“Suffused with a twilight longing, the most moving moments for me are the film’s evening montages, whether it’s the sun going down to the sound of Jose Feliciano’s ‘California Dreamin’’ or the achingly lovely parade of neon signs clicking on at dusk as the Stones sing ‘Out Of Time.’ All good things will soon come to an end, probably sooner than you think.” – The Muriel Awards, 03/01/2020
“During production Kubrick flinched at the book’s downer ending, asking his co-writers to come up with a last-minute reprieve for these doomed men. But Douglas was having none of it, box office be damned. The closest thing we get to catharsis is the star’s spectacular pronunciation of the word ‘degenerate’ during a final, ineffectual rant.” – WBUR’s The ARTery, 02/24/2020
”Filler like this only makes it hurt all the more that the Academy long ago shuttled their Lifetime Achievement Awards off to a separate, untelevised ceremony. Maybe you would like to see pioneering cinema legends like Wes Studi, David Lynch, and Lina Wertmuller receive honorary Oscars and learn a little about their lifes’ work? Too bad.” – WBUR’s The ARTery, 02/10/2020
“There’s something so deliciously rotten about Cats it makes you want to share the experience with others. ‘You know, the thing everyone forgets in this age of Netflix is that movies make temporary little communities of a few hundred people at a time,’ Judge enthuses. ‘And this strange little community is truly reveling in the cultural atrocity of Cats.’” – WBUR’s The ARTery, 01/23/2019
“These are vexing, sometimes infuriating affairs, probably best suited to viewers who always fall hardest for the ones who don’t love you back. Spending a few days immersed in Schanelec’s work I came to find myself enthralled by her abject indifference to audience expectations, up for the challenge of films designed to remain teasingly out of reach.” – WBUR’s The ARTery, 01/15/2020
“The Thing eventually found an audience on cable, where I know I wasn’t alone in watching it late at night when I was far too young to be doing so. The sheer nastiness of it all had an imprinting effect on a generation of budding cinema buffs. It’s one of the first films I can recall seeing that felt like it was trying to hurt you. The movie’s really, really mean.” – WBUR’s The ARTery, 01/09/2020
“A bunch of pointy-headed academics writing about kids’ movies might at first sound counterintuitive, but as Keough notes in his introduction, ‘for better and worse, film critics are the most childish people you’ll meet.’ Having sat in Boston screening rooms with Peter for the past 20 years, I can attest that this is an observation he makes from personal experience.” – WBUR’s The ARTery, 12/24/2019
“As arduous an experience as Sátántangó may be, I can see why Susan Sontag wanted to watch it once a year. Amid all the moldering rot, drunken boorishness and stupid, venal scheming, the film also offers us a glimpse of something infinite, a vastness of space and time within this small village that can only be experienced at such an obscene duration.” – WBUR’s The ARTery, 12/18/2019
“As time goes on it becomes ever more apparent that the unassuming pleasures of these pictures have aged remarkably well. Lacking lavish resources, the leanest and meanest of these little movies come from hunger, directed by filmmakers with something to prove and occasionally ingenious ways of working around budgetary and censorship restrictions.” – WBUR’s The ARTery, 09/11/2019
“Fellini’s revelers on the Via Veneto could quite easily be updated as Instagram influencers, rolling on molly instead of red wine while taking selfies in the Trevi Fountain. It’s not much of a stretch to imagine Marcello as a TMZ blogger puttering around the fringes of the Fyre Festival, except rather than chain-smoking he’d probably vape. Some emptiness is eternal.” – WBUR’s The ARTery, 08/29/2019
SPLICED PERSONALITY 