HARD BOILED DOUBLE FEATURES AT THE SOMERVILLE

Program notes for a series of down-and-dirty crime double features I curated at the Somerville Theatre including Drive, To Live And Die In L.A., 52 Pick-Up, The Way Of The Gun, The Taking Of Pelham One Two Three, Charley Varrick, The Killing, The Asphalt Jungle, Kiss Kiss Bang Bang, The Ice Harvest, Night Moves, Hustle, Touch Of Evil and Detour. – Somerville Theatre, 04/27/2022 – 06/15/2022

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LIKE HAVING A TERRIBLE THERAPIST: ANDREW BUJALSKI ON FUNNY HA HA TURNING 20

“That was just where we were. This was just what was around me. Making work like this and exposing it to an audience, you learn a lot about yourself. In some ways, it’s like having a terrible therapist. People are gonna give you a whole lot of feedback and they’re gonna tell you all about yourself. Some of it makes no sense at all, and some of it’s pretty painful.” – WBUR’s The ARTery, 04/27/2022

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IFFBOSTON 2022

“’When you’re standing backstage at Somerville One and something happens onscreen that makes the whole audience gasp or scream, that’s a really thrilling moment for a filmmaker,’ Tamm enthuses. ‘One of the things IFFBoston is known for among filmmakers is that we have really good audiences. Bringing them back is what I’m most excited about.’” – WBUR’s The ARTery, 04/25/2022

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PERIOD PIECE: TURNING RED WITH BRIAN DE PALMA’S CARRIE

“The half-kidding nature of Carrie’s opening is emblematic of De Palma’s overripe, sensuous sensibility, a naughty boy’s luscious leering with just enough self-awareness to have his cake and eat it, too. He’s smart about being sleazy, always up for using gratuitous nudity as commentary on female objectification, while at the same time reveling in tawdry delights.” – Crooked Marquee, 04/22/2022

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THE UNBEARABLE WEIGHT OF MASSIVE TALENT

“But you do get to see Cage play with the gold prop pistols he fired in Face/Off, so once again, congratulations on catching another over-explained reference to another movie you’d be better off watching instead. Don’t get me started on the lame contortions the screenplay twists itself into so he can say, ‘Not the bees!’ This is Shatner-level self-parody.” – North Shore Movies, 04/22/2022

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MEMORIA

“We learn that Swinton’s character is able to receive sounds and signals imperceptible to others. Viewers of Memoria might emerge from the theater feeling the same way. It’s one of those movies that rewires your brain for a little while after you’ve watched it, prompting you to look and listen to the world around you a bit differently than you did earlier in the day.” – WBUR’s The ARTery, 04/21/2022

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WE’RE ALL GOING TO THE WORLD’S FAIR

“For all the horror movie misdirection, the film is most affecting when it’s focused on loneliness and isolation, and how these days our basic needs for community and kinship can often only be served online. Schoenbrun understands that whatever’s appearing on our screens isn’t nearly so important as what we psychologically project onto them ourselves.” – WBUR’s The ARTery, 04/20/2022

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PARIS, 13TH DISTRICT

“It’s a film about trying to find true love in an age of Tinder hookups, when sex comes before courtship and fuckbuddies have a whole new set of as-yet-unwritten social codes to navigate along with their apps. Audiard regards his charges with wistfulness, understanding that despite all the technological advances, most romantic woes are tales as old as time.” – North Shore Movies, 04/14/2022

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AMBULANCE

“A giddy, sensory-overloaded roller-coaster revved up on its own absurdity. It’s outrageously stupid and enormously entertaining, with Bay keeping multiple cameras whizzing and whirling around from every conceivable angle, fully understanding if that we stop to think about anything for more than five seconds the whole movie will collapse like a house of cards.” – North Shore Movies, 04/10/2022

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A STRING OF PEARLS TO AN APE: JOHN FRANKENHEIMER’S THE TRAIN

“It’s a thrillingly visceral experience, but also one with a questioning, philosophical soul. The Train was the last studio action extravaganza to be shot in black-and-white, and the shades of gray suit the murky moral inquiries. It’s a movie about foolhardy heroes and grand, symbolic gestures, wondering aloud if art and culture are really worth dying for. And if not, what is? ” – Crooked Marquee, 04/08/2022

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