”It’s impossible not to be moved by Pitt playing off the avuncular likes of Buscemi and Perlman, or by watching Joe Pesci level his whole screen presence and legacy into a shattering, wordless cameo in a nursing home. Pitt heartbreakingly holds his own with all of them, reminding us once more that this young actor could have been a contender.” – North Shore Movies, 12/12/2024
”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
”We both had pretty different ideas of what we wanted from cinema, but he taught me a way to engage with the world. Brudnoy actively sought out people with different perspectives and life experiences. I think that was part of why he loved going to the movies every day — meeting new characters, hearing new stories, always more opportunities to learn.” – WBUR’s Arts & Culture, 12/09/2024
”It’s all kind of overwhelming in the way that a child remembers such celebrations — full of family members you’re supposed to know, even if you’re not entirely sure how they fit into the picture. Everything’s a bit larger-than-life, but also a little smaller. The morning after I watched the movie, it already felt like something I’d seen years ago.” – North Shore Movies, 12/06/2024
”The film alludes to the author’s accidental shooting of his second wife, Joan Vollmer, but doesn’t reckon with it in any real way. It’s there for the same reason as the Cobain songs and the bugs from Naked Lunch that turn up from time to time. These are things that people associate with William S. Burroughs, so they’ve got to be in the movie somewhere.” – WBUR’s Arts & Culture, 12/05/2024
“A literary conceit in search of a visual analogue. Heller’s insufficiently stylized direction can’t bear the metaphorical weight. It looks like a cable show. She’s a terribly pleasant filmmaker, and Nightbitch plays things way too safe for its own good, coming close to a couple of uncomfortable realities before sheepishly backing away. She barks, but the movie has no bite.” – WBUR’s Arts & Culture, 12/05/2024
“Norma Desmond as a doomed soprano, a fading legend parading around a Parisian apartment that’s more like a mausoleum. Dictatorial to her staff and zonked on pills most of the time, she’s imperious, insecure, impossible and irresistible. It’s finally a role the right size for its star, and Jolie is more than ready for her close-up. Maria, you’ve got to see her.” – WBUR’s Arts & Culture, 11/26/2024
”The band has been able to transcend generational turf wars for the past 60 years, and we should probably be thankful to have a movie like this available in everybody’s living rooms after such a divisive and exhausting election. To paraphrase Lester Bangs’ obituary for Elvis Presley, we may never agree on anything again the way we agreed on The Beatles.” – North Shore Movies, 11/25/2024
“Mitchum was 57 years old and he looked every minute of it; a shambling, still-handsome wreck whose trademark sleepy eyes were sinking deeper by the day. This isn’t the unflappable wiseass Bogart played in The Big Sleep, but rather an older, sadder guy who can’t help but do the right thing and always ends up with nothing to show for it but a broken heart.” – Crooked Marquee, 11/22/2024
SPLICED PERSONALITY 