“The trouble with most films about addiction is that the monotony becomes numbing. He climbs on the wagon; he falls off the wagon. He climbs on the wagon again and then guess what happens next? He self-destructs over and over again until it’s eventually time to recite ‘The Serenity Prayer’ so the movie can finally end.” – The Improper Bostonian, 10/31/2012
“Affleck once again proves himself a whiz with actors who aren’t Ben Affleck. A murderer’s row of supporting players fill out Argo, with the aforementioned Arkin and Goodman doing their most playful work in years. I could’ve watched an entire movie of these two old pros barking obscenities at one another.” – The Improper Bostonian, 10/17/2012
“Elusive, impeccably controlled and, at times, alienating, Paul Thomas Anderson’s The Master is a bold and weighty picture. I daresay it’s possible to be wowed by the film without quite grasping it, rather turning over the cryptic double meanings and curveball non sequiturs in your mind for days after the closing credits roll.” – The Improper Bostonian, 10/03/2012
“With the possible exception of Michael Douglas, is there anybody better at playing wealthy scumbags than Richard Gere? The star’s ’80s swagger has receded into a fascinating, recessive, silver-maned emptiness.” – The Improper Bostonian, 09/19/2012
“It’s catty, potty-mouthed and seems to strike a nerve with certain audiences. Bachelorette is hysterically funny and awfully sad, somehow incorporating bulimia, abortion and overdoses into the breathlessly paced, farcical structure. This isn’t Bridesmaids, it’s Hurlyburly for women pushing 30.” – The Improper Bostonian, 09/05/2012
“It’s a crazy sort of look Guy had going on there, and apparently he came up with a lot of that on his own. Hillcoat told me Pearce just came out of the bathroom one day with this shaved line in his head. The eyebrows were gone and they were like, ‘Holy shit!'” – BOFCA, 08/30/2012
“In the edit when you see the whole thing altogether you finally realize how much you really need. Now with the Avid you can shift things – actors don’t like to hear this – but you can take dialogue from one scene and put it over picture from another. There’s a little bit of puppetry in editing.” – BOFCA, 08/02/2012
“Anders has been counted out for so long that his sudden reappearance becomes more of an inconvenience than a welcome reunion. Nobody wants to make much of an effort because he’s probably just going to let them all down again. So why even bother? That’s the awful, existential question posed by Oslo, August 31st.” – The Improper Bostonian, 07/25/2012
“A mashup of four disconnected shorts, this picture feels as though Allen was rifling through his desk drawer and came across some unfinished New Yorker pieces, then fashioned them after Italian omnibus films from the 1960s. Midnight in Paris was profound in a deceptively breezy way. To Rome With Love is just plain breezy, but I didn’t mind.” – The Improper Bostonian, 07/04/2012
“I moved from New York to LA a week before 9/11. So I was stranded out there knowing nobody and desperate for human contact. I found myself calling up old friends I hadn’t talked to in a long time. It was that feeling of this cataclysmic event, and it changes your own individual behavior and your relationships with people.” – BOFCA, 06/21/2012
