INTRODUCING THE BRATTLITE

“The new platform launches with a quartet of films belatedly celebrating the 2020 centenary of Federico Fellini, introducing a sparkling new restoration of his playful, penultimate film, Intervista. In conjunction, the Brattlite is offering internet exclusive screenings of two of the director’s earliest efforts, where we can see his signature style beginning to take shape.” – WBUR’s The ARTery, 01/13/2021

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SIX MOVIES TO STREAM WHILE STAYING HOME ON NEW YEAR’S EVE

“It’s a horrible holiday mostly spent suffering from the nagging feeling that whatever you’re doing you’re still not having as much fun as you’re supposed to be having, often while surrounded by amateurs who have no idea how to hold their liquor. At least this year sitting on the couch and watching movies is what you should be doing, for the sake of public health!” – WBUR’s The ARTery, 12/30/2020

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WORLD OF WONG KAR WAI

“There’s a certain irony in the idea of a Wong Kar Wai retrospective, as so many of his characters are already living in the past. His best films feel like memories of themselves, rhapsodies of regret and lingering visions of the ones that got away. Watching a Wong Kar Wai movie in a theater is like living inside of somebody else’s dream for a little while.” – WBUR’s The ARTery, 12/11/2020

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THE GODFATHER, CODA: THE DEATH OF MICHAEL CORLEONE

“This probably sounds like common sense, but it really is amazing what a difference it makes when you put the scene that starts the story at the beginning of the movie. Coppola’s revelatory revision of his saga’s final chapter feels like a far more focused and purposeful film, even if there are some things that can’t be fixed in an editing room.” – WBUR’s The ARTery, 12/07/2020

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THE STAR WARS HOLIDAY SPECIAL REVISITED

“There’s really no possible way to overstate how alienating and bizarre the opening ten minutes of this program are, just watching the Wookiees putter around and moan. It’s so anti-entertaining as to border on the avant-garde. Carrie Fisher claimed she had one of the only extant original copies and used to put it on at parties, when she wanted people to leave.” – WBUR’s The ARTery, 11/16/2020

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ELECTION DAY ESCAPE: LA STRADA AT THE COOLIDGE

“The Coolidge Corner Theatre’s Virtual Screening Room has just started streaming a new 4K restoration of Federico Fellini’s 1954 masterpiece. One of the greatest of all films, this haunting, heartfelt fable feels like a balm during these troubled times, its essential, insistent humanity arriving as a reminder right when we need it most.” – WBUR’s The ARTery, 11/03/2020

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MADE MEN: THE STORY OF GOODFELLAS

“Scorsese depicts the workaday realities of organized crime with a documentarian’s eye for detail and the sneer of a class clown sent to detention. So irreverent it ends with Sid Vicious’ sarcastic cover of the flatulent Sinatra anthem ‘My Way,’ I’ve never seen a movie with such swagger. When you watch it you feel like you’re getting away with something.” – WBUR’s The ARTery, 09/15/2020

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AS MOVIE THEATERS REOPEN, WILL AUDIENCES RETURN?

“AMC might be talking a big game right now about their new Clorox procedures, but darn near every time I’ve been to one of their cinemas I spend half the movie in the lobby trying to tell somebody what’s wrong with the picture or sound. If they’re as serious about safety as they are about presentation, we’ll all be dead before anyone can spoil the surprise twists in Tenet.” – WBUR’s The ARTery, 08/19/2020

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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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