“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
“The past is gone, the show kept reminding us. The Return was ultimately an anti-nostalgic nostalgia revival about how you can’t go home again. Lynch and Frost repeatedly, adamantly denied the comforts of the familiar, sidelined old regulars in favor of new creations and kept their most beloved character comatose for the first sixteen hours. That’s nerve.” – WBUR’s The ARTery, 09/04/2017
“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
“We’re now halfway through director David Lynch’s maddening, magnificent magnum opus, a work of such sweeping breadth and bonkers daring that mere hyperbole feels meager and insufficient. This is the most thrilling, confounding program to be seen on television since… well, since the original Twin Peaks first premiered on ABC back in 1990.” – WBUR’s The ARTery, 07/12/2016
“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
SPLICED PERSONALITY 