“In whatever form you may find it, Kill Bill remains perhaps the purest distillation of its auteur’s fetishes and fixations, mixing and matching spaghetti westerns, samurai sagas, blaxploitation, kung fu epics and grindhouse rape-revenge pictures into a lavishly produced, cinematically sophisticated smorgasbord of low culture and high style.” – WBUR’s Arts & Culture, 12/04/2025

“Lancaster’s crisp elocution was never put to more satisfyingly sinister ends, portraying the writer as a tightly-wound, sexless automaton. Hunsecker’s dead-eyed stare came from the actor smearing Vaseline on his glasses so he couldn’t focus on anyone in front of him. It’s how he seems to be looking through everybody. He certainly sees through Sidney.” – Crooked Marquee, 11/21/2025

“A four-seater plane transporting Mitchum to the movie’s Bridgeport location lost its brakes and crashed through a fence into an outhouse. The actor climbed out of the wreck and hitchhiked to set. The panicked production team had just heard news of the crash and were scrambling for details when a scuffed Mitchum sauntered up and asked if anybody had any weed.” – Crooked Marquee, 11/07/2025

“Keaton is incandescent in the film, an instant icon in her wide-brimmed hats and men’s ties. Alvy jokes about her black soap and adult education classes, but we can see Annie is an explorer. The gift of Keaton’s performance – which is even more remarkable given the non-chronological structure – is how she allows us to observe Annie growing into herself.” – Crooked Marquee, 10/24/2025

“The nice thing about living in one of the greatest movie cities in the world is that there are more than 40 horror flicks you can go see on a giant screen with a sound system that blows away any setup you have at home. Besides, there’s something healthy about screaming along with strangers. It reminds us that we’re all in this together.” – WBUR’s Arts & Culture, 10/21/2025

“Pontecorvo said he wanted the movie to feel like ‘a stolen historical document’ and his groundbreaking appropriation of newsreel techniques blurs the lines between documentary and fiction filmmaking to dizzying effect. Early release prints had a disclaimer informing audiences that no actual news footage was used in the picture. That’s still kind of hard to believe.” – Crooked Marquee, 10/10/2025

“Linda Linda Linda accumulates ephemeral grace notes and wry asides before blowing the doors off with a euphoric climax of pure punk rock elation, one of the happiest endings I’ve ever seen in a movie. I can still recall exactly where I was sitting at the Brattle that afternoon 20 years ago, because I was practically levitating out of my chair.” – WBUR’s Arts & Culture, 10/02/2025

“So much of Ordinary People has been codified into pop culture cliché it can be difficult to imagine how startling the film must have seemed at the time. Here’s television’s original beloved housewife Mary Tyler Moore, who can turn the world on with her smile, playing one of the least maternal moms in movie history with brittle, shattering intensity.” – Crooked Marquee, 09/26/2025

“A breakthrough for Wenders, codifying the dreamy, sentimental existentialism that became his signature. The director can be glimpsed at a diner jukebox early in the film, playing the Count Five’s ‘Psychotic Reaction.’ Indeed, it’s impossible to count all the jukeboxes, diners, highways, old muscle cars and rock n’ roll songs in Wim Wenders films.” – Crooked Marquee, 09/05/2025

“An expert use of Stamp’s ethereal presence. The more serene he is, the more it throws Braddock off his game. The elder assassin starts making stupid mistakes. Parker’s gotten inside his head, planting sly insinuations and pointed asides. Here’s where Stamp’s playfulness comes in especially handy; he’s able to make being beatific into a way of fucking with you.” – Crooked Marquee, 08/29/2025