THELMA

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“There are some moments of startling terror. The best jolts have an otherworldly, minimalist kick; a strand of hair suspended in a pane of glass, or again, those damn crows. But the greatest horror lies in the movie’s subtext: the internal prison of believing that your desires are destructive. It’s a movie about not being able to be who you are.” – WBUR’s The ARTery, 01/17/2018

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PHANTOM THREAD

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“Panoramic vistas are fine for postcards, but I’m hard pressed to think of a landscape as fascinating as the faces of Daniel Day-Lewis and Vicky Krieps. This is a fiendishly funny movie, one that’s extremely self-aware and follows its own internal logic to a conclusion that makes perfect sense while being entirely mad. I laughed myself sick.” – WBUR’s The ARTery, 01/12/2018

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THE POST

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“A brassy, swaggering Hollywood entertainment, Steven Spielberg’s The Post is a none-too-thinly veiled polemic insisting that a free and adversarial press is vital to the survival of our democracy, but in the guise of one of those zany newspaper comedies from the 1930s. It’s breathless, a little goofy and an altogether grand old time at the movies.” – WBUR’s The ARTery, 01/04/2018

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ALL THE MONEY IN THE WORLD

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“Playing a suave negotiator who speaks multiple languages, Wahlberg’s lunkhead line-readings elicited titters of laughter at the advance screening I attended. There are still a few days left before the movie opens, so maybe Ridley has time to replace him with Clive Owen, Michael Fassbender or anyone who actually might make sense in the role.” – WBUR’s The ARTery, 12/22/2017

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CALL ME BY YOUR NAME

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“The film luxuriates in the sun-kissed settings, languorous and largely devoid of conflict. Adapted by 89-year-old screenwriter James Ivory, it exhibits that specific brand of watchable, genteel restraint that made Merchant Ivory the arthouse Marvel Studios of the 1980s and ‘90s. It’s the kind of movie that discreetly pans to billowing curtains during a sex scene.” – WBUR’s The ARTery, 12/22/2017

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DOWNSIZING

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“The movie pretty much drops the whole shrinking business altogether to focus on Damon’s sudden discovery of an underclass. Payne’s early, acidic satires like Citizen Ruth and Election used to skewer this exact sort of self-congratulatory, limousine liberal BS. The filmmaker’s softening over the years has been one of cinema’s slow-motion tragedies.” – WBUR’s The ARTery, 12/22/2017

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