“The 28th official MCU entry is tasked with managing not just movie continuity but also that of several streaming Disney+ programs. I’ve seen all these movies and watched some of the shows, yet still found Doctor Strange In The Multiverse Of Madness nigh-incomprehensible most of the time, like I was bluffing my way through a class for which I hadn’t done the reading.” – North Shore Movies, 05/06/2022
“I think Dunaway’s actually pretty great in Mommie Dearest, going for broke with a baroquely stylized turn a galaxy away from the low-key naturalism so fashionable in boring biopics intending to bring icons down to earth. She’s not just playing Joan Crawford, she’s playing a larger-than-life idea of Crawford as imagined by someone who grew up seeing her on a giant screen.” – WBUR’s The ARTery, 05/06/2022
“The films of David Lynch vibrate on a frequency of intense dread, one that’s often counterbalanced by equally intense expressions of innocence, purity and love that would seem laughably corny if they weren’t so hard-won. Inland Empire is strictly the scary stuff, his most heartless, hopeless movie. And perhaps tellingly, to date his last.” – WBUR’s The ARTery, 05/04/2022
“That was just where we were. This was just what was around me. Making work like this and exposing it to an audience, you learn a lot about yourself. In some ways, it’s like having a terrible therapist. People are gonna give you a whole lot of feedback and they’re gonna tell you all about yourself. Some of it makes no sense at all, and some of it’s pretty painful.” – WBUR’s The ARTery, 04/27/2022
“’When you’re standing backstage at Somerville One and something happens onscreen that makes the whole audience gasp or scream, that’s a really thrilling moment for a filmmaker,’ Tamm enthuses. ‘One of the things IFFBoston is known for among filmmakers is that we have really good audiences. Bringing them back is what I’m most excited about.’” – WBUR’s The ARTery, 04/25/2022
“The half-kidding nature of Carrie’s opening is emblematic of De Palma’s overripe, sensuous sensibility, a naughty boy’s luscious leering with just enough self-awareness to have his cake and eat it, too. He’s smart about being sleazy, always up for using gratuitous nudity as commentary on female objectification, while at the same time reveling in tawdry delights.” – Crooked Marquee, 04/22/2022
“But you do get to see Cage play with the gold prop pistols he fired in Face/Off, so once again, congratulations on catching another over-explained reference to another movie you’d be better off watching instead. Don’t get me started on the lame contortions the screenplay twists itself into so he can say, ‘Not the bees!’ This is Shatner-level self-parody.” – North Shore Movies, 04/22/2022
“We learn that Swinton’s character is able to receive sounds and signals imperceptible to others. Viewers of Memoria might emerge from the theater feeling the same way. It’s one of those movies that rewires your brain for a little while after you’ve watched it, prompting you to look and listen to the world around you a bit differently than you did earlier in the day.” – WBUR’s The ARTery, 04/21/2022
“For all the horror movie misdirection, the film is most affecting when it’s focused on loneliness and isolation, and how these days our basic needs for community and kinship can often only be served online. Schoenbrun understands that whatever’s appearing on our screens isn’t nearly so important as what we psychologically project onto them ourselves.” – WBUR’s The ARTery, 04/20/2022
“It’s a film about trying to find true love in an age of Tinder hookups, when sex comes before courtship and fuckbuddies have a whole new set of as-yet-unwritten social codes to navigate along with their apps. Audiard regards his charges with wistfulness, understanding that despite all the technological advances, most romantic woes are tales as old as time.” – North Shore Movies, 04/14/2022
SPLICED PERSONALITY 