”The authors have taken over programming at the Brattle next week for a pair of double features presenting contrasting images of trans characters. Maclay explained, ‘We wanted the audience to see these films reflected off of one another. By putting them together, you get a full scope of the trans film image we’ve been positing with our book.’” – WBUR’s Arts & Culture, 10/03/2024

“Clocks are everywhere in Rumble Fish, looming large and small over the proceedings. The time-lapse shots of whizzing clouds that begin the picture return with a vengeance throughout, speeding their way through windowpane reflections to remind us just how quickly the world is passing these characters by, and that time is running out for Rusty James.” – Crooked Marquee, 09/20/2024

”A fascinating hybrid of stage and screen. Despite some striking, classically Frankenheimer compositions, it’s always very much a recording of a theatrical performance. At no point does it feel like you’re watching an actual quote-unquote movie. But you are watching The Iceman Cometh starring Lee Marvin and Robert Ryan, and that’s sure as hell something.” – Crooked Marquee, 09/13/2024

”The manic, channel-surfing structure of the thirty-year-old film mirrors modern attention spans, with tacky advertising and proto-reality TV talk show freak-fests intruding on a conspiracy of corporate malfeasance. To watch Fresh Kill today is to realize that the more things have changed, the more they’ve stayed the same. And not in a good way.” – WBUR’s Arts & Culture, 09/11/2024

”With her gangly, akimbo limbs and wide, anime-character eyes, Duvall didn’t look like other leading ladies of the era. Or really any era, for that matter. Yet there was something mesmerizing about her. Even in the dizziest comedies she had an ethereal, melancholy quality that drew the viewer in. Shelley Duvall wasn’t just a great actress. She was transplendent.” – WBUR’s Arts & Culture, 08/27/2024

“The hit muscial was an unlikely career choice for Huston. In hiring the then-76-year-old director, Stark said he was hoping to mimic the movie’s storyline, figuring the macho, larger-than-life brawler would be won over by the sweetness of his young charges. Indeed, it’s incredibly amusing to think of the elephant-hunting Huston surrounded on the set by singing little girls.” – Crooked Marquee, 08/23/2024

“The movie looks and sounds like what were commonly referred to as ‘women’s pictures’ back in the day, but its soul lies in the moody, psychological wreckage of the era’s most remorseless crime stories. Oft-befuddled critic Bosley Crowther called the film ‘a piece of cheap fiction done up in Technicolor and expensive sets,’ as if that isn’t what’s so awesome about it.” – Crooked Marquee, 08/16/2024

“The Madonna video cut away to scenes from her husband Sean Penn’s new movie, some sort of 1970s heartland crime drama in which the young man squares off with a pistol against a magnificently mustachioed Christopher Walken. It looked like something sinister and adult that eleven-year-old me shouldn’t be watching. Naturally, I was mesmerized.” – Crooked Marquee, 07/26/2024

“Watch any scene of a Sofia Coppola picture and you can instantly tell who directed it. These are lush, melancholic movies with carefully embroidered visual schemes floating on pillows of sound. Fuzzy guitars and ethereal synth tones follow our heartsick, usually adolescent protagonists on the cusp of adulthood and self-discovery.” – WBUR’s Arts & Culture, 07/23/2024