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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QUARANTINE DOUBLE FEATURE: MARTIN SCORSESE AFTER MIDNIGHT

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“I thought we might keep the nocturnal vibe going by choosing two Scorsese movies that actually take place after midnight. 1985’s giddy, exasperating After Hours is an anomaly in the director’s canon in that it’s an out-and-out comedy, albeit an extremely nervous one, while 1999’s Bringing Out The Dead is one of the filmmaker’s most underappreciated works.” – WBUR’s The ARTery, 04/03/2020

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ARE SNAKES NECESSARY?

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“I kept seeing these characters as played by members of De Palma’s regular stock company, with roles for Nancy Allen, John Lithgow, Gregg Henry and Melanie Griffith. The penultimate chapter so resembles one of the director’s distended, crosscut climactic montages that a character even says it feels like they’re seeing it in slow-motion.” – WBUR’s The ARTery, 03/31/2020

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