“‘It’s daunting,’ admitted longtime Somerville Theatre manager and new co-owner Ian Judge, who will be celebrating his 25th year at the venue next May. ‘But we see this as a once-in-a-lifetime opportunity to save these theaters for future generations. We’ve got great customer support, so I feel like the trajectory is good. This is like a weird little miracle to me.’” – WBUR’s Arts & Culture, 10/23/2026

“Shot for under a million dollars, this is the dingiest-looking fairy tale you’ve ever seen. Yet there’s an air of enchantment amid the tenements and garbage. Doo-wop singers serenade the city by the light of trash can fires. Avildsen is constantly reminding you how small these people are, positioning them at the end of long, lonely streets lined with run-down row houses.” – Crooked Marquee, 10/23/2026

“Longworth is taking over programming at The Brattle as part of a 15-city tour promoting The Bisexuals, the latest season of You Must Remember This. The series introduces us to Libby Holman, a 1920s torch singer with a racially ambiguous stage persona and a voracious sexual appetite that didn’t so much transcend gender boundaries as disregard them entirely.” – WBUR’s Arts & Culture, 10/22/2026

“Lost on Ebert and other pearl-clutchers at the time was the movie’s seriousness of purpose. For all its shocking content and garish excesses, The Devils is a pointedly political picture about how shame and religion are weaponized by the wealthy and powerful to advance their economic interests. It may be more relevant today than it was in 1971.” – WBUR’s Arts & Culture, 10/15/2026

“All these missing pieces and moveable parts are hardly seamless. But the fragmented quality becomes key to the movie’s nightmarish effect. Othello’s world is falling apart around him, and it feels like the film is as well. We see Iago lead him down, down, down a byzantine maze of columns, canals and liminal spaces as the green-eyed monster takes hold.” – Crooked Marquee, 10/09/2026

“A blessedly inconsequential story of four girls with three days to put together an act for their school talent show. Yamashita’s languid pacing and stately wide shots conjure a dreamy, deadpan alchemy of lazy afterschool (in)activities and naps, the kind of wonderful, wasted time that only feels precious in retrospect, when there’s no more of it left to spare.” – Spliced Personality Substack, 09/29/2026

“Cinematographer Surtees shoots the picture in harsh, high-contrast black and white, a strategy that replicates the glare of the spotlight. You can feel Fosse’s kinship with the comic as a fellow creature of show business, reveling in the bottom-rung dressing rooms and the backstage camaraderie of musicians and show-people talking trash and shooting junk.” – Crooked Marquee, 09/25/2026

“Pauline sees through them, quietly taking it all in. Langlet’s performance teeters between girlishness and something more sophisticated. She watches the lovers construct silly little fictions for themselves, the necessary self-deceptions we use to get by in the grown-up world. The trip serves as Pauline’s initiation into the foolish, messy ways of adulthood.” – Crooked Marquee, 09/04/2026

“The alluring, black market atmosphere is like Casablanca with all the idealism sucked out. It’s a movie where the hero is a loser and the movie star is a heel. Yet The Third Man plays like a jaunty, almost farcical affair. The film bobs and weaves to the jangling zither music of Anton Karas, so that these characters seem to be dancing through the rubble.” – WBUR’s Arts & Culture, 09/02/2026

“Kaufman has never specified why he chose Malkovich, but the reasoning to me seems self-evident. Is there any other famous movie star who you would believe had a portal leading to the inside of their head? Maybe Christopher Walken, but his name isn’t nearly as much fun to say aloud. People say ‘John Malkovich’ an awful lot in this movie.” – WBUR’s Arts & Culture, 08/26/2026