THE SOPRANOS TURNS 20

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“For me, the ending’s meaning has always been more elusive, making visceral the sensation of having this story and these people we’ve grown to love over many years violently ripped away forever without a moment’s warning, abruptly plunging us into silence and nothingness. It’s a death scene alright, but we’re the ones who got whacked.” – WBUR’s The ARTery, 01/09/2019

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BATMAN RETURNS AT THE MFA

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“A peculiar and deeply personal tale of trauma marketed via McDonald’s Happy Meals. The bat, the cat and the penguin now take their places at the MFA alongside Gummo, Welcome To The Dollhouse and Being John Malkovich. And I’ll tell you, the movie feels a heck of a lot more comfortable in such company than it ever did at shopping mall multiplexes.” – WBUR’s The ARTery, 12/19/2018

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WONDER BOYS AT THE COOLIDGE

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“Paramount took the costly and fairly unprecedented step of re-releasing it with an overhauled promotional campaign, to little avail. Yet it’s somehow fitting that Wonder Boys managed to flop twice, as the movie is practically a valentine to failure. This is a warmly humane and often side-splittingly funny exploration of underperforming against expectations.” – WBUR’s The ARTery, 11/27/2018

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WANDA AT THE BRATTLE

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“Of course she is an exasperating woman who makes terrible choices. Loden isn’t asking that you admire the character or applaud her decisions. Wanda just wants you to acknowledge that she exists. Spend a little time in this person’s company and maybe even leave the theater with a feeling for what she’s going through. That’s what art’s for.” – WBUR’s The ARTery, 10/25/2018

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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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