“As teens we often construct our identities around shared pop culture interests, communicating through quotes and music mixes to let artists express that which we’re unable to say. For all its missteps, Blinded By The Light understands the sweet relief of hearing something and feeling less alone in the world, at least for the length of a record.” – WBUR’s The ARTery, 08/13/2019
“Pitilessly violent even by the standards of Australian Westerns, which tend to be a bit rougher than the rest. Kent eschews expansive widescreen vistas, opting instead for a boxy, claustrophobic aspect ratio that keeps Clare’s ravaged visage front and center. The characters feel walled-in by these massive trees, the overgrown greens giving a whiff of rot.” – WBUR’s The ARTery, 08/07/2019
“A mismatched buddy picture aspiring to the spirit of 1980s cable staples like Tango & Cash in which the leads spend as much time busting each other’s balls as breaking bad-guys’ heads. A little too PG-13 and way too overstuffed for its own good, but it’s more fun than the last two lackluster Furious films. You can do a lot worse at the movies in August.” – North Shore Movies, 08/03/2019
“Dudes love to talk about Heat. I often joke that the film has been watched on more black leather couches in man caves than any other movie except maybe The Godfather or Goodfellas. It’s an intricately plotted, 170-minute cat-and-mouse game with over seventy speaking roles and at least two of the decade’s defining action set-pieces.” – WBUR’s The ARTery, 08/01/2019
“What emerges is a boisterously entertaining portrait of some sassy, marginalized people heroically carving out a space for themselves, where they can be themselves. Strutting these makeshift runways in their most glamourous getups, the community comes together to celebrate the very qualities that leave them scorned by the outside world.” – WBUR’s The ARTery, 07/30/2019
“Tarantino’s warmest film since Jackie Brown, and his funniest since Pulp Fiction. An elegiac buddy comedy taking place at the tail end of Hollywood’s Golden Age, it’s a dazzlingly extravagant childhood reminiscence akin to Roma or Fellini’s Amarcord, but suffused with a deep, middle-aged sadness as these characters stare down their impending obsolescence.” – WBUR’s The ARTery, 07/25/2019
“I could be heard loudly complaining in the lobby afterwards that you’ve got two beige cats fighting in front of an oatmeal rock with some brown grass on the ground. Every aesthetic choice here has been made to tone down the material, making it less vivid, less expressive, less animated. Eventually they’re gonna run out of stuff to remake, right?” – WBUR’s The ARTery, 07/18/2019
“Time passes quickly and without warning in The Man Who Fell To Earth. Roeg and screenwriter Paul Mayersberg elide entire years sometimes during a single scene, with the supporting cast drifting into old age within the space of an edit. The movie is far more interested in conjuring moods of mystery and melancholy than explicating a prosaic plot.” – WBUR’s The ARTery, 07/16/2019
“This trim tale of a daughter and her dad trapped inside their flooding Florida home during a Category 5 hurricane with a bunch of toothy, uninvited guests is exactly the sort of lean, no-frills thriller that feels like sweet relief during a bloated blockbuster summer. Crawl is the best movie of its kind since Blake Lively fought that shark.” – North Shore Movies, 07/13/2019
“Broomfield isn’t nearly so adept at hagiography, and Words Of Love really could’ve used a director less enamored of Leonard Cohen’s legend. But then that would deprive us of the pointless, often unintentionally hilarious asides during which the filmmaker presents flattering photos of his studly, twenty-year-old self in his subject’s bedroom.” – WBUR’s The ARTery, 07/10/2019
SPLICED PERSONALITY 