“For such a square story it feels wonderfully subversive, as Ashe has moved the entire aesthetic of the Technicolor melodrama uptown. These perfectly painted sets and impeccably pressed clothes aren’t attempting to replicate reality, but rather a dream life in the movies from which people who look like the cast of Sylvie’s Love have always been excluded. Until now.” – WBUR’s The ARTery, 12/17/2020
“The search for authentic experiences in our over-mediated age can be an elusive one, almost as slippery as this provocative mood piece from writer-director Kiyoshi Kurosawa. In the film’s quieter moments we feel the character’s yearning for real connections in a modern world where everything, to some degree or another, is a performance being staged.” – WBUR’s The ARTery, 12/17/2020
“Director Wolfe hasn’t made much of an attempt here to reimagine the play as a movie. Which is fine, because when the cast and the material are this strong sometimes it’s preferable to just have a record of the performances. Especially Boseman’s, which feels like the first role in the electrifying second act of a career cut heartbreakingly short. What an incalculable loss.” – WBUR’s The ARTery, 12/17/2020
“Tenet is practically a Christopher Nolan fetish film, fawning over all the director’s favorite things: temporal loops, bespoke suits, large-format photography, sexless saviors, Michael Caine, dialogue-muffling masks and a curiously stunted way of looking at the world that feels derived almost entirely from James Bond movies of the 1960s and ’70s.” – WBUR’s The ARTery, 12/17/2020
“Individual vignettes have purpose and snap while the larger point of it all remains a little fuzzy and out of focus. Still, it’s refreshing to see a movie about senior citizens in which their sex lives aren’t played for horrified laughs. Like its three leading ladies, the film is a class act and even if the destination is a bit disappointing this is still a trip worth taking.” – WBUR’s The ARTery, 12/17/2020
“There’s a certain irony in the idea of a Wong Kar Wai retrospective, as so many of his characters are already living in the past. His best films feel like memories of themselves, rhapsodies of regret and lingering visions of the ones that got away. Watching a Wong Kar Wai movie in a theater is like living inside of somebody else’s dream for a little while.” – WBUR’s The ARTery, 12/11/2020
“It’s a 1970s crime picture told from the POV of the gun moll, a character continually cast to the side and kept in the dark. It’s a brilliant concept, forcing viewers to ask ourselves all sorts of important and uncomfortable questions about who we gravitate to at the center of our stories and why. If only the film’s execution were half as exciting as its ideas.” – WBUR’s The ARTery, 12/10/2020
“This probably sounds like common sense, but it really is amazing what a difference it makes when you put the scene that starts the story at the beginning of the movie. Coppola’s revelatory revision of his saga’s final chapter feels like a far more focused and purposeful film, even if there are some things that can’t be fixed in an editing room.” – WBUR’s The ARTery, 12/07/2020
“As enjoyable as I found the Virginia Woolf mechanics and Cassavetes homages, I’m not convinced it adds up to much more than a skillful genuflection to some excellent influences. Levine’s focus on filmmakers and the boozy, bifurcated structure suggests an American version of Hong Sangsoo picture, another reference in this movie-mad hall of mirrors.” – North Shore Movies, 12/07/2020
“Like most sons of the Emerald Isle, MacGowan is a prodigiously gifted shit-talker, registering discontent with damn near all of his collaborators over the course of a career that merged traditional Irish music with the sneer of punk rock, bringing lachrymose poetry to the mosh pit and updating old rebel songs for the anarchy in Maggie Thatcher’s UK.” – North Shore Movies, 12/07/2020
SPLICED PERSONALITY 