“We could read the scene as a sad visualization of the underclass (both homeless men of pointedly different races) fighting amongst themselves over nothing while their oppressors prosper. Or it could just be that Carpenter had cast a wrestler in his movie and wanted to give the guy a chance to strut his stuff. To be a fan of They Live is to realize it can be both.” – WBUR’s The ARTery, 09/01/2017

“Fast Times may have been marketed as another locker room romp, but the movie is made of stronger stuff. Heckerling undercuts the usual teensploitation tropes at every turn. Even co-star Phoebe Cates’ genre-required bikini stripping scene is sent up for the silly male fantasy that it is, then punctured by having her walk in on Reinhold masturbating.” – WBUR’s The ARTery, 08/10/2017

“This is the story of ratty, low-rent crooks meeting ignoble ends, with Mitchum playing against type as a rumpled, underworld Willy Loman on his way out. The movie reeks of grubby authenticity, shot on overcast afternoons beneath the city’s most oppressive, brutalist architecture. It’s a film full of daylight glaring through dingy barroom windows.” – WBUR’s The ARTery, 08/04/2017

“‘It’s a good 20 hours of work,’ Lazzaro says. ‘Setting up the rigging, power, positioning the truck and building a projector booth from scratch. Then tearing it all down. It all has to be safe and low impact to the grounds.’ So why go to all this trouble when easier, albeit inferior digital cinema options are available? ‘We do the Lord’s work. That’s why.'” – WBUR’s The ARTery, 07/18/2017

“It has always seemed to me that if Spike Lee had any idea how to solve the systemic problems and inherent conflicts of race and class then he wouldn’t have had to make a movie about them. What makes the film a masterpiece its depiction of a day during which everyone thinks they’re doing the right thing and everything still goes to hell anyway.” – WBUR’s The ARTery, 07/03/2017

“There’s a way to read the cryptic supernatural elements as Laura’s imagination of an evil that’s at least easier to understand than her father’s abuse, but in typical Lynch fashion he leaves interpretations up to the audience. The movie’s doom-laden orgies and strobe-lit screams attain a hypnotic grandeur that’s pulverizing when seen on a giant screen.” – Metro, 04/13/2017

“Both pictures hinge upon their star’s rare ability to engage an audience while playing cards close to his vest, and the films are fraught with doppelgangers and doubles, characters and scenes designed to serve as distorted mirror images of one another. Cronenberg depicts violence as a virus, infecting the pastoral settings and perverting formerly idyllic interactions.” – Metro, 04/07/2017