“The half-kidding nature of Carrie’s opening is emblematic of De Palma’s overripe, sensuous sensibility, a naughty boy’s luscious leering with just enough self-awareness to have his cake and eat it, too. He’s smart about being sleazy, always up for using gratuitous nudity as commentary on female objectification, while at the same time reveling in tawdry delights.” – Crooked Marquee, 04/22/2022
“But you do get to see Cage play with the gold prop pistols he fired in Face/Off, so once again, congratulations on catching another over-explained reference to another movie you’d be better off watching instead. Don’t get me started on the lame contortions the screenplay twists itself into so he can say, ‘Not the bees!’ This is Shatner-level self-parody.” – North Shore Movies, 04/22/2022
“We learn that Swinton’s character is able to receive sounds and signals imperceptible to others. Viewers of Memoria might emerge from the theater feeling the same way. It’s one of those movies that rewires your brain for a little while after you’ve watched it, prompting you to look and listen to the world around you a bit differently than you did earlier in the day.” – WBUR’s The ARTery, 04/21/2022
“For all the horror movie misdirection, the film is most affecting when it’s focused on loneliness and isolation, and how these days our basic needs for community and kinship can often only be served online. Schoenbrun understands that whatever’s appearing on our screens isn’t nearly so important as what we psychologically project onto them ourselves.” – WBUR’s The ARTery, 04/20/2022
“It’s a film about trying to find true love in an age of Tinder hookups, when sex comes before courtship and fuckbuddies have a whole new set of as-yet-unwritten social codes to navigate along with their apps. Audiard regards his charges with wistfulness, understanding that despite all the technological advances, most romantic woes are tales as old as time.” – North Shore Movies, 04/14/2022
“A giddy, sensory-overloaded roller-coaster revved up on its own absurdity. It’s outrageously stupid and enormously entertaining, with Bay keeping multiple cameras whizzing and whirling around from every conceivable angle, fully understanding if that we stop to think about anything for more than five seconds the whole movie will collapse like a house of cards.” – North Shore Movies, 04/10/2022
“It’s a thrillingly visceral experience, but also one with a questioning, philosophical soul. The Train was the last studio action extravaganza to be shot in black-and-white, and the shades of gray suit the murky moral inquiries. It’s a movie about foolhardy heroes and grand, symbolic gestures, wondering aloud if art and culture are really worth dying for. And if not, what is? ” – Crooked Marquee, 04/08/2022
“This is an odd and unsettling film that despite its fundamental strangeness still somehow never manages to be all that interesting. Lemercier’s insane stunt is in the service of a by-the-numbers biopic that checks off all the important events in Celine Dion’s life – oops, I meant Aline Dieu’s – without having much of an angle on any of them.” – North Shore Movies, 04/07/2022
“Pine is excellent as the lovelorn, regretful rogue, even if most of Metz’s direction seems to be for him and Newton to gaze at each other across the table as ‘sexfully’ as possible. It’s the kind of role you could see Redford playing 40 years ago in a movie that would’ve had a larger scale and a few more big twists. Still, this is a four-star film for turtleneck fetishists.” – WBUR’s The ARTery, 04/07/2022
“What began as a drama about the plight of our veterans veers off into nonsense. All the evocative details about post-military life in America are dumped in favor of improbable machine gun battles in bustling, European locales where henchmen can’t hit the side of a barn. It’s like if Coming Home suddenly shape-shifted into a Liam Neeson revenge picture.” – WBUR’s The ARTery, 04/07/2022
SPLICED PERSONALITY 