“The beauty of Blume’s book is that it tackles big issues without making a big deal out of them. Writer-director Kelly Fremon Craig smartly preserves that sense of proportion, keeping the movie grounded in believable, day-to-day interactions and lived-in 1970s-era details. To Margaret, these events feel tumultuous. To us, they’re wonderfully ordinary.” – WBUR’s Arts & Culture, 04/28/2023
“With testimonials from the likes of Molly Ringwald and Lena Dunham, the guest list skews female for obvious reasons. But the filmmakers miss out on what a game-changer Blume’s Then Again, Maybe I Won’t was for little boys who had been so ashamed of what they were doing under the covers at night. Not that I would know anything about that.” – WBUR’s Arts & Culture, 04/28/2023
“Ari Aster’s monstrously funny exercise in antagonizing the audience is smarty-pants sophisticated and crassly juvenile, often at the same time. It’s a surreal Oedipal saga in the spirit of gonzo, early 1970’s provocations like Where’s Poppa? and Little Murders. The movie is mean-spirited, deeply unpleasant and I laughed myself sick. Your mileage may vary.” – North Shore Movies, 04/28/2023
“‘There’s the film part and there’s the festival part,’ Tamm explains. ‘The film part gets a lot of attention, but the festival part is just as important. The event-ness of it all. It’s about people coming together and interacting with each other and interacting with the filmmakers. People missed that. People missed Q&As, and filmmakers missed getting in front of audiences.’” – WBUR’s Arts & Culture, 04/24/2023
“Like Fede Alvarez’s inexplicable 2013 Evil Dead, director Lee Cronin’s reboot-redux-whatever has no patience for the zany Bruce Campbell antics of Raimi’s original trilogy, playing the knowingly silly mythology boringly straight. This is one of the more baffling creative decisions in franchise-era filmmaking. It’s like remaking Airplane! as Zero Hour.” – North Shore Movies, 04/23/2023
“It’s a low-key character study tuned to Woodward’s exquisite performance, one of the decade’s finest. Rachel, Rachel features so many close-ups, a friend of Newman’s joked that watching the movie was like looking through his wallet photos. But you can hardly blame the happy husband, as her face registers so vividly the character’s secrets and lusty longings.” – Crooked Marquee, 04/21/2023
“The staggeringly prolific South Korean filmmaker has directed 17 features in the past decade alone. But there’s comfort in the consistency of his preoccupations. Hong has spent his career exploring similar characters, situations and themes with a familiar stock company of actors so that the movies feel as if they flow into one another like a river.” – WBUR’s Arts & Culture, 04/21/2023
“Nothing kills the allure of an open marriage like your wife rolling into the club at one in the morning with Cary Grant. But I suppose some lessons have to be learned the hard way. With sozzled pratfalls and the kind of cheerful decadence at which early Hollywood excelled, we coast on airy, irreverent pleasures until the bottom drops out of this doomed romance.” – Crooked Marquee, 04/14/2023
“It’s especially disappointing because Dracula is deliciously played by Cage as a lip-smacking sequel to his career-defining turn in the 1988 cult classic Vampire’s Kiss. He’s a haughty, imperious Count with a dismissive disgust for us mere mortals. He’s also only in about 25 minutes of the movie, which strikes me as a staggering misallocation of resources.” – North Shore Movies, 04/14/2023
“A fun movie to watch. So much fun, it took until about halfway home for me to begin bristling at how neatly Goldhaber has stacked the deck. Our heroes somehow come up with a scheme in which they can blow this thing sky high without anybody getting hurt, nor any environmentally damaging spillage. The audience remains unchallenged throughout.” – North Shore Movies, 04/14/2023
SPLICED PERSONALITY 