“What a pair Geraldine Chaplin and Anthony Perkins make together! They’re all sinewy, awkward angles and antsy energy. It doesn’t take too long for these two to get back up to their old tricks, at which point Remember My Name becomes an even more enticingly oblique experience. We learn everything about this couple, and also nothing.” – Crooked Marquee, 02/24/2023

“Fueled by a filmmaker’s unhealthy obsession with his muse, Hitchcock’s messiest and most divisive movie is a lush spectacle of deliberate artifice engorged with icky sexual politics and retrograde fantasies. Marnie is a sinister, unpleasant picture, yet you can’t stop thinking about it. When the movie’s over you want to take a shower, and then talk about it some more.” – Crooked Marquee, 02/10/2023

“Valentine’s Day is the most unnecessarily stressful holiday that isn’t New Year’s Eve. Couples risk being crushed under colossal expectations to come up with the perfect date, while the rest of us need to find someplace where we won’t feel self-conscious about being alone. As is my catch-all solution for most of life’s problems, I find going to the movies helps.” – WBUR’s Arts & Culture, 02/08/2023

“The dual Swintons remain isolated within separate frames, while Hogg’s deliberately uncanny cutting underscores the psychological gulf between them. The Eternal Daughter isn’t a horror movie, but it’s haunted. The gothic trappings aren’t supernatural so much as they’re externalizations of the characters’ regrets. This is a hotel where you bring your own ghosts.” – WBUR’s Arts & Culture, 02/06/2023

“If this sounds like Fatal Attraction, that’s because the 1987 smash was basically a remake. And just as Lyne’s blockbuster became a release valve for the era’s unspoken AIDS paranoia, Misty captured its own cultural moment, evoking the eerie hangover that followed Free Love, shot the summer after the Manson family ended all that California dreamin’ on Cielo Drive.” – Crooked Marquee, 01/27/2023

“The movie is a mind-melting, 201-minute colossus of monotony that warps and distorts time inside the viewer’s headspace. It is a towering achievement in cinema. It’s also one of the last films I’d ever recommend to casual moviegoers, which is why the placement of Jeanne Dielman at the top of the BFI list strikes me as such a problematic provocation.” – WBUR’s Arts & Culture, 01/26/2023

“There’s a wonderfully enveloping atmosphere of doom in The Long Voyage Home, with the fog that drapes the sets feeling like a death shroud. O’Neill’s plays were minimalist affairs on nearly empty stages, and Ford finds a fascinating balance between the cramped, close-quarter scenes below deck and a boisterous, big-canvas action picture upstairs.” – Crooked Marquee, 01/06/2023

“This manic mix of earnest immigrant family drama, science-fiction silliness, middle-aged romance and interdimensional kung fu cites so many influences and is so full of allusions the movie might as well come with an index, which is why the series is something Hinkle has had in mind since he first saw Everything Everywhere during its initial run back in April.” – WBUR’s Arts & Culture, 12/21/2022

“It’s tempting to read the bishop’s cold quarters and the Ekdahls’ happy home as two sides of Bergman’s soul vying for custody of his alter-ego, Alexander. The final reels upend Strindberg’s ‘flimsy framework of reality,’ slipping into surreal sleight of hand as this battle of love and libertinism versus religious self-abnegation wakes the ghosts. They’ve been waiting.” – Crooked Marquee, 12/16/2022