“The key to Hackman’s genius is that he was always one of our most vulnerable actors. Beneath that gruff, macho bluster lurks an almost child-like sensitivity. He bruises so easily. Screenwriter Sharp’s dialogue is the gold standard of exhausted, Watergate-era fatalism. Few films embody a gloriously bummed-out era of American cinema better than Night Moves.” –  Crooked Marquee, 06/30/2023

“I’m not sure any actor has flown closer to the sun than Brando did here. The more powerfully Paul attempts to assert himself, the more pathetic he becomes. The star goes to emotional places so vulnerable and humiliating other performers spend their entire careers never getting near the same neighborhood. She’s naked, he’s exposed.” – Crooked Marquee, 06/16/2023

“Daisy von Scherler Mayer’s Party Girl and Gregg Araki’s The Doom Generation didn’t drum up much money at the box office during their initial releases, but both became almost instant cult classics that epitomized a very specific moment of Gen X cool. During my undergrad days as a video store clerk, we couldn’t keep these tapes on the shelves.” – WBUR’s Arts & Culture, 06/16/2023

“The affectations and allusions are entirely deliberate. Leone, his film critic pal Dario Argento and a hotshot young director named Bernardo Bertolucci spent months binging every ancient Hollywood oater they could find while coming up with the story, stealing scenes and scenarios willy-nilly. Once Upon A Time In The West isn’t just any old Western, it’s all of them.” – Crooked Marquee, 05/26/2023

“The afterparty is the brainchild of Identical Cousins, who have held similar Peaks shindigs in the past. They’re calling the Crystal Ballroom event ‘a mini-festival of fan art, an immersive space where we inhabit the dream together. We want folks to hear the wind, pass through the woods and slip through the curtains backstage to another dimension.’” – WBUR’s Arts & Culture, 05/26/2023

“The sixties haven’t made it out to these small towns yet, where kids still listen to doo-wop and drink milkshakes in their muscle cars while cruising the downtown strip. Lucas’s sophomore effort is a wistful picture about the twilight of American innocence, set on the precipice of the Kennedy assassination and Vietnam. It’s the last night of summer, in more ways than one.” – Crooked Marquee, 05/12/2023

“Scary movies allow us safe spaces where we can work out our anxieties. And there were few things scarier or more anxiety-inducing than sex during the AIDS crisis. Yet even separated by decades from this subtext, these movies still thrill because they understood that desire can (and sometimes should) feel dangerous and dirty. That’s the fun part.” – WBUR’s Arts & Culture, 05/11/2023

“One of the great American films, not for what it tells us about LaMotta, but for what it tells us about ourselves. Scorsese’s masterpiece is a searingly personal exploration of jealousy and self-loathing, seen (sometimes literally) through the eyes of a man who considers himself so unworthy of love that he cannot stop hurting those who care about him most.” – WBUR’s Arts & Culture, 05/05/2023

“It’s a low-key character study tuned to Woodward’s exquisite performance, one of the decade’s finest. Rachel, Rachel features so many close-ups, a friend of Newman’s joked that watching the movie was like looking through his wallet photos. But you can hardly blame the happy husband, as her face registers so vividly the character’s secrets and lusty longings.” – Crooked Marquee, 04/21/2023