“There’s something so deliciously rotten about Cats it makes you want to share the experience with others. ‘You know, the thing everyone forgets in this age of Netflix is that movies make temporary little communities of a few hundred people at a time,’ Judge enthuses. ‘And this strange little community is truly reveling in the cultural atrocity of Cats.’” – WBUR’s The ARTery, 01/23/2019
“It’s a bustling ecosystem of hustlers and hoods, all working at shared interests and cross purposes with the density — if not the detail — you’d find in a Richard Price novel or a David Simon television series. Ly isn’t afraid to wear his influences on his sleeve, with elements of Training Day and La Haine bumping up against memories of Clockers and The Wire.” – WBUR’s The ARTery, 01/16/2020
“These are vexing, sometimes infuriating affairs, probably best suited to viewers who always fall hardest for the ones who don’t love you back. Spending a few days immersed in Schanelec’s work I came to find myself enthralled by her abject indifference to audience expectations, up for the challenge of films designed to remain teasingly out of reach.” – WBUR’s The ARTery, 01/15/2020
“The secret weapon here of course is Stewart. Wearing a bleach-blonde buzz-cut and a bomber jacket over a sports bra, the former Twilight teen turned international art cinema icon shows no signs of slumming as she applies her trademark inverted-Brando millennial murmurings to the screenplay’s stock scenarios. I loved watching her in this.” – North Shore Movies, 01/10/2019
“The Thing eventually found an audience on cable, where I know I wasn’t alone in watching it late at night when I was far too young to be doing so. The sheer nastiness of it all had an imprinting effect on a generation of budding cinema buffs. It’s one of the first films I can recall seeing that felt like it was trying to hurt you. The movie’s really, really mean.” – WBUR’s The ARTery, 01/09/2020
“A visually monotonous experience. It’s cinema as a VR headset, where all the expressive qualities of the art — images staged to convey ideas and juxtaposed for thematic emphasis — have been replaced by a dull literal-mindedness, a quote-unquote immersive trip into unconvincing verisimilitude that makes a lousy substitute for drama.” – WBUR’s The ARTery, 01/08/2020
“This is one swarthy, full-throated, four-hanky tear-jerker. Set in 1950s Rio de Janeiro, it’s a tale of two sisters torn asunder by the bullheaded men in their lives. It’s a bold, brassy film of hyper-saturated colors and oversized emotions, thrusting the camera so close to the characters’ faces you can count the beads of sweat on their brows.” – WBUR’s The ARTery, 01/03/2020
“The un-kitty valley CGI turning these performers into Island Of Dr. Moreau half-feline hybrids is deeply creepy, with their monkey tails and the not-to-scale sets making you wonder if anyone involved has ever seen a cat. This may sound like a kitsch classic, except remember the show is just the same scene over and over and feels like it’s never going to end.” – North Shore Movies, 12/31/2019
“A bunch of pointy-headed academics writing about kids’ movies might at first sound counterintuitive, but as Keough notes in his introduction, ‘for better and worse, film critics are the most childish people you’ll meet.’ Having sat in Boston screening rooms with Peter for the past 20 years, I can attest that this is an observation he makes from personal experience.” – WBUR’s The ARTery, 12/24/2019
“It’s a movie about waking up one morning and realizing you’ve gotten old, that your career never really worked out and that the culture has passed you by. It’s also a movie about how much this director loves all sorts of things I likewise adore: drinking buddies, old Westerns, neon lights, movie theater marquees, bubblegum pop hits and pretty girls’ feet.” – WBUR’s The ARTery, 12/23/2019
SPLICED PERSONALITY 