“King Of New York is a rotgut update of 1930s gangster movie tropes, while The Comfort Of Strangers is a lush literary adaptation drenched in Euro-arthouse perversity. What the pictures have in common are knockout lead performances by Walken, leaning into his outré eccentricities like he’s just arrived from outer space. You can’t take your eyes off him.” – WBUR’s The ARTery, 03/27/2020

“Reichardt movies are immersive experiences, inviting you to settle in and let your metabolism power down to their pace. These are films of loaded glances and pregnant pauses, where even the slightest gestures become seismic. The stories are told in the spaces between the dialogue. Everything’s happening when it seems like nothing’s going on.” – WBUR’s The ARTery, 03/05/2020

“This 1982 romantic drama was independently bankrolled by a wealthy Louisiana family of mortuary owners and made with an all-black cast and crew, most of them working in their positions for the first time. It’s a vital artifact from a lost part of film history, a tantalizing glimpse of a nascent black independent cinema movement that almost was.” – WBUR’s The ARTery, 03/03/2020

“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