“Morgen overwhelms the audience with a multi-sensory barrage of vintage performance clips, television talk show appearances, contemporaneous stock footage, psychedelic animated interludes, semi-related art from other mediums and pretty much everything else including the kitchen sink. It’s a swirling, maximalist mosaic both electrifying and exhausting.” – WBUR’s Arts & Culture, 09/15/2022
”A film of relaxed but not inconsiderable pleasures. Updating the 1976 novel for a more sensitive era, Hamm and director Greg Mottola tone down the character’s unseemlier aspects and have a good time with his easygoing arrogance. Fletch always carries himself as if he’s the smartest person in the room, even if that’s only true about half the time.” – North Shore Movies, 09/15/2022
”This kind of thing is trickier than it looks. For every Knives Out or Only Murders In The Building you get a dozen Death On The Niles. Successful mystery sendups need to also work as examples of the genre, but the list of suspects in See How They Run contains no persons of interest, at least as far as the audience is concerned. Motives abound, none compelling.” – North Shore Movies, 09/15/2022
”Smith resides in a creative mausoleum of his own making, writing movies that aren’t just movies about other movies, they’re movies about other Kevin Smith movies. In Clerks III, the afterlife is depicted as a cruddy multiplex screening the first two Clerks films on an eternal loop, a purgatory to which followers of this once-promising career may feel already condemned.” – North Shore Movies, 09/11/2022
Had a wonderful time with my dear friend Jen Johans discussing the life and career of Jack Nicholson. The five films we focused on were Easy Rider, Five Easy Pieces, The Shining, Terms Of Endearment and The Crossing Guard, along with plenty of anecdotes and asides about the Method to his madness and the role his Jack persona plays in the popular imagination. – Watch With Jen, 09/09/2022
“Antonioni likes to keep his actors turned away from us. He denies the emotional access most filmmakers labor to provide, forcing us to instead find meaning in the blocking and bodily juxtapositions. So much screen time is spent studying Vitti and Moreau’s bare backs, if there’s such thing as a shoulder blade fetish community they’ll give this film five stars.” – Crooked Marquee, 09/02/2022
“The series is focused on introducing audiences to the most notorious of nocturnal blockbusters, from back when people first started getting groovy at the movies after hours. It’s a lineup of cult classics that Professor Anastasio hopes will be ‘a beacon for weirdos,’ inviting a whole new class to come out on weekend nights and let their freak flags fly.” – WBUR’s Arts & Culture, 09/01/2022
“Robert hangs out all day in a comic book shop where everyone’s trying to out-snob each other, bolstering their street cred with assorted esoterica that nobody could possibly care about beyond these walls. While I came of age in video and record stores instead of comic shops, the film still prompted chills of recognition from this particular critic.” – North Shore Movies, 08/26/2022
“Bardem’s Blanco cuts costs by cruelly laying off longtime employees, covers for cronies who can’t do their jobs properly, uses the company’s internship program as a dating pool and generally embodies every awful trait of the avaricious and overcompensated executives who make our world a more miserable place. You also can’t help but kinda like him.” – North Shore Movies, 08/26/2022
“George Miller’s cerebral fantasia is the kind of oddball, beguilingly personal project an artist makes after a smashing success like Fury Road, cashing in $60 million worth of goodwill on his obsessions and personal peccadilloes. It’s a deeply weird flight of fancy, alternating heady discussions with the most miraculous images you’ll see all year.” – WBUR’s Arts & Culture, 08/24/2022
SPLICED PERSONALITY 