“One wonders what mischief some diabolically clever writers working in the subversive spirit of the first film might have wrung from current horror crazes like the artsy-fartsy tropes of A24, Blumhouse social issue soapboxes or the spate of soccer moms addicted to grisly murder podcasts. Instead, they just make Scream movies about other Scream movies.” – North Shore Movies, 03/08/2023
“I know that there’s dialogue in Beau Travail, but I’ll be damned if I can ever remember any. Denis tells the story almost entirely through physicality and movement. Throbbing with barely-repressed homoeroticism, the movie is a mass of engorged muscles and entwined limbs; desire rerouted through conformity and cruelty in the rhythm of the night.” – WBUR’s Arts & Culture, 03/06/2023
“Guy Ritchie’s laid-back, low-stakes caper comedy feels like the third or fourth installment of a forgotten franchise, one of those late-series entries where everybody’s happy to see each other again and nobody is going to be accused of over-exerting themselves. This is not a knock. The whole charm of the film is how breezy and blessedly inconsequential it is.” – North Shore Movies, 03/03/2023
“Jordan is a famously rabid anime fan and has visualized the film’s boxing sequences as boldly expressionistic flights of symbolic fantasy. But he’s let down in a big way by cinematographer Kramer Morgenthau, who flattens all these evocative images out into a hazy, soft-focus, low-contrast digital blur. I hate that this is what movies look like now.” – WBUR’s Arts & Culture, 03/02/2023
“It’s through these sad eyes that we see the movie, glimpsed in half-understood fragments of an adult world Cáit can’t quite comprehend yet. Bairéad keeps the camera low to the ground or banished to the backseat of the car, focusing on the kind of stray details that burn into a child’s memory. It’s a delicate film of small gestures and the slow building of trust.” – WBUR’s Arts & Culture, 02/28/2023
“What a pair Geraldine Chaplin and Anthony Perkins make together! They’re all sinewy, awkward angles and antsy energy. It doesn’t take too long for these two to get back up to their old tricks, at which point Remember My Name becomes an even more enticingly oblique experience. We learn everything about this couple, and also nothing.” – Crooked Marquee, 02/24/2023
“This is slovenly meme shit designed to be lapped up by insecure audiences desperate to feel like they’re hip and in on the joke, no matter that there isn’t one. The screening resounded with such performative over-laughing; the intense brays and forced conviviality of folks insisting you understand that they are cool, and that they get it. It’s a bear on cocaine.” – North Shore Movies, 02/24/2023
“So little is known about Emily’s actual life and times that the film is free to indulge in thrillingly salacious speculations. O’Connor gins up a randy melodrama of missed connections, undelivered letters and deathbed confessions in the doomy, romantic spirit of her subject. It’s a very modern movie about the idea of being Emily Brontë, misfit of the moors.” – WBUR’s Arts & Culture, 02/23/2023
“A film for anyone who has ever anxiously sweat through those endless seconds after the cashier swipes your card while you’re wondering if the payment will be approved. It’s a panic attack of a movie about a single mom during a week when ends won’t quite meet, and how sometimes it takes the stamina of a superhero just to get through the goddamn day.” – North Shore Movies, 02/17/2023
”Not a movie so much as a scaffolding site for the perpetuation of more Marvel product. There’s no longer any difference between the coming attractions and the feature. These days, the world’s largest entertainment franchise is capable only of churning out advertisements for itself. At what point does this slop finally become insulting to its target audience?” – North Shore Movies, 02/15/2023
SPLICED PERSONALITY 