French New Wave director Claude Chabrol died a couple of months ago, but
not before compiling an astounding and prolific body of work that people are still
trying to catch up with. Inspector Bellamy (2009) is his last feature, and his only
collaboration with fellow French film icon Gérard Depardieu, who plays a man
whose vacation is disrupted by the arrival of his malicious brother and a
stranger with a noirish tale about murder and insurance fraud.
Although you might not know it from such recent releases
as Marmaduke and Vampires Suck, Fox studios
has over the years released some of Hollywood's best films - as this weekend's "20th Century Fox 75th Anniversary"
series at the Brattle Theatre attests. You can see for yourself with tomorrow's trio
of features: Alan Arkin's directorial debut, the seldom screened black-comic
gem Little Murders
(1971; 2:45 + 7:30 pm); Robert Altman's breakthrough masterpiece, M*A*S*H (1970; 12:15 + 5
pm); and John Carpenter's kung fu classic Big
Trouble in Little China (1986; 9:45 pm).
When humans go up against nature in films like 127 Hours, they usually
come out short. Such is the case also in Werner Herzog's compelling documentary Grizzly Man
(2005), in which the director finds someone almost as strange as himself,
Timothy Treadwell, who just wanted to share his life with the ursines of the
title in the Alaskan wilderness.
Based on two Henry James novellas, François Truffaut's The Green Room (1978) isn't considered one of his greats, but it's still a charming and
affecting parable of grief and loss, and it hardly ever gets shown. Truffaut
himself plays a WWI vet and widower who retreats to the title room, where he
amuses himself with his wife's possessions and pictures of battlefield
casualties - until Nathalie Baye enters his life.
Everyone knows about
Martin Scorsese and Robert Altman, but the relatively unacclaimed Jerry Schatzberg also helped spark the great '70s film renaissance.
He'll be on hand this weekend at the Harvard Film Archive for the series "The
Cinematic Portraits of Jerry Schatzberg," introducing two of his films, both
starring Al Pacino.
As Neil Gaiman says about the title genius in Strange Powers: Stephin Merritt and the Magnetic Fields, "He made Lou Reed look like Little
Orphan Annie." That's reason enough to see Kerthy Fix & Gail O'Hara's
documentary about one of the best and least famous of indie-rock musicians. It
screens this weekend at the Brattle with "special guests" TBA on Friday at 40
Brattle St, Cambridge
| November 19-21 | $9.
Sure, it was released only back in August, but the rabid
fan base for Scott Pilgrim vs. the World
guarantees that it's never too soon for a revival of the Michael Cera
comic-book flick. The Brattle's return engagement kicks off with a late-night
screening, but the highlight comes on day two, when director Edgar Wright stops
by to present a double feature of Scott
Pilgrim and a director's choice that's yet to be revealed.
Maybe Clint Eastwood's Harry Callahan would have had more
faith in the justice system and been less likely to go off on vigilante
tangents if he was busting crime in these days of DNA and other CSI technology.
Just ask Amy Brodeur, assistant director of the Biomedical Forensic Sciences
Masters Program at Boston University School of Medicine, as she screens and
discusses Don Siegel's Dirty Harry (1971), the first outing for the legendary
If Clint Eastwood's Hereafter
has you looking to chat up the spirit world, head for the Coolidge Corner
Theatre's Halloween Horror Movie Marathon. In addition to its movie twin bill - the Japanese
horror film that defies description, Nobuhiko Obayashi's House (1977), and Stuart
Gordon's raucous and terrifying H.
The Brattle's "King of Cult: Sam Raimi" repertory
series follows the director's career from his demonic beginnings to, well, his
demonic latest, Drag Me to
Hell. Funny how things come full circle, right? There's also Darkman and Spider-Man in between, and
it all builds up to the theater's annual Halloween screening of the excellent Evil Dead 2
Lately, Boston has been a
hot spot for Hollywood productions, but it's
long been a center for independent documentary filmmakers. Like 2010 Foster Prize
finalist Rebecca Meyers (the film-program director at the Paramount Center), who tonight will screen a selection of her work that'll
include "blue mantle," a lushly beautiful exploration of the history and
ecology of the Massachusetts
Maybe the best documentary about cross dressing on stage
since Paris is Burning (1990), Kaitlin Meelia's Play in the Gray takes a look at Boston's
all-female drag group All the King's Men and comes up with many laughs and some
sharp insights into gender issues. Women in Film & Video New England's
"Chicks Make Flicks" program is holding
a free screening at MIT, 77 Mass Ave, Room 6-120, Cambridge | October 25 @ 7
pm | free | 413.246.0524 | RSVP to firstname.lastname@example.org.
Nearly everyone panned Wes Craven's new My
Soul To Take, so if you want to restore your faith in the
director, or you just want to get the crap scared out of you, take another look
at Nightmare on Elm Street (1984). This is what real dreaming is
like, not the glossy set designs of Inception.
Doomed to be battered to inanity by recurrent sequels, the original remains a
horror classic, and you can see it at the Coolidge Corner Theatre, 290 Harvard
St, Brookline | October 22-23 @ midnight | $9 | 617.
Some of the best films you'll never see anywhere else are
being programmed by ArtsEmerson at the Paramount Center.
Turkish director Metin Erksan's Dry Summer (1964) is a drama about
two brothers whose conflict results in desperate water deprivation for a
community. More agricultural hardship is on hand in Agrarian Utopia (2009), Thai director Uruphong Raksasad's documentary
about an idyllic and endangered way of life.
Next to Blade
Runner, Alien (1979) is Ridley Scott's best
movie. So it's good news that he's returning to the sci-fi genre with an Alien prequel. In the
meantime, you can catch his excruciatingly suspenseful tale of a crew on a
shabby interstellar cargo ship picked off one by one by the title intruder.