Honored to have been invited by my dear friend Craig D. Lindsey to be the final guest on KPFT’s The Sour Hour. He calls me up about halfway through and we bitch about the Oscars, the insufferable behavior of comic book movie fans, hemorrhoid medication and trying to sneak into Harlem Nights when we were kids. I’m really gonna miss this show. – The Sour Hour, 02/27/2019
“Greta is a feast to look at and pretty much a riot to watch, infusing its generic stalker plot with all sorts of wild and wooly weirdness, fashioning it into a high-camp showcase for international art-house treasure Isabelle Huppert. It’s Neil Jordan’s most gonzo fairy tale since his unfairly derided In Dreams, and in Huppert he’s found his ideal Big Bad Wolf.” – WBUR’s The ARTery, 02/27/2019
“Green Book would have looked clueless and dated in 1986. How many more films about the heroic kindness and bravery of white folks during the Civil Rights Era do we need before fragile viewers will finally feel reassured that ‘they would have been one of the good ones back then’ so Hollywood can move on and try to tell a different story for a change?” – Boston.com, 02/25/2019
“In the absence of scripted banter and special presentations, the Oscars’ most memorable moments this year were more off the cuff, as when Samuel L. Jackson took a break from presenting to update his pal Spike Lee on the score of Sunday night’s Knicks game. That big, boisterous hug between those two is probably gonna be the new lock screen on my phone.” – WBUR’s The ARTery, 02/24/2019
“That this obviously kidding Kickstarter reached its goal so quickly says something uncomfortable about the increasing entitlement of fan culture and an ugly need to claim ownership over art, even if that means vandalizing it. Sending money to support some random bro on the internet’s idea how to improve a Scorsese picture strikes me as the apex of inanity.” – WBUR’s The ARTery, 02/21/2019
“The easiest way to win an Oscar is by playing a famous dead person. Since there’s no scoreboard when it comes to judging art, a lot of folks fall back on ‘accuracy’ as a metric. I have a hunch this is why movies based on true stories always end with archival footage of their real-life subjects. It’s like putting the answers in the back of textbooks.” – WBUR’s The ARTery, 02/20/2019
“The movie was coolly received when it opened last year’s Cannes Film Festival, but I found a fascinating formal tension at play here. Looser and pulpier than Farhadi’s previous pictures, Everybody Knows is what happens when one of our stodgier dramatists teams up with two movie stars who always look like they just finished having sex.” – WBUR’s The ARTery, 02/14/2019
“This fleet-footed entertainment serves as sort of a stealth autobiography for Soderbergh. Ostensibly a movie about an NBA lockout, it’s really about a natural born hustler banging his head against the money men’s office windows, and how when something you love gets stuck in a stalemate, sometimes it’s necessary to knock all the pieces off the board.” – WBUR’s The ARTery, 02/07/2019
“It’s the kind of movie that tanks at the box office and gets a lot of Razzie nominations, yet one marvels to think of what the slightly winking, sardonic tone of a De Palma or Cronenberg might have wrestled from the material. If Serenity had taken even the slightest pleasure in its own ridiculousness this could have been something very special indeed.” – North Shore Movies, 02/07/2019
“But the festival’s outsized influence over the decades obviously hasn’t always been to everyone’s benefit. Sundance has helped cement the stereotype of an indie film director as a white boy genius with a beard and baseball cap. This legend is often dutifully transcribed by critics like myself, who also tend to be white dudes with beards and baseball caps.” – WBUR’s The ARTery, 02/01/2019
SPLICED PERSONALITY 