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Peter Keough has been Film Editor at the Boston Phoenix since 1989 and has become a familiar figure at the office for his endearing habit of coming to work in pajamas and pestering people for soup. He describes his position as “the best deal a guy like me could get, being a tick on the butt of the entertainment industry.” He is a member of the Boston Society of Film Critics and The National Society of Film Critics and both organizations regret including him because of his tendency to stuff his pockets with free food from the lunch table during meetings and using his credentials in a vain attempt to pick up women. In his long tenure at The Phoenix he has reviewed thousands of movies, though he admittedly often confuses them with X-rated features he snuck into in the late 60s. Despite his busy schedule he found time to edit the book Flesh and Blood: The National Society of Film Critics on Sex, Violence and Censorship, published by Mercury House Press in 1995. Critics raved, declaring it “a book with a long title” and “full of amusing typos, factual errors and misspellings.” It sold over seventeen copies, most to now estranged family members and friends.

Latest Articles


Is there 'hope' in Hollywood?

Three controversial (and sure to be Oscar-nominated) films tackle race in the age of Obama
Buoyed by President Barack Obama's campaign slogan, many had hopes for change after his election.
By PETER KEOUGH  |  January 29, 2010


Review: Waiting For Armageddon

Here are all the crazies
Much scarier than 2012 is this documentary about the death grip that fundamentalist religious groups have on American politics.
By PETER KEOUGH  |  January 27, 2010


Oscar predictions 2010

With 10 Best Picture noms, is Oscar up in the air? Our critic predicts.
After years of shrinking audiences and low-grossing Best Picture nominees, the Academy this year is hedging its bets.
By PETER KEOUGH  |  January 29, 2010


Review: Fish Tank

Andrea Arnold's unsentimental education
Scottish director Andrea Arnold rushes in where most other directors — male ones, especially — fear to tread.
By PETER KEOUGH  |  January 27, 2010


Interview: Corneliu Porumboiu

Misplaced modifier: the director defines Police, Adjective
"I chose to focus on the waiting parts — the things you're not used to seeing in classic movies. I cut out all the action."
By PETER KEOUGH  |  January 21, 2010


Review: Crazy Heart

Country discomfort: Jeff Bridges can't be beat
Every great actor has at least one washed-up, alcoholic, award-winning-country-singer role in him. For Jeff Bridges, it's "Bad" Blake, a former C&W legend now reduced to playing bowling alleys and dive bars in tiny towns in the Southwest.
By PETER KEOUGH  |  January 26, 2010


Review: The White Ribbon

Children of the götterdämmerung: Shades of gray in Michael Haneke's White Ribbon
The White Ribbon starts with a black screen and an old man's voice (Ernst Jacobi, who played Hitler in Jan Troell's Hamsun and in a BBC mini-series) relating a series of mysterious accidents and crimes that occurred in the German village where he was a schoolteacher the year before the outbreak of World War I.
By PETER KEOUGH  |  January 13, 2010


Review: The Book of Eli

The Road not taken
In a post-Apocalyptic landscape of ash and destruction infested by slack-jawed cannibal gangs with carious grins, a man walks resolutely toward the sea, bearing with him the light of humanity.
By PETER KEOUGH  |  January 13, 2010


Review: The Lovely Bones

This Salmon won't spawn
When it comes to immortality and the afterlife, movies tend to get sticky.
By PETER KEOUGH  |  January 13, 2010


Review: The Man From London

London imbroglio
I had to wonder whether this latest film from Béla Tarr (co-directed by Ágnes Hranitzky) is a self-parody.
By PETER KEOUGH  |  January 13, 2010


Review: The Imaginarium of Doctor Parnassus

Ledger-demain: Gilliam leaves nothing to the Imaginarium
Few filmmakers have suffered from the life-imitates-art phenomenon as has Terry Gilliam.
By PETER KEOUGH  |  January 11, 2010


Review: Daybreakers

Vampires, weakened
For evidence of the breakdown of the capitalist system, look no farther than the proliferation of vampire and zombie movies.
By PETER KEOUGH  |  January 06, 2010


Review: I'm Gonna Explode

Stuck on the roof
Gerardo Naranjo probably had the final image of Jean-Luc Godard's Pierrot le fou in mind when he titled this tale of youth in revolt Mexican-style, but I don't recall rebels Jean-Paul Belmondo and Anna Karina being so vapid and annoying.
By PETER KEOUGH  |  January 06, 2010


Review: Youth In Revolt

Michael Cera hardly revolutionary
Juno continues to poison American independent cinema.
By PETER KEOUGH  |  January 06, 2010


Persian miniatures

Films from Iran choose indirect confrontation
You can see what is probably the most significant filmmaking right now in Iran by going to YouTube and viewing the artless images of brutality in the streets of Tehran captured by scores of average Iranian citizens armed with cell-phone cameras.
By PETER KEOUGH  |  January 06, 2010


Lite at the end of the tunnel?

Fun and games in post-apocalyptic Hollywood
If you had enough of the end of the world with 2012 , you might be relieved when it comes to 2010.
By PETER KEOUGH  |  January 04, 2010


Review: The Young Victoria

No wonder there are more films about Elizabeth I
Who knew Queen Victoria was such a babe?
By PETER KEOUGH  |  December 22, 2009


Review: Broken Embraces [Los Abrazos Rotos]

Broken promises: Pedro Almodóvar's open Embraces
No filmmaker generates narrative like Pedro Almodóvar. Five minutes into Broken Embraces and he's got half a dozen potential storylines spinning.
By PETER KEOUGH  |  December 22, 2009


Review: Nine

Rob Marshall continues his assault on good taste
It doesn't get much farther from human experience than this: an adaptation of a Broadway production adapting a film ( 8-1/2 ) about a filmmaker who imagines making a film.
By PETER KEOUGH  |  December 22, 2009


Review: A Single Man

Colin Firth stands alone
Christopher Isherwood published his novel about a middle-aged homosexual grieving for a lost lover, the frank depiction of gay desire scandalized some readers.
By PETER KEOUGH  |  December 22, 2009
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