An environmental warning before people even knew there was
an environment, Robert Gordon's It Came From Beneath the Sea (1955)
features a giant octopus provoked by H-bomb testing into destroying San Francisco. It makes
sense when you see it, especially when University of Chicago professor
Michael LaBarbera explains the monster's biology when he hosts this session of
Science on Screen series at the Coolidge.
It's hard to believe that nearly 30
years have passed since we first saw the Stay Puft Marshmallow Man and watched
Bill Murray, Dan Aykroyd, and the rest of the goofy crew get slimed with
ectoplasm in Ivan Reitman's Ghostbusters (1984).
It's still a hoot, though.
Coolidge Corner Theatre, 290 Harvard St, Brookline :: Monday, October 22 @ 7 pm :: $9; $6 seniors ::
Here are two approaches to the art of
terror screening at the Coolidge's @fter Midnight program: Michael Paul
Stephenson's doc The American Scream
(2012) examines the phenomenon of folks in Fairhaven, MA, turning their homes
into haunted houses for the kids on Halloween, and Tobe Hooper's Texas Chainsaw Massacre 2 (1986),
starring Dennis Hopper, just scares the shit out of you.
In the series Stage & Screen,
people putting on a play at the Huntington Theatre discuss a film version of a
play screened at the Coolidge. Tonight Michael Wilson, director of the Huntington's upcoming production of Christopher Shinn's Now or Later, discusses that play's
similarities to Franklin J. Schaffner's adaptation of Gore Vidal's The Best Man (1964).
After The Texas
Chainsaw Massacre (1974), Tobe Hooper tried to lighten up a bit with the
carnival hijinks of The Funhouse
(1981). In it, a bunch of teens sneak into the title ride and undergo what
usually happens to teens in this kind of movie.
Coolidge Corner Theatre, 290 Harvard Ave, Brookline
| Friday, October 5 @ midnight | $9 | 617.
A little-known milestone in the history of movies took place
50 years ago at a film festival in Oberhausen, Germany,
when 26 German filmmakers signed a statement demanding an independent cinema.
In his lecture "Provoking Reality: the Oberhausen Manifesto," film historian
Ralph Eue explains the movement and its influence and presents select films
from the project Provoking Reality.
Phoenix film critic Brett Michel talks the talk at Talk Cinema, hosting a screening of
Julian Farino's upcoming romantic comedy, The
Oranges, a comedy about the fallout from a May/December romance. Watch the
movie and air your opinions.
True, there's a presidential election coming up, but here's
a chance to vote for something really important. From September 28 to October 4
the 15th annual Manhattan Film Festival will be screening its 10 finalists in
300 theaters in cities worldwide, our own Coolidge Corner Theatre included,
inviting viewers to cast ballots for their favorite.
Hitchcock's early silent movies, nobody can hear them scream. In Blackmail
(1929) , the last of these, a working girl murders a rakish painter in self
defense. Panicking, she tries to cover it up, and a sympathetic detective helps
her out. But there was a witness, which is where the blackmail comes in, and it
climaxes with a chase in the British Museum, a warm-up for Mount
Rushmore in North by
The kids are skateboarding and acting cool, all right,
but as the title of Martin Perseil's offbeat documentary makes clear, This
Ain't California (2012). It is, in fact, '70s East
Berlin, where three boys rebel against the stringent Marxist
regime by imitating Western punks. The years pass and it is suddenly 1989 - the
Wall has fallen, the kids have grown up, and now they must redefine their
FedEx boxes of a certain size have never been the same
after an infamous scene in David Fincher's Se7en (1998), a film that has its
share of outrageously brutal moments. A serial killer has taken the seven
deadly sins to heart, choosing victims who are flagrantly guilty of each vice
and murdering them with hideous, Dantesque appropriateness.
[Rec] (2007), the splashy Spanish zombie
film remade by Hollywood
into the more tepid Quarantine
(2008), has itself generated sequels. The third in the series, Pablo Plaza's
Genesis (2012), resumes the premise of a zombie plague as seen in the
now obligatory found footage. This time around the source is a wedding video,
which records a reception that goes beyond Bridesmaids
wrong when a guest starts eating human flesh.
depiction in Cosmopolis of a passive,
limo-encased master of the universe makes one nostalgic for the days when such
ruthless tycoons wielded chainsaws. In Mary Harron's lacerating, hilarious
adaptation of Bret Easton Ellis's unfairly maligned American Psycho (2000),
future Bruce Wayne Christian Bale electrifies as the title psychopath, Patrick
Bateman, who may or may not be turning his specialties of mergers and
acquisitions into "murders and executions."
For better or worse, Quentin Tarantino's Reservoir
Dogs (1992) shaped American independent filmmaking for years.
The esoteric film references, the narrative acrobatics, the outrageously
brilliant dialogue, and the perversely inventive violence - it's a style and
sensibility that many have tried but few have succeeded in duplicating.
There are a
handful of movies from the '60s that filmmakers keep trying to copy yet never
quite capture the electric thrill of the original. Sam Peckinpah's The
Wild Bunch (1969) is one of them, and if within five minutes of the
opening shootout you don't recognize a turning point in the history of film,
there's no hope for you.