“As gentle as the cascading Ravel suite from which the film takes its title, Miroirs No. 3 is airy and bright. There’s nothing insistent about it, leaving room for the audience to bring our own interpretations. It’s easy to watch in a way that makes movie critics reach for adjectives like ‘minor’ and ‘slight,’ but a more careful examination reveals a picture that’s anything but.” – WBUR’s Arts & Culture, 03/26/2026
“Most of this blather sounds like stuff from one of those Tarantino knockoffs that cluttered video store shelves in the ‘90s, like an elder millennial’s Things To Do In Denver When You’re Dead. The movie tirelessly repeats stupid hitman nicknames and considers the height of comedy to be hardened gangsters discussing incongruously feminine TV shows.” – Spliced Personality Substack, 03/23/2026
Always a treat to catch up with my dear friends Jen Johans and S.A. Cosby. This time our topic was the great Delroy Lindo. We talked about the first time he scared the hell out of us in Malcolm X, before going through some of his less remembered roles in sometimes justly forgotten films like The Cider House Rules, A Life Less Ordinary and The Core. – Watch With Jen, 03/22/2026
“Director David Kittredge’s sympathetic and engrossing documentary argues that Exorcist II: The Heretic was not a failed franchise cash-in, but rather one of those grandiosely intentioned, late-1970s Icarus flights where an auteur high on his own supply steered too close to the sun. It’s one of the best movies I’ve seen about the making of a movie.” – Spliced Personality Substack, 03/20/2026
“Every time the story starts building a head of steam, we skip back to learn more about how we got here, like we’re flipping channels between the movie and its more expensive prequel. Project Hail Mary constantly interrupts itself to answer questions we didn’t ask, spending too much time on scenes of Gosling refusing to go on a mission we already know he’s on.” – WBUR’s Arts & Culture, 03/19/2026
“There’s an ugly disconnect between Weaving walloping her romantic rival over the head with a keyboard and Newton spitting blood while Hatosy kicks her in the kidneys. Yet the filmmakers don’t seem to have the slightest idea how pummeling a pretty, defenseless girl’s face into hamburger might sour their cheesy ‘80s music cue humor.” – Spliced Personality Substack, 03/18/2026
“Manhood is not a film for the faint of heart. It’s also not the sniggering yuk-fest one might expect, given the topic. Director Lombroso takes his subjects seriously, giving full weight to their fears and the crippling sense of inadequacy that could compel someone to spend tens of thousands of dollars on such a painful, humiliating procedure.” – Spliced Personality Substack, 03/15/2026
“A typically Hoover-ian tapestry of tragic coincidences, female fortitude and character names that make you wonder if you heard that right. The movie is more grounded than the comically luxurious It Ends With Us, and boasts performances more understated than the deranged kabuki theater of Regretting You. Such restraint might not be to the picture’s benefit.” – Spliced Personality Substack, 03/14/2026
“This is a gentle and humane film, keeping a respectful distance from the characters’ suffering. The most powerful dialogue exchanges in Tender Mercies are when people pause for a moment and really think before answering a question. We’re enormously moved by straightforward affirmations like ‘Yes, I do’ or ‘Yes, he is.’ Is that a lot harder than it looks? Yes, it is.” – Crooked Marquee, 03/13/2026
“It’s a terrible structural idea telling us up front that we’re going to have to listen to ten recordings. We can’t help thinking, ‘We’re still only on number six?’ I was hoping to hear something truly terrifying, like: ‘Here are a bunch of sports guys spending two-and-a-half hours ranking their favorite crime movies from the 1990s.’ The ultimate in podcast horror.” – Spliced Personality Substack, 03/13/2026
SPLICED PERSONALITY 