MADE MEN: THE STORY OF GOODFELLAS

“Scorsese depicts the workaday realities of organized crime with a documentarian’s eye for detail and the sneer of a class clown sent to detention. So irreverent it ends with Sid Vicious’ sarcastic cover of the flatulent Sinatra anthem ‘My Way,’ I’ve never seen a movie with such swagger. When you watch it you feel like you’re getting away with something.” – WBUR’s The ARTery, 09/15/2020

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AS MOVIE THEATERS REOPEN, WILL AUDIENCES RETURN?

“AMC might be talking a big game right now about their new Clorox procedures, but darn near every time I’ve been to one of their cinemas I spend half the movie in the lobby trying to tell somebody what’s wrong with the picture or sound. If they’re as serious about safety as they are about presentation, we’ll all be dead before anyone can spoil the surprise twists in Tenet.” – WBUR’s The ARTery, 08/19/2020

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QUARANTINE DOUBLE FEATURE: AT HOME ALONE

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“I’ve had no hankering to rewatch Cast Away for the same reasons you won’t catch me taking another look at Contagion. Yet this grim week I found myself drawn to two stark, cinematic portraits of isolation. Gus Van Sant’s Last Days and Robert Altman’s Secret Honor are fictionalized riffs on famous figures, speculating about their darkest hours at home, alone.” – WBUR’s The ARTery, 05/29/2020

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QUARANTINE DOUBLE FEATURE: WOLVES AT THE DOOR

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The Night of the Hunter’s high contrast black-and-white imagery is a deliberate throwback to silent film expressionism, while the tacky day-glo colors of Freeway are straight from tabloid television. The films have seemingly opposite aspirations, yet both are stories about a child’s ability to abide and endure, especially when the wolves are at the door.” – WBUR’s The ARTery, 05/22/2020

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QUARANTINE DOUBLE FEATURE: MEN ON THE MARGINS

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“Altman’s California Split and Bogdanovich’s Saint Jack have long dwelled in the back alleys of their directors’ filmographies, movies more written about than seen, boasting an ardent band of acolytes. In a way this seems somehow appropriate, as they’re modestly scaled pictures about men living on the margins, hustlers scraping by from score to score.” – WBUR’s The ARTery, 05/15/2020

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QUARANTINE DOUBLE FEATURE: MAKING MUSICAL AMENDS

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“Too square to be critical favorites and too modest to make much of a ruckus otherwise, Danny Collins and Ricki And The Flash are wistfully funny movies about taking your last chance to fix what’s broken in the rearview, featuring deliciously oversized star turns by two of our finest. There were better films I saw that year but few I’ve returned to as often.” – WBUR’s The ARTery, 05/08/2020

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QUARANTINE DOUBLE FEATURE: THE MYSTERIES OF MARRIAGE

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“Both movies are preoccupied with the mysteries of marriage and infidelity, exploring the unpredictable desires of men and women. They’re films from a pre-franchise era when such subjects were deemed worthy of serious, big-screen consideration. They’re also from a time when if people went to a subtitled movie, they expected to see a little skin.” – WBUR’s The ARTery, 05/01/2020

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QUARANTINE DOUBLE FEATURE: BRAIN CLOUDS

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“Shanley’s night sky needs to appear larger than life to us because Joe’s seeing it as if for the very first time, the same way Hertzfeldt’s Bill looks at those dust mites or his brilliant bathmats. These are things I try to remember while I’m out taking my walks and trying to beat back my own brain clouds, especially on such a beautiful day.” – WBUR’s The ARTery, 04/24/2020

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QUARANTINE DOUBLE FEATURE: THE FUN[DAMENTALS] OF SHAKESPEARE

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“Dirty jokes have a way of knocking down doors for students, and for this particular class clown, the Porter’s speech about alcohol provoking desire while taking away performance was key to my understanding that the plays of William Shakespeare were never meant to be musty objects of study, but rather broad, bawdy entertainments for mass audiences.” – WBUR’s The ARTery, 04/17/2020

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QUARANTINE DOUBLE FEATURE: ON THE ROAD AGAIN

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“So much of America’s idea of itself comes from the mythology of the open road. Ever the transcendentalist, Lynch sees the interstate as a sprawling symbol of humanity’s interconnectedness, a place to reach out and renew. The more embittered Eastwood is focused on highways that don’t lead anywhere, places where we can run but cannot hide.” – WBUR’s The ARTery, 04/09/2020

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