“Surprisingly sweet, it’s Clint’s gentlest effort since The Bridges Of Madison County. The less that happens in Cry Macho, the better the movie becomes. You watch the film the way you listen to one of your grandfather or another elderly relative’s rambling stories, ignoring the parts that don’t add up and treasuring the fact he’s still around to tell them.” – North Shore Movies, 09/17/2021
“The film’s centerpiece sequence is one of the most boldly transgressive in modern cinema, a terrifying tightrope walk of abuse and illicit longings that famously sent viewers fleeing from their seats. Blue Velvet speaks to something primal about moviegoing itself: we’re all in that closet with Jeffrey. If we didn’t like to watch we wouldn’t be at the movies in the first place.” – Crooked Marquee, 09/17/2021
“Words barely matter in this gonzo mashup of midnight movie references and riffs, a barrage of homages to cult classics of yore so exhaustive it borders on exhausting. By no means should this picture be seen during the day, and perhaps not entirely sober. It’s a hoot while you’re watching, if the kind of fun that fades fairly fast in the morning light.” – North Shore Movies, 09/17/2021
“An undeniably well-made picture of admirable intentions that becomes a chore to finish watching. It’s too bad because Blue Bayou is the kind of movie you want to like, steeped in local color and gorgeously grainy Super 16mm cinematography. Chon has clearly got talent both in front of and behind the camera, he just needs to take it down a notch or two.” – North Shore Movies, 09/17/2021
“While we’re all currently suffering through the most tediously sexless era of American cinema since the Hays Code, writer-director Michael Mohan’s cheeky erotic thriller harkens back to a happier, hornier time of Skinemax After Dark offerings and unrated VHS director’s cuts. What a pleasure to watch serious craft unencumbered by seriousness of purpose.” – North Shore Movies, 09/13/2021
“It might be Scorsese’s most manic movie, disjunctively doubling back through dissolves so we’re seeing things from multiple angles at once. The camera flips on its side or upside down altogether, with Van Morrison’s wheezy, queasy ‘TB Sheets’ percolating over and over on the soundtrack, his wailing harmonica standing in for the ambulance’s siren.” – WBUR’s The ARTery, 09/10/2021
“Another one of Schrader’s hothouse character studies cooked up from the former film critic’s career-long fixations on Bresson’s Diary Of A Country Priest, The Searchers, samurai rituals and suicidal ideation. Some will no doubt roll their eyes at the repetitions but for me they felt like hearing an old classic rock band launch into a greatest hits medley.” – WBUR’s The ARTery, 09/09/2021
“The fellas are long past the age when such shenanigans are still considered cute. Without any special pleading on behalf of these cavemen, Pollono does a fine and often very funny job of illustrating their limited means of emotional expression. Busting chops and breaking balls are the primary modes of communication, with violence not very far down the list.” – North Shore Movies, 09/09/2021
“It’s of a piece with recent Binoche pictures like Olivier Assayas’ Clouds Of Slis Maria and Claire Denis’ Let The Sunshine In, as the iconic actress confronts her advancing years head-on, a key component of these films being her struggle to accept that you can’t be Juliette Binoche forever… though she’s been making a pretty good go of it so far.” – WBUR’s The ARTery, 09/02/2021
“Mostly presented without sound, these clips provide tantalizing glimpses of a strikingly modern, practically cosmopolitan Afghanistan that’s a stark contrast to the ruins we’ve been seeing on the news for the past two decades. The movies have an endearingly amateurish quality, while the filmmakers provide hair-raising anecdotes about their productions.” – WBUR’s The ARTery, 08/24/2021
SPLICED PERSONALITY 