“There’s not much to Thompson’s play beyond folksy wisecracks and pat affirmations. But director Mark Rydell’s big-screen version boasts an alchemical element which makes On Golden Pond far more than the sum of its treacly parts. The leads aren’t just movie stars, they’re movie legends. It’s twilight for the Thayers, and for an entire era of Hollywood.” – Crooked Marquee, 05/23/2025

“’Somehow in the screwed up world in which we find ourselves, a ghastly amount of people have lost sight of the fact that these are the bad guys,’ says the Somerville Theatre’s Ian Judge. ‘This narrative cannot be allowed to be blurred by modern day losers stoking the flames of antisemitism and fascism. These movies help us remember who we are at our best.’” – WBUR’s Arts & Culture, 05/15/2025

”He was so much taller and blonder and better-looking than everyone around him, like some sort of storybook Nordic prince. But taking another look at the films in the Brattle retrospective, one comes away with how much the actor loved to undercut his matinee idol appearance. Kilmer may have looked like a golden god, but he was often a very silly goose.” – WBUR’s Arts & Culture, 05/12/2025

”Not a lot of film students wind up having their homework released by a major studio, but the then-27-year-old wunderkind could never be accused of thinking small. Coppola’s freewheeling adaptation of David Benedictus’ 1963 novel has style and ambition to burn. It’s a wild, visually spectacular calling card in the service of material that’s honestly pretty puerile.” – Crooked Marquee, 05/09/2025

”If your mom doesn’t have the stomach for the Brattle’s annual Mother’s Day screening of Psycho, you’ll have plenty of options on the other side of the square. The Harvard Film Archive’s Mother’s Day Mini-Marathon features seven 35mm prints of big screen classics examining maternal love in all its complex and sometimes maddening dimensions.” – WBUR’s Arts & Culture, 05/08/2025

”Coward’s screenplay is a marvel of construction, beginning with the end of the affair as seen by a nosy neighbor of Laura’s who has no idea what kind of emotionally volatile farewell she’s just wandered into. Neither do we, until the scene is replayed at the end of the picture. Meanwhile the trains come and go, carrying missed connections and broken hearts.” – Crooked Marquee, 04/18/2025

“Wallowing in a scuzzy underworld of nudie booths and porno shoots, the sleaziest major Hollywood release of 1986 is an ugly, urgent thriller made by a director with something to prove. What sets 52 Pick-Up apart from countless other tawdry thrillers of its era are the film’s ruthless efficiency and astonishing cruelty. This movie has a mean streak a mile wide.” – Crooked Marquee, 04/11/2025

“The leggy bombshell is like nothing like these tweedy academics have ever seen, and Hawks gets enormous comic mileage out of their awestruck reactions to finding themselves in the same room as Barbara Stanwyck. (Honestly, they hold it together better than I would have.) This is the only live-action remake of Snow White And The Seven Dwarfs anyone needed.“ – Crooked Marquee, 03/28/2025

“He looked how he looked: an unassuming, ordinary guy with an arsenal of grins, winks and chilling stares he could shade into infinite variations. His voice was higher and huskier than you expected, its cracks a key to his often aching vulnerability onscreen. Hackman excelled at portraying gruff men with volcanic tempers, yet few stars seemed so easily wounded.“ – WBUR’s Arts & Culture, 03/27/2025

”With the possible exception of Raiders Of The Lost Ark, the most exciting film released in 1981 was about two men having dinner. A continents-spanning epic set almost entirely within a stuffy restaurant on Manhattan’s Upper East Side, it’s entirely sui generis, the craziest idea for a movie you’ve ever heard and the unlikeliest sleeper hit of all time.” – Crooked Marquee, 03/21/2025