“A monument to ruin, it’s one of those great, misshapen movies full of bizarre tonal shifts and strange directorial choices that don’t seem to make much sense in the moment but linger in your mind for months afterward. Pauline Kael called it ‘an unqualified disaster of the type that only talented people have.’ I think it might be something of a masterpiece.” – Crooked Marquee, 10/08/2021

“These four terrific pictures brought issues of race to the forefront of twisty, throwback crime stories. Classic noirs from the ‘40s and ‘50s reflected and amplified the anxieties of traumatized men returning to a changed America after WWII, whereas these ‘90s counterparts applied that sort of doomy, old-fashioned fatalism to structural social injustice.” – WBUR’s The ARTery, 09/22/2021

“The film’s centerpiece sequence is one of the most boldly transgressive in modern cinema, a terrifying tightrope walk of abuse and illicit longings that famously sent viewers fleeing from their seats. Blue Velvet speaks to something primal about moviegoing itself: we’re all in that closet with Jeffrey. If we didn’t like to watch we wouldn’t be at the movies in the first place.” – Crooked Marquee, 09/17/2021

“It might be Scorsese’s most manic movie, disjunctively doubling back through dissolves so we’re seeing things from multiple angles at once. The camera flips on its side or upside down altogether, with Van Morrison’s wheezy, queasy ‘TB Sheets’ percolating over and over on the soundtrack, his wailing harmonica standing in for the ambulance’s siren.” – WBUR’s The ARTery, 09/10/2021

“Few films are blessed with the sense of discovery captured in these ramshackle reels. Wild Style is a fanciful first draft of a cultural history play-acted by the same people who created the culture in the first place. It’s a winning bit of self-mythology by folks who were there on the ground floor, adorable in it’s amateurish ardor and endless optimism.” – WBUR’s The ARTery, 07/22/2021

“The private June screenings provided opportunities for Hinkle and Moylan to gauge the comfort levels of audiences returning to the theater after a scary 15 months, while also stress-testing their new operating systems. But most importantly, they were ways to say thank you to a community that came through when the Brattle needed them most.” – WBUR’s The ARTery, 06/30/2021

“Romero’s great subject as an artist was the scary precarity of our society, and how quickly men become beasts when the comforts of civilization are rudely ripped away. The Amusement Park is his explicit warning about a crass, commercial culture with no regard for anything but the present, and how we are all doomed to soon be forgotten and ignored.” – North Shore Movies, 06/08/2021

“Before anybody heard of the novel coronavirus, I used to go to the movies three or four times a week. Cinemas are my churches, my sanctuaries. They’re where I’d go to feel closer to people and where I go to get away from them. Movie theaters were where I could vicariously experience adventures beyond my wildest imagination, or sometimes just take a nap.” – WBUR’s The ARTery, 05/17/2021

“Every scene is shot and cut like a commercial. It’s all shimmering sunsets and golden magic hours with cool motorcycles and vintage cars. People wear heavy leather bomber jackets in the San Diego summer simply because they look so great in them. Top Gun feels like the longest advertisement you’ve ever seen, but what exactly is it supposed to be selling?” – WBUR’s The ARTery, 05/14/2021

“We’ve got movie theaters, their employees and crew members who work on Hollywood films suffering catastrophic financial losses, but have any of these obscenely wealthy luminaries lifted a finger to help them out? The only show of support I can recall was Gal Gadot and her dopey friends singing ‘Imagine’ off-key from the grounds of their gargantuan estates.” – WBUR’s The ARTery, 04/23/2021