“It is the month when we give thanks for leggy, duplicitous dames and doomed private dicks played for patsies. November is Noirvember, celebrating Hollywood’s hard-boiled fools for love and the frisky femme fatales that are their undoing, bringing back the best in cynical thrillers with bungled murder plots, bummer endings and sardonic voice-over narrations.” – WBUR’s Arts & Culture, 11/04/2022

“The Outfit has been assembled with an unfussy expertise that seemed like no great shakes to film critics 49 years ago, but feels like a lost art today. Duvall is coiled like a cobra while big teddy bear Baker is expansive and gregarious. The latter basically steals the picture, lending considerable, cherubic warmth to the sometimes too-cool proceedings.” – Crooked Marquee, 11/04/2022

“Alan Parker’s scandalous supernatural thriller Angel Heart is scary as hell but also something of a hoot, with a mordant sense of humor and some of the genre’s greatest character names. The crooner is called Johnny Favorite, De Niro plays Louis Cyphre and there’s a jazz musician named Toots Sweet. Even the title turns out to be a terrible pun.” – WBUR’s Arts & Culture, 10/24/2022

“Rewritten by director Amy Holden Jones, the resulting picture is a fiendishly funny parody played completely straight. So straight that a lot of dismissive critics confused it with the genuine article. But then again, as a horny pubescent I rented the movie on VHS more than once for obvious reasons, and I’m pretty sure I wasn’t in on the joke, either.” – Crooked Marquee, 10/21/2022

“These are the works of a merry prankster intoxicated by the possibilities of the medium, pushing at its limitations and discovering there are none. All three stories come to tragic ends, yet what we mostly remember is how funny and cool they are; full of absurdist asides and knowing nods, flights of sublime silliness amid stylish poses and half-kidding crime plots.” – WBUR’s Arts & Culture, 10/10/2022

“A titillating semiotic exercise, sending up gender roles and inverting the vampire mythos with results both provocative and ridiculous. Foregrounding female desire while flipping the script on more than just the old vampire tropes about darkness and light, it’s a Dracula tale in which the count is a countess and Mina Harker happens to be a himbo.” – Crooked Marquee, 10/07/2022

“Gould scores with a spectacular array of beautiful women. Sometimes it’s hard to tell if the movie is commenting on the character’s misogyny or reveling in it. Filed under stuff you would never see onscreen today: a purring, post-coital Bergen stroking his mustache with her toes, plus a comely coed seductively running her fingers thorough the hair on his shoulders.” – Crooked Marquee, 09/30/2022

“Masculin Féminin isn’t my favorite Godard movie, but it’s the one I felt most like revisiting after hearing news of the director’s death. I think because it’s about being the age I was when his films first found me: barely out of adolescence and all hopped up on hormones, cinemania and political fervor, when everything feels like it’s still stretched out endlessly in front of you.” – Crooked Marquee, 09/16/2022

“Antonioni likes to keep his actors turned away from us. He denies the emotional access most filmmakers labor to provide, forcing us to instead find meaning in the blocking and bodily juxtapositions. So much screen time is spent studying Vitti and Moreau’s bare backs, if there’s such thing as a shoulder blade fetish community they’ll give this film five stars.” – Crooked Marquee, 09/02/2022

“The series is focused on introducing audiences to the most notorious of nocturnal blockbusters, from back when people first started getting groovy at the movies after hours. It’s a lineup of cult classics that Professor Anastasio hopes will be ‘a beacon for weirdos,’ inviting a whole new class to come out on weekend nights and let their freak flags fly.” – WBUR’s Arts & Culture, 09/01/2022