“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

“Looser and less self-important than it sounds in synopsis, Buck And The Preacher wears its historical import lightly, with an easy humor that confounded more than a few critics. By this point in his career, the Oscar-winning Poitier’s name had become synonymous with a certain sort of prestige picture starchier than this. It’s a film of simple, sturdy pleasures.” – Crooked Marquee, 08/19/2022

“But sometimes folks go to the movies just because we like to watch people fall in love, and the scorching chemistry between Swayze and Grey (who by all accounts didn’t care for each other’s company off-camera) is enough to crush petty plot concerns or any questions about how they could be dancing to instruments that haven’t been invented yet.” – WBUR’s Arts & Culture, 08/18/2022

“E.T. is one of the purest and most emotionally direct of all American movies, with not a whit of adult condescension nor any self-protecting irony. Spielberg’s brilliantly subjective camerawork forces even the most jaded and cynical viewers back into the perspective of a child, which might be why it hits grown-ups so much harder than kids.” – WBUR’s Arts & Culture, 08/11/2022

“An achingly beautiful cautionary tale about the blindness of privilege, a movie rich with longing and loss. It’s impossible to watch The Garden Of The Finzi-Continis in today’s political climate without feeling a chill every time the characters shrug off another sign of encroaching authoritarianism, blithely believing such horrors couldn’t possibly happen so close to home.” – Crooked Marquee, 08/05/2022