“I am kind of at a loss for words at the moment. This is really impressive filmmaking.” – Steve Head, The Post-Movie Podcast

“The gushing blood and continuous violence get to be too much. Everything’s so amped up that the individual moments fail to register.” – Jake Mulligan, EDGE Boston

“It’s a good deal wittier than expected from a movie that consists mostly of people getting shot in the face.” – Sean Burns, Philadelphia Weekly

“Mildly rattled me with visceral gruesomeness, and yet had me giggling in delight at the audacity of its superb presentation.” – Tim Estlioz, Boston Movie Examiner

“Erase your memories of Sly’s bomb with this, director Pete Travis and writer/producer Alex Garland’s lean reboot.” – Brett Michel, The Boston Phoenix

“DREDD has all the hard-hitting violence an action movie fan could ever want, and because it’s rated R, it’s not afraid it rub your nose in it.” – John Black, Boston Event Guide

“This is one of the most violent movies released this year. Consider that less a criticism than a warning. This is not for the squeamish.” – Daniel M. Kimmel, The Sci-Fi Movie Page

“A slam-bang joyride with a grim canvas — a darkness interrupted by vibrantly violent bursts of red.” – Greg Vellante, The Eagle Tribune

“The extreme violence and satire are very much an amusing throwback to films of the late 80s/early 90s such as THE RUNNING MAN, ROBOCOP and TOTAL RECALL.” – Evan Crean, Reel Recon



“Jake Gyllenhaal and Michael Peña aren’t exactly corrupt cops in this self-important police drama. They’re just fascistic assholes.” – Jake Mulligan, The Boston Phoenix
“This whole point-of-view, hand-held shaky camera crap has got to stop.” – John Black, Boston Event Guide
“Trying to follow the action made me so nauseous, I had to take a break halfway through and go walk around the lobby for a few minutes to keep from throwing up.” – Sean Burns, Philadelphia Weekly
“It’s nothing we haven’t seen in countless other cop shows and movies, but the Anglo/Hispanic rapport here seems fresh because of the enthusiasm the two actors bring to their roles.” – Daniel M. Kimmel,
“Ayer’s gut wrenching flick is so emotionally charged, it makes his previous police film TRAINING DAY seem wimpy.” – Evan Crean, Reel Recon
“A gratuitous migraine of narrative voids.” – Greg Vellante, The Eagle Tribune
“Clint Eastwood’s most embarrassing public moment might have been his infamous speech to an empty chair at the Republican National Convention. Up until now, that is.” – John Black, Boston Event Guide
“The star power helps the charm outweigh the schmaltz.” – Jake Mulligan, The Boston Phoenix
TROUBLE WITH THE CURVE doesn’t just remind you what a great screen presence Clint Eastwood is; it makes you appreciate him even more as a director because Lorenz does such a terrible job.” – Sean Burns, Philadelphia Weekly
“If the plot points are a bit too neat, the emotional truths are not.” – Daniel M. Kimmel,
“His acting style consists mainly of grunts and curse words, and every little sound or swear that comes through his mouth is a small stroke of grumpy geezer genius.” – Greg Vellante, The Eagle Tribune


“A miserable film about miserable people, and sitting through it for 137 minutes is a miserable experience.” – John Black, Boston Event Guide
“If Anderson can ever figure out how to tell a story with a beginning, a middle and an end, cutting out long scenes that go nowhere, he might make a really great film.” – Daniel M. Kimmel,
“The actors are all pretty excellent but the mercurial Phoenix is a surprising standout. He makes Quell into a fascinating human freakshow, alternately frightening or pathetic.” – Bob Chipman, The Escapist
“Confounding and troubling. This is an ambivalent picture, one that remains stubbornly unresolved. It’s a singular vision, and the movie haunts.” – Sean Burns, The Improper Bostonian
“‘I think this place is gonna be good for us,’ Sarah says to Elissa. Nope… not for any of us.” – Brett Michel, The Boston Phoenix 
“The many pieces never coalesce into a satisfying whole, yet the indelible images make up for the lack of harmony.” – Jake Mulligan, The Boston Phoenix



“This is a little more than an affable, self-absorbed fable for Generation Y as it pauses on the threshold of middle age.” – Kilian Melloy, EDGE Boston

“Radnor steals a lot from Woody Allen, particularly MANHATTAN. If only he could replicate the wit.” – Jake Mulligan, The Boston Phoenix



“Less a film about baseball itself, and more a film about two men who struggled with rejection, self-doubt and ultimate triumph against odds.” – Tim Estiloz, Boston Movie Examiner



“Jamie Linden’s directorial debut proves what we long suspected: all movies could use a little more Channing Tatum.” – Jake Mulligan, EDGE Boston



“Taken as satire, this isn’t particularly funny.  But then, the corruption he’s exposing is anything but a joke.” – Brett Michel, The Boston Phoenix


“Shaylena Mandingo’s so good, it’s a shame that Paul Dano is his typically mannered self.” – Brett Michel, The Boston Phoenix