“Before anybody heard of the novel coronavirus, I used to go to the movies three or four times a week. Cinemas are my churches, my sanctuaries. They’re where I’d go to feel closer to people and where I go to get away from them. Movie theaters were where I could vicariously experience adventures beyond my wildest imagination, or sometimes just take a nap.” – WBUR’s The ARTery, 05/17/2021
“Everyone understands we’re here to see Jolie in her first action movie since 2010’s Salt. She struts, she swears, she gets drunk and parachutes off the back of a speeding pickup truck. Angelina outruns bolts of lightning and her sensitive mama bear side comes out by teaching the kid filthy rhymes about fucking pheasants. Gawd, I’ve missed our girl.” – North Shore Movies, 05/17/2021
“It’s astonishing how little interest the movie has in exploring its provocative premise, with none of Rock’s incisive political sensibility to be found in a film that’s all but begging for it. With subtext-as-text horror like Get Out and The Purge pictures being all the rage these days, Spiral feels sheepish and timid, gory in a way that’s afraid to draw any real blood.” – North Shore Movies, 05/17/2021
“Every scene is shot and cut like a commercial. It’s all shimmering sunsets and golden magic hours with cool motorcycles and vintage cars. People wear heavy leather bomber jackets in the San Diego summer simply because they look so great in them. Top Gun feels like the longest advertisement you’ve ever seen, but what exactly is it supposed to be selling?” – WBUR’s The ARTery, 05/14/2021
Had a great time talking to Strawberry Mansion directors Albert Birney and Kentucker Audley in this virtual Q&A for the Independent Film Festival Boston. We discussed their movie’s nightmare scenario in which advertisers insert product placement into your dreams, the duo’s love of analog aesthetics and why sometimes it’s not such a bad thing to fall asleep during a movie. – IFFBoston, 05/14/2021
“The droll Ward siblings dish dirt and take us for a tour around the grounds to see stuff like the room in which Freddie Mercury spent weeks noodling around with what eventually became ‘Bohemian Rhapsody.’ It’s fine, but any documentary that begins with Black Sabbath and ends with Coldplay kinda can’t help but be a little deflating, you know?” – North Shore Movies, 05/13/2021
Honored I was asked to moderate this IFFBoston panel discussion about the state of local arthouse cinemas featuring friends Ian Judge from the Somerville Theatre, Ned Hinkle from the Brattle and Katherine Tallman from the Coolidge Corner Theatre. We discussed Covid-19 closures and coping methods, as well as what audiences can expect from the New Normal. – IFFBoston, 05/08/2021
“It’s really a whole mood, this picture. Men sit quietly and brood in the chiaroscuro cinematography, with an omnipresent cello score by Christopher Benstead that sounds like he’s scraping the bottom of the instrument. I’m an easy lay for this kind of thing, when a filmmaker marries a visual idea to a storytelling conceit. They used to call it directing.” – North Shore Movies, 05/06/2021
“That our parents existed before we arrived is a source of endless mystery and fascination, a curiosity that only intensifies as one moves into middle age. Koresky gets this better than most writers, and his wonderful new book is about how the movies we share with our loved ones can help us better understand people we’ve known our entire lives.” – WBUR’s The ARTery, 05/05/2021
“The festival kicks off with a powerful portrait of a political moment and one of the most rousing concert films you’ll ever see, featuring peak performances by Stevie Wonder, Sly and the Family Stone, The Staple Singers, Gladys Knight and the Pips, B.B. King and Nina Simone. I guess the next best thing to an opening night party is all of us dancing in our living rooms.” – WBUR’s The ARTery, 05/04/2021
SPLICED PERSONALITY 