MASCULIN FÉMININ: JEAN-LUC GODARD’S CHILDREN OF MARX AND COCA-COLA

Masculin Féminin isn’t my favorite Godard movie, but it’s the one I felt most like revisiting after hearing news of the director’s death. I think because it’s about being the age I was when his films first found me: barely out of adolescence and all hopped up on hormones, cinemania and political fervor, when everything feels like it’s still stretched out endlessly in front of you.” – Crooked Marquee, 09/16/2022

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AFTER HOURS: MICHELANGELO ANTONIONI’S LA NOTTE

“Antonioni likes to keep his actors turned away from us. He denies the emotional access most filmmakers labor to provide, forcing us to instead find meaning in the blocking and bodily juxtapositions. So much screen time is spent studying Vitti and Moreau’s bare backs, if there’s such thing as a shoulder blade fetish community they’ll give this film five stars.” – Crooked Marquee, 09/02/2022

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MIDNIGHT MOVIES 101 AT THE COOLIDGE

“The series is focused on introducing audiences to the most notorious of nocturnal blockbusters, from back when people first started getting groovy at the movies after hours. It’s a lineup of cult classics that Professor Anastasio hopes will be ‘a beacon for weirdos,’ inviting a whole new class to come out on weekend nights and let their freak flags fly.” – WBUR’s Arts & Culture, 09/01/2022

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BOOK OF EXODUSTERS: SIDNEY POITIER’S BUCK AND THE PREACHER

“Looser and less self-important than it sounds in synopsis, Buck And The Preacher wears its historical import lightly, with an easy humor that confounded more than a few critics. By this point in his career, the Oscar-winning Poitier’s name had become synonymous with a certain sort of prestige picture starchier than this. It’s a film of simple, sturdy pleasures.” – Crooked Marquee, 08/19/2022

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DIRTY DANCING AT THE SOMERVILLE

“But sometimes folks go to the movies just because we like to watch people fall in love, and the scorching chemistry between Swayze and Grey (who by all accounts didn’t care for each other’s company off-camera) is enough to crush petty plot concerns or any questions about how they could be dancing to instruments that haven’t been invented yet.” – WBUR’s Arts & Culture, 08/18/2022

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E.T. TURNS 40 IN IMAX

E.T. is one of the purest and most emotionally direct of all American movies, with not a whit of adult condescension nor any self-protecting irony. Spielberg’s brilliantly subjective camerawork forces even the most jaded and cynical viewers back into the perspective of a child, which might be why it hits grown-ups so much harder than kids.” – WBUR’s Arts & Culture, 08/11/2022

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EDEN OF DENIAL: VITTORIO DE SICA’S THE GARDEN OF THE FINZI-CONTINIS

“An achingly beautiful cautionary tale about the blindness of privilege, a movie rich with longing and loss. It’s impossible to watch The Garden Of The Finzi-Continis in today’s political climate without feeling a chill every time the characters shrug off another sign of encroaching authoritarianism, blithely believing such horrors couldn’t possibly happen so close to home.” – Crooked Marquee, 08/05/2022

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OUT OF TIME: ROBERT ALTMAN’S THE LONG GOODBYE

“Altman’s so-called heresy was actually a logical extension of Chandler’s vision of Marlowe as the last hurrah for chivalry in a fallen, postwar world that’s moved beyond moral concerns. Gould is grubby but gallant, a decent guy surrounded by sharks and betrayed for having faith in his fellow man. His best friend describes him as a born loser. He even loses his cat.” – Crooked Marquee, 07/29/2022

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MISSISSIPPI MASALA AT THE COOLIDGE

“The irony is not lost on our star-crossed couple that the primary ethnic rivalry is between Indians who have never been to India and African Americans who have never been to Africa. Family traditions are seen as both a blessing and a curse, providing much-needed support to minorities in an unwelcoming country while also keeping them walled off from each other.” – WBUR’s Arts & Culture, 07/22/2022

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YOU’RE BACK ON TOP AGAIN: LOUIS MALLE’S ATLANTIC CITY

“Lancaster was never more moving onscreen than when he was lying to himself, and there are shades of his shattering performance as John Cheever’s The Swimmer in Lou’s tall tales of his glory days. ‘You should have seen the Atlantic Ocean back then,’ he rhapsodizes, hilariously, as if even the sea were somehow now diminished like everything else.” – Crooked Marquee, 07/15/2022

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