“Unavailable for years except via bootlegs and old, out-of-print Miramax DVDs, director Chen Kaige’s magisterial 1993 melodrama Farewell My Concubine is finally back on the big screen, celebrating its 30th anniversary at the Brattle Theatre in a spectacular new uncut 4K digital restoration. Even if you’ve seen the movie, you’ve never seen it like this.” – WBUR’s Arts & Culture, 11/03/2023

”Slyly makes a metaphor out of the literal skeletons beneath 1980s prosperity as exemplified by the Cuesta Verde development, lending this haunted house picture a thematic complexity that foreshadows Spielberg’s more overt interrogations of American myths a decade or so later. I mean, there’s a reason the movie begins with the National Anthem.” – Crooked Marquee, 10/27/2023

“You know that horror films are always better with a crowd. Shocktober brings an embarrassment of riches for Boston area moviegoers looking for something even more terrifying than trying to park in Salem. With more than two dozen frightening films screening locally during the run up to All Hallows’ Eve, here are six favorites to get you started.” – WBUR’s Arts & Culture, 10/25/2023

“Nobody’s better at feigning astonishment at things she obviously knew were going to happen. I’ve long thought one of the smartest things Swift ever did was not learning how to dance very well. She’s such a disciplined workhorse she could probably do so in a weekend, but the slightly goofy gait helps keep her relatable, at once larger than life and the girl next door.” – WBUR’s Arts & Culture, 10/17/2023

“If you find your way onto Bresson’s frequency, his films can feel like they’ve transcended cinema’s inherent artifice and found a purer, more exaltedly spiritual mode of storytelling. There’s a reason Paul Schrader has made an entire career out of remaking Pickpocket and Diary Of A Country Priest. There’s also a reason Bresson’s most beloved movie stars a donkey.” – Crooked Marquee, 10/13/2023

“At once a mystic oracle and half-kidding huckster, legendary filmmaker Werner Herzog has spent his six-decade career shooting on seven different continents, chronicling humankind’s fraught relationship with a cruel and indifferent universe through thirty-four documentaries and twenty dramatic features, as well as dozens of shorts, operas and television programs.” – WBUR’s Arts & Culture, 10/09/2023

”There’s no better actor than Robert Redford when it comes to being full of shit. Here’s a guy who devoted his entire career to finding cracks in his own impossibly handsome facade. He’s always playing characters too good to be true, because they are. Yet I can’t help feeing he’s a little miscast here. Redford’s too pensive a performer to sell Waldo’s recklessness.” – Crooked Marquee, 09/29/2023

“The styles and subject matter are all over the map. The one constant is a sense of endless possibility. With the liberation of location shooting, lightweight cameras and faster film stocks came a new language of expression, which manifested in many of these movies as an intoxicating irreverence, the feeling that old rules were made to be broken.” – North Shore Movies, 09/18/2023

“It’s like a music history class taught by instructors who are all a little zonked. Robertson was only 33 when the film was shot, the same age as another Scorsese protagonist who pulled into Nazareth. And if I could have one wish for the world, it’s that we all may someday find somebody who looks at us the way Martin Scorsese photographs Robbie Robertson.” – Crooked Marquee, 09/08/2023

“The series showcases a dozen of the director’s documentaries, features and shorts, headlined by a new 4K restoration of The Mother And The Whore. Films with such outsized reputations don’t always live up to them, but an afternoon spent finally catching up with Eustache’s masterpiece turned out to be one of the great moviegoing experiences of my life.” – WBUR’s Arts & Culture, 09/05/2023