One Hour With You (1932)
Ernst Lubitsch, the
master of subtle, edgy, and bracingly witty romantic comedy, collaborated with
George Cukor to reboot his silent confection The Marriage Circle (1924) into the saucy musical One Hour With You (1932; 7 pm). In it a happily married couple
prove that wedded bliss doesn't necessarily require fidelity.
Here's a chance to get your horror quota filled before the
big Halloween rush on Monday, as the Coolidge Corner Theatre presents its 11th Annual Halloween Horror Movie
Marathon. They begin the 12 hour endurance test with two of
the best. Suspiria
(1977) by Dario Argento might be the maestro's scariest; it's the tale of a
coven of witches in a ballet school and it is visually glorious and utterly
Cinema was made for horror, and vice versa. It's one of the oldest
genres, inspiring many of the greatest filmmakers, including F.W. Murnau, whose
silent German Expressionist masterpiece Nosferatu (1922) remains the benchmark for
vampirism on the screen. Max Schreck as the bloodsucking Count Orlok is no
Burial Ground (1981)
know if the people at All Things Horror are being facetious calling Nicolas
Roeg's Don't Look Now (1973), one of the
all time greatest films of the genre, a "Donald Sutherland potboiler," but
their recommendation of the show tonight, Horror Sounds, seems like a
I was just reading "How Zombies and Superheroes Conquered
Highbrow Fiction," an article in
the "Atlantic" that argues that over the last 10 years highbrow literature has
been tapping more and more into mainstream genres, horror in particular. A
prime example: MacArthur Fellowship winner Colson Whitehead's new novel, "Zone One,"
which sounds like a literary version of the standard zombie plague scenario.
If you gave up on the feasibility of a Western/science fiction
mash-up when "Cowboys vs Aliens" tanked a few months back, give it
another try. On the page, at any rate. "Phoenix"
contributor Steve Drachman revives the nascent genre with his rip-snorting,
mind boggling novel "The Ghosts of Watt O'Hugh
It's a safe bet that the walking dead in Lucio Fulci's cult classic Zombie (1979) could kick, and perhaps eat, the
asses of the zombies in any other film you could name. These guys can turn
great white sharks into sushi. One of the favorite films of Guillermo del Toro,
it may or may not be screened with the complimentary barf bag that was offered
to audiences when it was first released.
I won't be seeing "Puss in Boots 3D" until
Saturday so I can't weigh in on how good it is. But I think it's pretty clear already
that when it comes to the best studio promotional swag item, it's the film to
beat. Recently members of the press received a giant box containing two tiny,
feline sized boots, exquisitely crafted out of Italian leather.
Far from provoking more intolerance and rage,
Palestine Film Festival,
now in its fifth year, has provided a sagacious cinematic point of view on the Middle East's intractable conflict. It does so with films
like The Time That Remains (2009; 6:30 pm), a bittersweet chronicle of
six decades in the lives of an Israeli-Palestinian family enduring the travails
Is it fair to draw parallels between the Occupy movement and the
antiwar demonstrations in the 60s and 70s? True, both sprang up more or less
spontaneously and expanded from a left wing origin to include the whole
spectrum of society. Both spread from the US and sparked similar movements
overseas. The head breaking and violent repression, however, has yet to become
standard operating procedure in the government response to today's demonstrations, as it was for those protesting the War in Vietnam.
When the Balagan Film Series went on hiatus a few
years back, Boston cinephiles who had come to love its offbeat, eclectic
programming of independent and experimental films felt the loss. Now the series
is back, starting with Native Short Works, a selection of some
of the best offerings from local filmmakers over the past four decades,
including Chores (2011) by Louisa Conrad, Covert Action (1984) by Abigail
Child, and Star Film (1971) by Saul Levine.
For a long time Hollywood shied away from confronting the
Holocaust. Stanley Kramer was one of the first directors to broach the subject
in his Judgment
(1961), an epic rendition of the postwar trial of Nazi war criminals. Its
three-plus hours features harrowing testimony, intense courtroom drama, the
Oscar-nominated black-and-white cinematography of Ernest Laszlo, and a stellar,
if sometimes unlikely cast, including the reassuring Spencer Tracy as a judge,
Marlene Dietrich, Judy Garland, and Montgomery Clift as victims, a perky
William Shatner as a US army adjutant, and Burt Lancaster and the Oscar-winning
Maximilian Schell as defendants.
You don't need a bike to demonstrate your auteur skills
during Home Movie Day,
which takes place today at venues around the world, and locally at the HFA.
Anyone can contribute a short film in 8 mm, 16 mm, VHS, or DVD formats. As John
Waters said, "There's no such thing as a bad home movie." Here's a chance to
put that statement to the test! The Archive is in the Carpenter Center, 24
Quincy St, Cambridge | Saturday, October 15 @ noon | $9; $7 students, seniors | 617.
I had been skeptical about disgruntled filmgoer Sarah Deming's
lawsuit stating, among other things, that the film "Drive" might rouse
anti-Semitic violence. I didn't think it was likely to incite
violence of any kind. Until I saw this story about Tiger Woods fan Brandon Kelly, who assaulted his idol with a hot dog.