After seeing Federico
Fellini at his most tragic in La Strada earlier this week, you can catch him at his most
cynical, self-reflective, and satiric in 8-1/2 (1963; 2:30 + 5:15 + 8 pm). Marcello Mastroianni
serves as Fellini's persona in this dreamlike portrait of a director losing his
grip under the pressure of trying to come up with a new movie.
Surely our media will soon be overflowing with
commemorations of the 10th anniversary of 9/11. If you're looking for a
low-key, sober way to acknowledge this grim milestone, there's James Whitaker's
documentary Rebirth. Seven
Up!-style, it follows the lives of five people affected
by the event - a fireman, a survivor, and three who lost family members -
interviewing them every year on that awful date.
The "little friend" looks
bigger than ever as Brian De Palma's epic, operatic Scarface (1983) gets the IMAX treatment "with all-new restored
high-definition picture and enhanced audio." Al Pacino plays the title Cuban
drug king-pin whose ruthless rise to the top and spectacular fall has provided
an inspiration and role model for gangstas and Wall Street buccaneers alike.
Citizen Kane theatrical trailer
and editing are revolutionary, but the score deserves a lot of the credit for
making Orson Welles's masterpiece Citizen Kane (1941; 2:15 pm)
number one on everyone's ten-best-movies-of-all-time list. Watch it with that
in mind when it screens as part of the Brattle Theatre's ongoing Music For Movies: Bernard Herrmann Centennial Repertory Series
How did the Prince of Darkness go from being every
parent's worst nightmare to becoming the doddering, incoherent family man on
reality TV and a figure of fun on commercials? Maybe the answers will be found
in God Bless Ozzy Osbourne, a documentary
directed by Ozzy's son Jack, which
features rare concert footage and appearances from Paul McCartney and Tommy
When it comes to Italian neorealist movies, the only
movie that rivals De Sica's Umberto D. in the tear-jerk department is Federico
Fellini's heartbreaking La Strada (1954).
Fellini's wife Giulietta Masina plays Gelsomina, a simple, pure-hearted girl
devoted to the brutish circus strong man Zampano (Anthony Quinn), who bought
her from her impoverished family to assist in his act.
No matter how many times you watch it, Zoolander, (2001) never
lets you down. There will always be something that renews your appreciation of
the film's hilarity. Like the hallucinogenic orgy with the Maori tribesman and
Finnish dwarfs. Or the lines "You can read minds?" and "I feel like I'm taking
crazy pills!" Ben Stiller directed this classic dumb comedy and stars as the
titular supermodel, challenged for the top spot by archrival Hansel, played by
Twisted Nerve (1968) opening credits
You might not remember what you've seen in a film with
a Bernard Herrmann score, but you'll probably remember what you heard. Like the
taunting rhythms of the title music to Sisters (1973; 3:15 +
7:30 pm), Brian De Palma's diabolical thriller about a beautiful pair of
divided Siamese siblings who give added meaning to the term "evil twin."
Even the most
hardcore Red Sox fan might feel a little begrudging affection for the pinstripes
after watching Safe At Home! (1962). Of course, it helps that it
takes place almost half a century ago, when Yankees Mickey Mantle and Roger
Maris were vying to break the Babe's single season home run record. The two
sluggers star in this heartwarming drama about a Little League team that dreams
of seeing them in person, and though the ballplayers were wise not to leave the
diamond for the big screen, director Walter Doniger does touch on sentiments
that both Boston and New York fans can appreciate.
There are many shocking moments in Stanley Kubrick's
adaptation of Stephen King's novel The Shining (1980), but the
real terror is subtle, insidious, and will linger in your nightmares. Some
images will never leave you: the elevator full of blood, for example, or the
Diane Arbus twins, or the woman in the tub, or the eerie sound that Danny - the
little boy with the title gift of ESP - makes when his Big Wheel rolls from
bare floors to carpeting in the endless, empty corridors of the Overlook Hotel.
Yesterday I wrote a review of Raúl Ruiz's wonderful 4-1/2
hour film "The Mysteries of Lisbon," a sublime, joyous, and terrifying exploration
of the link between story-telling and mortality. Today I learned that the
brilliant, prolific Chilean filmmaker just died at the age of 70. Few other artists have exulted as feverishly in the
imaginative power of cinema, or its potential for metaphysical insight.
Though he's come down hard on porn, gays, and other assaults
on American Family Values, is Texas Governor and Republican Presidential
candidate Rick Perry putting his money where his mouth is?
Not according to this story on the website firedoglake.com, that asserts that he owned $5000-10,000 in
stock with Movie Gallery, a now defunct video company that had been the biggest
supplier of porn in the US, with titles like Teens with Tits Vol.
The Ghost and Mrs. Muir (1947)
Ghosts were once less disagreeable on the big
screen than they are today. Compare the specter in, say, Paranormal
with the spook in Joseph L. Mankiewicz's The
Ghost and Mrs. Muir (1947; 7 pm). He's the sexy, pipe-smoking,
bearded sea captain (Rex Harrison), who proves erotically titillating to the
widow (Gene Tierney), when she moves into the quaint cottage he haunts.
A recent overlooked mini-masterpiece, Austrian
director Benjamin Heisenberg's The
(2010; screens at 3:30 and 7:30 pm) features an electrifying performance by Andreas
Lust as the real-life felon of the title, who supplements his compulsive bank
robbing with marathon running, two metaphors of existential futility that prove
not altogether complementary.