“The three films are dense with ideas, offering a complexity of thought that stands in sad contrast to what passes for discourse today. You can’t fit Baldwin’s worldview into a tweet. He’s funny and urbane, with no time for traditional talking points or the kind of self-congratulation you get from folks who make a big deal out of letting you know they have good politics.” – WBUR’s Arts & Culture, 03/23/2023

“My favorite part of this past Sunday’s ceremony was when Creed III stars Michael B. Jordan and Jonathan Majors gave out the award for Best Cinematography, turning the presentation into a delightful two-minute film school class before the nominees were read. It was fun to watch, and you learned a little something about how movies are made.” – WBUR’s Arts & Culture, 03/16/2023

“I know that there’s dialogue in Beau Travail, but I’ll be damned if I can ever remember any. Denis tells the story almost entirely through physicality and movement. Throbbing with barely-repressed homoeroticism, the movie is a mass of engorged muscles and entwined limbs; desire rerouted through conformity and cruelty in the rhythm of the night.” – WBUR’s Arts & Culture, 03/06/2023

“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