”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
“Like a lot of memoirs, Desperately Seeking Something is a largely conciliatory affair, which might be a disappointment to those looking for dish about the outsized personalities she’s worked with over the years. Seidelman’s even generous to a screenwriter she says gave her a case of crabs, going on to praise his script for Making Mr. Right in the same paragraph.” – WBUR’s Arts & Culture, 07/17/2024
”There’s a wrenching resignation in Kristofferson’s eyes when his demo tapes are ignored by industry players who only called for his drug connections. The movie chronicles an ego death by a thousand pinpricks, the most amusingly brutal being when a groupie played by Joy Bang tells Kristofferson and Stanton that their big hit was her favorite song in junior high.” – Crooked Marquee, 07/12/2024
””It’s interesting to think about a time when Hollywood made movies for adults,’ explains Tamm. ‘What does it say about the end of the 20th century that 25 years on, we’re not making movies like this anymore? Is that necessarily a good thing? I don’t know. There are some deeper, thornier questions in these films that mainstream movies aren’t asking anymore.’” – WBUR’s Arts & Culture, 07/10/2024
“Unfulfilled longing runs the circle ‘round in Jacques Demy’s enchanting, heartsick 1961 debut, a film in which — as the song goes — everybody needs somebody to love, even when they don’t love you back. To Demy, a poet of heartache, unrequited love remains an essential and inevitable element of the human condition; the most wonderful, horrible part of being alive.” – Crooked Marquee, 06/28/2024
SPLICED PERSONALITY 