“The film follows Ocasio-Cortez and three other working women who challenged entrenched Democratic incumbents during the electoral sea change of 2018. It’s an inspirational portrait for anyone who believes a representative democracy should reflect its community and that politics isn’t just the province of wealthy old white guys.” – WBUR’s The ARTery, 04/29/2019
“I often wonder how the picture would have played had it been released just one year later, after the 2016 election revealed what the extent to which these hatreds and divisions still smolder in our midst. Seen post-Charlottesville it’s alarming just how prescient this movie’s view of the past was regarding what our future was about to hold.” – WBUR’s The ARTery, 04/25/2019
“The course of narrative in Terry Gilliam films never did run smooth but The Man Who Killed Don Quixote is an especially erratic affair, one that deliberately avoids offering much delineation between the movie’s dream sequences and its highly permeable reality. This approach leads to scenes of startling beauty and a fair amount of perplexed annoyance.” – North Shore Movies, 04/25/2019
“Moore won the Boston Society Of Film Critics’ Best Actress award for her brilliantly counterintuitive performance as the professor’s idle trophy wife. She has a sneaky way of playing against Chekhov’s dialogue, undercutting the dramatics with an insolent laugh that Yelena wields like a weapon, until we realize too late that it’s her last line of defense.” – WBUR’s The ARTery, 04/24/2019
“This year’s roster is a characteristically eclectic mix, offering something for everyone to experience in a dark room with strangers who are just friends you haven’t met yet. IFFBoston thrives on this sense of community and camaraderie. We’re awfully lucky to have an event where people can put away their electronic devices and experience art with one another.” – WBUR’s The ARTery, 04/22/2019
“Mary Magdalene tries to put a feminist bent on the Greatest Story Ever Told, but it’s a curiously enervated movie, sleepwalking through the Stations of the Cross with a let’s-get-this-over-with-already energy that reminded me of going to Mass on one of those hot, hungover Sunday mornings when not even the priest can feign interest in being there.” – North Shore Movies, 04/18/2019
“Five Easy Pieces set the template for a new kind of leading man, an updated anti-hero seething with self-loathing and discontent. For the first half of that confused, angry decade Nicholson deftly articulated a generational malaise, stewing in the juices of swaggeringly macho characters coming to realize the extent of their own impotence.” – WBUR’s The ARTery, 04/17/2019
”This isn’t the slick, crowd-pleasing sci-fi of modern franchise films, but rather a throwback to knotty, 1970s head-scratchers like Andrei Tarkovsky’s Solaris and Nicolas Roeg’s The Man Who Fell To Earth. It’s the kind of movie that’s definitively not for everybody but is downright thrilling if you’re into this kind of thing. I am very much into this kind of thing.” – WBUR’s The ARTery, 04/12/2019
“A documentary chronicle of the two nights in 1972 that the Queen of Soul spent recording her landmark live gospel album of the same name at the New Temple Missionary Baptist Church. It’s an astounding cinematic experience, elevational and ecstatic even to a wretch like me. This is a miracle of a movie, and it’s a miracle we got to see it at all.” – WBUR’s The ARTery, 04/10/2019
“What’s most remarkable about Diane is the autumnal chill conjured by these cozy family dinners with increasing numbers of empty chairs at the table. After a conventionally paced first hour, the movie begins employing audacious temporal leaps much in the way that time seems to speed up as you get older, entire years flying by in what feels like a blink.” – WBUR’s The ARTery, 04/04/2019
SPLICED PERSONALITY 