oriented snore that makes Oscar season such a slog.” – Sean Burns, North Shore Movies

“Proof that a powerful story doesn’t always easily translate to transcendent cinema, BOY ERASED is undoubtedly effective in its attempt to earn an emotional response and by the time the consequential beats of catharsis take place, we are fully invested in the lives of these characters.” – Allyson Johnson, The Young Folks

“The second movie this year to shine a spotlight on so-called “gay-conversion therapy,” writer/director/producer/actor Joel Edgerton’s BOY ERASED will be seen by many more viewers than THE MISEDUCATION OF CAMERON POST. That’s a real shame…” – Brett Michel, The Improper Bostonian


pine_outlaw_kingOUTLAW KING

“…a historical melodrama that will engage the eyes and stir the blood.” – Daniel M. Kimmel, North Shore Movies





“Rather than construct an emotional tether to a faraway war, VIPER CLUB instead focuses on a poorly conceived character and her martyrdom. How dull.” – Deirdre Crimmins, High-Def Digest






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“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 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



“… 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 - Still 2WILDLIFE

“…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


98522909-18f7-4e6c-8c50-91b3062e77e0-CYEFMMobile.max-2000x2000CAN 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




“…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



Tractor_MO-1000x563MONROVIA, 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






“This HALLOWEEN is so much fun they’ll probably ruin it with a bunch of sloppy sequels.” – Sean Burns, The ARTery

“HALLOWEEN feels more like a slow-moving action movie than it did a horror film.” – Jaskee Hickman, Cinematic Essential


mgid_ao_image_logotvBEAUTIFUL BOY

“Just like the young man at its center, the film is evocative, at times dazzling and too frequently unreliable as a source of consistent storytelling, but it will manage to wrangle your wandering and aching heart by the end.” – Allyson Johnson, The Young Folks


1017Movies_the-happy-prince_Courtesy-of-Sony-Pictures-Classics_PC1THE HAPPY PRINCE

“…[Rupert] Everett’s Wilde projects great warmth and humor, even during the darkest of days, aided by John Conroy’s sumptuous cinematography and Gabriel Yared’s achingly lovely score.” – Brett Michel, The Improper Bostonian




“All of what we have in THE GUILTY comes together to create a thriller that you won’t really get to experience anywhere else at the moment.” – Jaskee Hickman, Cinematic Essential



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“There are some good moments to get out of FIRST MAN, but there aren’t enough to turn it into something I’d be willing to watch again all the way through.” – Jaskee Hickman, Cinematic Essential

“It seems that every young filmmaker is currently emulating Terrence Malick, specifically his work in spiritual drama THE TREE OF LIFE. Sadly, the latest to suffer from this affliction is 33-year-old Oscar-winning director Damien Chazelle, who cribs mercilessly from Malick’s metaphysical masterpiece, whether or not his biopic of Neil Armstrong needs it.” – Brett Michel, The Improper Bostonian

“FIRST MAN will probably be nominated for half-a-dozen Oscars. I left the theater fuming.” – Sean Burns, The ARTery

“Chazelle’s versatility and skill is on display, a step forward in an already formidable career, but there’s always the inescapable sense we’re seeing only half of what the film could have been.” – Allyson Johnson, Cambridge Day



“In spite of the apparent potential for something fresh, a lot of what we get in BAD TIMES AT THE EL ROYALE is actually predictable.” – Jaskee Hickman, Cinematic Essential

“The new film from Drew Goddard (director and co-writer of THE CABIN IN THE WOODS) is a film out of time; set during the late ’60s, it feels exactly like one of these Tarantino wannabes—only arriving 20 years too late for extra hipster cred.” – Brett Michel, The Improper Bostonian


starr-carterTHE HATE U GIVE

“While the film possesses a great deal of compassion, humor and warmth, it’s response to injustice that makes for one of the most startlingly visceral films of the year.” – Allyson Johnson, Cambridge Day

“THE HATE U GIVE is powerful and should be compulsory viewing. Its simple approach to these complex issues is appreciated, and makes its clear point accessible to the young audience for whom it was created.” – Deirdre Crimmins, High-Def Digest






“A STAR IS BORN is an American standard, beautifully sung.” – Sean Burns, The ARTery

“A STAR IS BORN has all of the markings of a movie that audiences will love.”  – Jaskee Hickman, Cinematic Essential

“Cooper’s gamble – both in stepping in behind the camera and giving Lady Gaga her first starring film role – has paid off handsomely.” – Daniel M. Kimmel, North Shore Movies

“With explosive songs and an engaging romance at the center of a crowd drawing drama, A STAR IS BORN doesn’t necessarily give new legs to an old story, but it makes up for any redundancies with its soulful intent and committed performances.” – Allyson Johnson, The Young Folks



“I don’t know where this will put Venom and Spider-Man in the future, but the movie we get turned out to actually be a respectable exercise when it had all the potential to fail before it was even released.” – Jaskee Hickman, Cinematic Essential

“VENOM delivers for its audience. It’s exciting, entertaining, and fun.” – Daniel M. Kimmel, North Shore Movies

“VENOM isn’t funny. VENOM doesn’t have a hero or antihero or villain to root for. Were it not for a pretty good car chase, some decent visual effects, and Hardy’s performance, it would be a complete waste of time.” – Deirdre Crimmins, High-Def Digest


z034_tomatg_00825THE OLD MAN & THE GUN

“It’s only fitting that Redford’s final bow is playing a character known for dramatic exits…” – Brett Michel, The Improper Bostonian

“The Old Man & the Gun is ostensibly Redford’s final on-screen role; in August, he announced his retirement from acting. If he makes good on that pledge, he’s capping off his sterling filmography with a dazzling crowd pleaser, and walking off the screen beaming.” – Andy Crump, The Week



“While rich and textured throughout, the movie’s ultimate impact sneaks up on you.” – Greg Vellante, Edge Boston