”eXistenZ is a sicko comic puzzle picture, with a labyrinthine conspiracy plot existing mainly to prop-up the filmmaker’s heavily sexualized gross-outs. Leigh in particular is a stitch, constantly kicking off her shoes and playing most scenes in a breathy, erotic thrall. The moment Law tongues the orifice in her back is brave even by this fearless performer’s standards.” – WBUR’s The ARTery, 03/15/2018

“It’s an awful shame because as a kid, the Academy’s Lifetime Achievement awards were how I learned a lot about film history, and they inspired me to seek out movies older than myself and begin to understand that art exists in a continuity. Now instead we have time-suck stunts with Ansel Elgort and a six-foot submarine sandwich.” – WBUR’s The ARTery, 03/05/2018 

“Lady Bird is terrific. It’s the best possible version of that movie you can make. I don’t think Greta Gerwig gets as much credit as she should for her direction. The movie is paced almost like a screwball comedy. It flies. I’ve had dumb conversations with people who say the camera doesn’t move enough, as if directing was just acrobatics. There’s a lot more to it.” – Boston.com, 03/02/2018

“The phrase conjures black-and-white visions of Venetian blinds and countless cigarettes, allegorically exposing male anxieties of powerlessness in a changing post-war world. The MFA’s ‘Femmes Fatales’ is a fine selection if you want to study advancing gender roles in genre cinema, and works just as well if you like to go to the movies to look at beautiful women.” – WBUR’s The ARTery, 02/28/2018

“Dafoe had maybe the trickiest job in movies last year, anchoring a cast of wildly gifted and totally green first-time actors, rolling with their improvisations and imperfections. Like his character tending to a wayward flock in a ramshackle welfare motel, Dafoe provides structure and sanity to The Florida Project. It’s impossible to imagine the movie without him.” – The Muriel Awards, 02/17/2018

“It is a film that feels tantalizingly incomplete, missing just a few crucial pieces that you feel certain you’re bound to catch the next time around. Every time I watch The Shining I’m pretty sure I’ve got it almost all figured out and then the whole thing just kinda gets away from me, like the way terrible nightmares dissolve in the morning light.” – WBUR’s The ARTery, 01/11/2018

“The first time I saw All That Jazz I was zonked on cold medicine with a high fever and afterward figured I must have hallucinated most of it. The movie is a geyser of flowing images, often cut counter-intuitively against the beat of the soundtrack songs and following movements and transitions that defy linear logic while making perfect emotional sense.” – WBUR’s The ARTery, 12/13/2017

“You look at every role and everybody gets their big monologue, their show-stopping piece. It’s how you write a script when you want to attract big stars. You have Robin Williams on the bench, Minnie Driver talking about her dad, everyone gets their Oscar clip. It also created this ridiculous Boston caricature that only two guys from Cambridge could write.” – Boston.com, 12/05/2017

“‘I’ve been thinking a lot about Hanks in relation to the silent comedians,’ the Brattle’s creative director Ned Hinkle explained. ‘He’s like Buster Keaton but with a face made of rubber rather than stone. His commitment to the physical comedy is astounding, but from the very beginning he was able to connect with the real emotions that drive these characters.'” – WBUR’s The ARTery, 11/20/2017

“‘Tilda Swinton is simply one of the most mercurial and indelible screen performers of our age,’ says the Brattle’s creative director Ned Hinkle, via email from the Toronto Film Festival. ‘She fits neither the definition of movie star nor the definition of character actor. I think she’s a very unique performer and also, in a real way, a cinema artist.'” – WBUR’s The ARTery, 09/14/2017