IT IS HAPPENING AGAIN: THE RETURN OF TWIN PEAKS

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“This has never been a show for people who want answers or explanations. You’ve just gotta sit back and let the images and sounds wash over you. The two-hour season premiere somehow managed to feel both familiar and strange, putting friendly faces in frightening new contexts, at once sweetly nostalgic and starkly sinister. It’s a hell of a thing.” – WBUR’s The ARTery, 05/22/2017

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FIRE WALK WITH ME AT THE COOLIDGE

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“There’s a way to read the cryptic supernatural elements as Laura’s imagination of an evil that’s at least easier to understand than her father’s abuse, but in typical Lynch fashion he leaves interpretations up to the audience. The movie’s doom-laden orgies and strobe-lit screams attain a hypnotic grandeur that’s pulverizing when seen on a giant screen.” – Metro, 04/13/2017

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TWO BY CRONENBERG AT THE COOLIDGE

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“Both pictures hinge upon their star’s rare ability to engage an audience while playing cards close to his vest, and the films are fraught with doppelgangers and doubles, characters and scenes designed to serve as distorted mirror images of one another. Cronenberg depicts violence as a virus, infecting the pastoral settings and perverting formerly idyllic interactions.” – Metro, 04/07/2017

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TWO BY HERZOG AT THE COOLIDGE

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“In this increasingly digitized culture it can be difficult for our over-mediated eyes to determine what’s ones and zeroes, until you see a film like Fitzcarraldo and experience once again the shock of the real. It’s granular detail on a massive scale, with images full of intricacies not even the most sophisticated F/X effects department could conjure.” – Metro, 03/24/2017

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THE DEPARTED AT THE COOLIDGE

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“A job for hire, The Departed is one of Scorsese’s least soulful movies yet perhaps his most conventionally entertaining. He jokes it’s the only one with a plot. Editor Thelma Schoonmaker paces the film like it’s strapped to a rocket. We’re already nineteen minutes in and have covered twenty years’ worth of backstory before the title card even drops.” – Metro, 03/17/2017

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SATURDAY MATINEE: E.T. AT THE ARCHIVE

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“But what makes the movie a masterpiece is the intensely visceral way in which Spielberg conveys these children feeling adult emotions for the first time. The film’s final image is notably not of E.T.’s departing spaceship, but rather a medium shot of Henry Thomas’ Elliott; the Lost Boy growing up and waving goodbye to Peter Pan.” – Metro, 03/09/2017

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2016 MURIEL AWARDS: BEST PICTURE

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“The problem with our accelerated media culture is that we quickly run out of angles with which to feed the content maw, and attention spans aren’t what they used to be. These films get picked to the bone during the Bataan Death March to Oscar Night, and contrary takes are what get clicks, which is why you see bizarre headlines calling La La Land fascist.” – The Muriel Awards, 03/05/2017

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