PARANOIA BY REQUEST: CLINT EASTWOOD’S PLAY MISTY FOR ME


“If this sounds like Fatal Attraction, that’s because the 1987 smash was basically a remake. And just as Lyne’s blockbuster became a release valve for the era’s unspoken AIDS paranoia, Misty captured its own cultural moment, evoking the eerie hangover that followed Free Love, shot the summer after the Manson family ended all that California dreamin’ on Cielo Drive.” – Crooked Marquee, 01/27/2023

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JEANNE DIELMAN: THE GREATEST FILM OF ALL TIME COMES TO THE COOLIDGE


“The movie is a mind-melting, 201-minute colossus of monotony that warps and distorts time inside the viewer’s headspace. It is a towering achievement in cinema. It’s also one of the last films I’d ever recommend to casual moviegoers, which is why the placement of Jeanne Dielman at the top of the BFI list strikes me as such a problematic provocation.” – WBUR’s Arts & Culture, 01/26/2023

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MEMORIES TO FORGET: EUGENE O’NEILL AND JOHN FORD’S LONG VOYAGE HOME


“There’s a wonderfully enveloping atmosphere of doom in The Long Voyage Home, with the fog that drapes the sets feeling like a death shroud. O’Neill’s plays were minimalist affairs on nearly empty stages, and Ford finds a fascinating balance between the cramped, close-quarter scenes below deck and a boisterous, big-canvas action picture upstairs.” – Crooked Marquee, 01/06/2023

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EVERYTHING EVERYTHING EVERYWHERE AT THE BRATTLE


“This manic mix of earnest immigrant family drama, science-fiction silliness, middle-aged romance and interdimensional kung fu cites so many influences and is so full of allusions the movie might as well come with an index, which is why the series is something Hinkle has had in mind since he first saw Everything Everywhere during its initial run back in April.” – WBUR’s Arts & Culture, 12/21/2022

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A VERY BERGMAN CHRISTMAS: FANNY AND ALEXANDER

“It’s tempting to read the bishop’s cold quarters and the Ekdahls’ happy home as two sides of Bergman’s soul vying for custody of his alter-ego, Alexander. The final reels upend Strindberg’s ‘flimsy framework of reality,’ slipping into surreal sleight of hand as this battle of love and libertinism versus religious self-abnegation wakes the ghosts. They’ve been waiting.” – Crooked Marquee, 12/16/2022

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JUVENILE DELINQUENT WRECKS: FRANÇOIS TRUFFAUT’S THE 400 BLOWS


“A portrait of the artist as a little shit, Francois Truffaut’s debut feature The 400 Blows is a bracingly unsentimental look back at the director’s juvenile delinquent days. The kid was quite a handful. As far as great filmmakers’ fictionalized childhood stand-ins go, Antoine Doniel would probably steal Sammy Fabelman’s lunch money and stuff him in a locker.” – Crooked Marquee, 12/09/2022

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ICEBERG AHEAD: HISTORY IS MADE AT NIGHT


“There’s a kamikaze quality to History Is Made At Night, a breathless, anything-can-happen flood of events that mirrors the headlong feeling of falling in love for the first time. The preposterous plot follows an unassailable emotional logic, so what sounds insane in synopsis seems perfectly reasonable onscreen, like a love story that starts with a phony kidnapping.” – Crooked Marquee, 12/02/2022

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APRES NOIRVEMBER: ELEVATOR TO THE GALLOWS


“Moreau wanders the Paris streets at night, abandoned and alone. Malle and cinematographer Henri Decaë shot these scenes with their camera in a baby carriage, the scandalously makeup-free star illuminated only by the lights of the city surrounding her. Quietly revolutionary, it’s one of the most heartbreakingly beautiful passages in any movie of its era.” – Crooked Marquee, 11/18/2022

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NOIRVEMBER AT THE BRATTLE AND THE COOLIDGE


“It is the month when we give thanks for leggy, duplicitous dames and doomed private dicks played for patsies. November is Noirvember, celebrating Hollywood’s hard-boiled fools for love and the frisky femme fatales that are their undoing, bringing back the best in cynical thrillers with bungled murder plots, bummer endings and sardonic voice-over narrations.” – WBUR’s Arts & Culture, 11/04/2022

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PARKER BROS: JOHN FLYNN’S THE OUTFIT


The Outfit has been assembled with an unfussy expertise that seemed like no great shakes to film critics 49 years ago, but feels like a lost art today. Duvall is coiled like a cobra while big teddy bear Baker is expansive and gregarious. The latter basically steals the picture, lending considerable, cherubic warmth to the sometimes too-cool proceedings.” – Crooked Marquee, 11/04/2022

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