A TRIBUTE TO ROBBY MÜLLER AT THE BRATTLE

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“Rourke gives his funniest, most endearing performance as a raggedly princely drunkard wooing Dunaway’s washed-up, boozy grande dame. Müller’s cinematography imparts a grungy beauty to this Skid Row lit by sputtering neon and half-burnt-out strings of Christmas lights. I daresay there’s never been anyone better at photographing peeling paint.” – WBUR’s The ARTery, 09/04/2018

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THE BIG FIGHT AT THE HFA

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“Life after the final bell is the subject of Rod Serling’s screenplay. Anthony Quinn’s performance is as oversized as his fists yet impossible not to adore, with Mickey Rooney’s weary cornerman seeing the inevitable, heartbreaking ending coming even before we do. By then the cloud of shame emanating from Gleason could block out the sun.” – WBUR’s The ARTery, 08/30/2018

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THE OUTSIDERS AT THE SOMERVILLE

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“Watching it again recently I found all of Coppola’s cornball flourishes to be rather endearing, even generous. It’s a teen movie that doesn’t condescend to kids, but translates their tumultuous emotions onto a giant canvas in a larger-than-life Hollywood vernacular that went out of fashion at least twenty years before the picture was even made.” – WBUR’s The ARTery, 07/31/2018

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TRULY KILLER AT THE COOLIDGE

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“This is one of Lee’s most dynamic pictures, so electric and overflowing with energy it’s damn near exhausting. There’s a reckless vitality to the filmmaking, as if Spike’s as surprised as we are that such a sordid tale would wind up being released by Disney over Independence Day weekend and knows he won’t be getting away with anything like this again.” – WBUR’s The ARTery, 07/04/2018

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PEOPLE ONLY DIE OF LOVE IN MOVIES: FILM WRITING BY JIM RIDLEY

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“Reading Ridley’s reviews feels like having a jocular chat with a pal that takes an unexpectedly personal turn. Jim’s excitement was infectious, a conversational tone deftly camouflaging the intellectual rigor beneath his arguments. His emotionally candid insights make Kael’s case for criticism as autobiography in vibrant, often uproarious prose.” – RogerEbert.com, 06/22/2018

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STREETS OF FIRE AT THE SOMERVILLE

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“An extravagantly stylized pulp burlesque that is at once an objectively lousy picture and just about the coolest damn thing I’ve ever seen. The pompadours are the size of skyscrapers and every street is lined with neon signs reflecting in the gutters. It’s the kind of movie where two guys have a sword fight with sledgehammers, because it looks awesome.” – WBUR’s The ARTery, 06/20/2018

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BAD LIEUTENANT AT THE MFA

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“Abel Ferrara’s 1992 masterpiece is a howl of anguish from the gutter. It’s a movie of wall-to-wall depravity and profound spiritual longing, at once one of the dirtiest and most deeply religious pictures I’ve ever seen. It’s probably blasphemous but also agonizingly sincere, the work of genuinely tortured artists trying to make sense of a fallen world.” – WBUR’s The ARTery, 05/03/2018

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