WIM WENDERS AT THE HFA

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Paris, Texas is an almost impossibly perfect title for a film that filters American western iconography through the distinctly European lenses of Wenders and his brilliant cinematographer Robby Müller. This boldly elemental picture is like The Searchers with busted neon highway signs, full of magisterial landscapes as craggy as the face of its star.” – WBUR’s The ARTery, 04/05/2018

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CAUGHT IN THE NET AT THE HFA

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eXistenZ is a sicko comic puzzle picture, with a labyrinthine conspiracy plot existing mainly to prop-up the filmmaker’s heavily sexualized gross-outs. Leigh in particular is a stitch, constantly kicking off her shoes and playing most scenes in a breathy, erotic thrall. The moment Law tongues the orifice in her back is brave even by this fearless performer’s standards.” – WBUR’s The ARTery, 03/15/2018

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2017 OSCAR TAKEAWAYS

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“It’s an awful shame because as a kid, the Academy’s Lifetime Achievement awards were how I learned a lot about film history, and they inspired me to seek out movies older than myself and begin to understand that art exists in a continuity. Now instead we have time-suck stunts with Ansel Elgort and a six-foot submarine sandwich.” – WBUR’s The ARTery, 03/05/2018 

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2017 OSCAR PICKS

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Lady Bird is terrific. It’s the best possible version of that movie you can make. I don’t think Greta Gerwig gets as much credit as she should for her direction. The movie is paced almost like a screwball comedy. It flies. I’ve had dumb conversations with people who say the camera doesn’t move enough, as if directing was just acrobatics. There’s a lot more to it.” – Boston.com, 03/02/2018

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FEMMES FATALES AT THE MFA

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“The phrase conjures black-and-white visions of Venetian blinds and countless cigarettes, allegorically exposing male anxieties of powerlessness in a changing post-war world. The MFA’s ‘Femmes Fatales’ is a fine selection if you want to study advancing gender roles in genre cinema, and works just as well if you like to go to the movies to look at beautiful women.” – WBUR’s The ARTery, 02/28/2018

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2017 MURIEL AWARDS: BEST SUPPORTING ACTOR

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“Dafoe had maybe the trickiest job in movies last year, anchoring a cast of wildly gifted and totally green first-time actors, rolling with their improvisations and imperfections. Like his character tending to a wayward flock in a ramshackle welfare motel, Dafoe provides structure and sanity to The Florida Project. It’s impossible to imagine the movie without him.” – The Muriel Awards, 02/17/2018

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THE SHINING HAUNTS THE COOLIDGE

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“It is a film that feels tantalizingly incomplete, missing just a few crucial pieces that you feel certain you’re bound to catch the next time around. Every time I watch The Shining I’m pretty sure I’ve got it almost all figured out and then the whole thing just kinda gets away from me, like the way terrible nightmares dissolve in the morning light.” – WBUR’s The ARTery, 01/11/2018

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