63 UP

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“Apted and his editors preface their interviews with snippets from the previous pictures, so in a span of several minutes we see these subjects age more than half-a-century. We watch eyes grow hard and bodies get soft. The walks lose a step while youthful belligerence gives way to something more circumspect and considered. It’s a remarkable thing to witness.” – WBUR’s The ARTery, 12/11/2019

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ATLANTICS

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“Set in Senegal, the story starts as an arresting ethnographic study until it takes a hard right turn into the mystic. With unerring confidence behind the camera, Atlantics steadily grows into something ever more mythical and strange, like a seaside campfire tale told by old sailors’ widows. You might think you know where it’s going, but you don’t.” – WBUR’s The ARTery, 12/05/2019

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KNIVES OUT

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“The kind of movie they say they don’t make anymore, Rian Johnson’s Knives Out is a smashing, old fashioned entertainment with a saucy, contemporary edge. This is a brainy crowd-pleaser focused on the pleasures of big movie star performances and crafty writing, two quantities in short supply these days at franchise-dominated multiplexes.” – WBUR’s The ARTery, 11/26/2019

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MARRIAGE STORY

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“For such a messy subject, Marriage Story feels a mite too meticulously designed. There’s none of the sickening emotional dread you feel in obvious influences like Scenes From A Marriage or Husbands And Wives, but rather just the sadness of watching likable people muck about hurting each other while you’re waiting for them to work through it all eventually.” – WBUR’s The ARTery, 11/22/2019

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A BEAUTIFUL DAY IN THE NEIGHBORHOOD

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”It’s a promising setup: a flip, ‘90s cynic taken aback by Rogers’ unflappable sincerity, assuming this has all gotta be some kind of act and digging deeper to discover that the guy’s the real deal. Unfortunately it comes off like what would’ve happened if Citizen Kane had devoted half the movie to the home life of that reporter who was investigating Rosebud.” – WBUR’s The ARTery, 11/20/2019

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THE REPORT

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“This is one of those movies where terrific character actors wear lanyards and stride purposefully down hallways speaking to one another in hushed tones. I love this kind of stuff, and Burns keeps the pace percolating with the jittery handheld energy and slinky synthesizer sounds associated with Soderbergh, if not his mentor’s gift for indelible images.” – WBUR’s The ARTery, 11/15/2019

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THE IRISHMAN

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“A gangster movie to end all gangster movies, akin to Clint Eastwood’s Unforgiven and John Ford’s The Man Who Shot Liberty Valance in that it finds a filmmaker reflecting on the genre he helped define, issuing what feels like his final word on the subject. It’s sprawling, enthralling and often hilarious when it isn’t busy being deeply, unfathomably sad.” – WBUR’s The ARTery, 11/13/2019

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