“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“Pontecorvo said he wanted the movie to feel like ‘a stolen historical document’ and his groundbreaking appropriation of newsreel techniques blurs the lines between documentary and fiction filmmaking to dizzying effect.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

“Spielberg’s most Altman-esque movie, casting a wary eye on institutions his later pictures would exalt. The mayor from Jaws became such a popular meme during COVID-19 because the film is bracingly up front about how people in charge are not necessarily looking out for your best interests. There’s a New Hollywood cynicism that’s missing from his subsequent work.” – WBUR’s Arts & Culture, 08/27/2025

“Chopped down to 62 minutes and dubbed into English, the film played on double bills alongside something called Mixed-Up Women. Such presentations cemented for generations the notion that Swedish films were full of frolicking nude starlets, a misconception I imagine led to unpleasant evenings for anyone who wandered into The Virgin Spring.” – Crooked Marquee, 08/22/2025

“Turning navel gazing into performance art, Gray obsessively recounted the minutiae of his life as a way of imposing order on an existence he found overwhelmingly chaotic. Telling stories is how we explain our lives to ourselves, but Swimming To Cambodia is about what happens when a seasoned storyteller comes up against the unexplainable.” – WBUR’s Arts & Culture, 08/12/2025