“A rancid, terrible, stiflingly inept, torturous-to-sit-through piece of shit.” – Bob Chipman, The Escapist

“They had a chance to make something new, something hip, something exciting with this. Instead they made a film we’ve already seen.” – Jake Mulligan, The Suffolk Voice

“For those who actually like getting involved with the characters, it’s an improvement.” – Daniel M. Kimmel,

“This might be the most curiously under-populated New York City we have ever seen at the movies. $200 million can’t buy you any extras?” – Sean Burns, Philadelphia Weekly

“Cut from the same form-fitting cloth as any other superhero movie. This is no art house classic, though it’s certainly better than most movies of its genre.” – Kilian Melloy, EDGE Boston

“Taking for granted that the character’s popularity alone will pull in an audience, they turn in an uneven, often sub-par product with only glimmers of improvement here and there.” – Tim Estiloz, Boston Movie Examiner

“The reason this movie exists is because of Sony’s bottom line. Beyond that, what else does this add? Nothing.” – Steve Head, The Post-Movie Podcast



MIDNIGHT IN PARIS was profound in a deceptively breezy way. TO ROME WITH LOVE is just plain breezy, but I didn’t mind.” – Sean Burns, The Improper Bostonian

“Woody Allen’s latest vacation may not be his worst film, but it’s his least inspired.” – Jake Mulligan, EDGE Boston

“The stories are entertaining but feel unfinished, as if we are watching Allen’s cinematic sketchbook instead of a finished film.” – John Black, Boston Event Guide

“I loved the comedic surrealism. I would go see it again in a second.” – Steve Head, The Post-Movie Podcast 



“Some moments seem derivative, or unnecessarily enigmatic, but the sheer exuberance of Zeitlin’s most stunning visuals suggests an artistic voice far too strong to write off.” – Jake Mulligan, The Boston Phoenix

“Here’s a movie that looks, feels and sounds so profoundly different from the vast majority of films that you occasionally want to pinch yourself.” – Bob Chipman, The Escapist

“A junkyard rhapsody that seems to be inventing its own cinematic language as it goes along.” – Sean Burns, Philadelphia Weekly

“One of the most striking, brilliant, poignant and beautifully crafted films I have witnessed within my lifetime. I imagine it will always hold a special place in my heart.” – Greg Vellante, The Eagle Tribune



“So damn refreshing it makes you realize just what pale, pathetic junk we’ve been force fed so far this year.” – John Black, Boston Event Guide

“Stone may occasionally make you wince at the plot twists and the purple prose, but the film won’t leave you bored.” – Daniel M. Kimmel,

“Travolta the ham, Benicio the cheese, with a hilarious edit by Stone that even holds the tomatoes. Literally.” – Norm Schrager, Paste Magazine

“It may not be perfect, but it’s the perfect anti-summer movie: violent, obliquely political and aimed at adults.” – Jake Mulligan, EDGE Boston

“I don’t know of too many surfer dudes who say: ‘We’re going to go all Sunni on their asses!’ But that’s the mark of a Stone film, I suppose.” – Monica Castillo, DigBoston

“Messy and electric, as deeply problematic as it is provocative. In other words, it’s an Oliver Stone movie.” – Sean Burns, Philadelphia Weekly 


“Yes, it’s a road movie, and an unfortunate drama begging to be a comedy.” – Brett Michel, The Boston Phoenix



“It makes you think about just how far good lighting, some risky dialogue and an ambiguous ending can go in covering up a been-there-done-that narrative.” – Jake Mulligan, The Suffolk Voice