“My favorite film of 2025 is a funny, melancholy marvel of emotionally constipated New England masculinity, full of characters who can only communicate by busting each other’s chops. One of them asks, ‘Is there anything more beautiful than the sun setting on a fat man stealing second base?’ Nothing I saw this year came close.” – WBUR’s Arts & Culture, 12/11/2025

”No movie experience this year thrilled me the way Megalopolis did, taking so many big swings and throwing so many wild pitches, half the time I couldn’t believe what I was watching. It’s a cockamamie leap into the unknown unencumbered by conventional rules of screenwriting or parameters of good taste, full of philosophical discussions and boner jokes.” – WBUR’s Arts & Culture, 12/10/2024

”Moviegoing bounced back during 2023, dominating the cultural conversation in a way we haven’t seen since before streaming and the pandemic ruined everything. The fact that a film as sophisticated and ambivalent as Oppenheimer could gross more than $950 million says great things about the future of movies and the people going to see them.” – WBUR’s Arts & Culture, 12/20/2023

“I saw a lot of terrific films in 2022, but they’re becoming increasingly more difficult for audiences to find, siloed off onto separate subscription services or buried in brief, barely-advertised engagements and feast-or-famine scheduling. Studio malpractice and streamer sabotage have me less optimistic about the future of the theatrical experience than I’ve ever been.” – WBUR’s Arts & Culture, 12/20/2022

“Paul Thomas Anderson’s loose, loopy tale of teenage adulation in 1973 is the director’s most endearing picture, an episodic ramble through fading fashions, ephemeral fads and memories that endure. There’s magic in their misfit, Hollywood-adjacent misadventures, and a wistful evocation of just how fleeting such connections can be. I didn’t want it to end.” – WBUR’s The ARTery, 12/15/2021