Join the Boston Sunday Night Film Club this Sunday, Mar 16th at 7:20pm for The Bank Job at the Regal Fenway Stadium 13 . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

“A car dealer with a dodgy past and new family, Terry (Jason Statham) has always avoided major-league scams. But when Martine (Saffron Burrows), a beautiful model from his old neighborhood, offers him a lead on a foolproof bank hit on London’s Baker Street, Terry recognizes the opportunity of a lifetime. Martine targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don’t realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal that spans London’s criminal underworld, the highest echelons of the British government, and the Royal Family itself…the true story of a heist gone wrong…in all the right ways.”

Join the Boston Sunday Night Film Club this Sunday, Mar 9th at 7pm for The Counterfeiters at the Coolidge Corner Theatre . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

“Based on the true story of Salomon Sorowitsch, counterfeiter extraordinaire and bohemian. After getting arrested in a German concentration camp in 1944, he agrees to help the Nazis in an organized counterfeit operation set up to help finance the war effort. What followed was the biggest counterfeit money scam of all times. Over 130 million pound sterling were printed, under conditions that couldn’t have been more tragic or spectacular. During the last years of the war, as the German Reich saw that the end was near, the authorities decided to produce their own banknotes in the currencies of their major war enemies. They hoped to use the duds to flood the enemy economy and fill the empty war coffers. At the Sachsenhausen concentration camp, two barracks were separated from the rest of the camp and the outside world, and transformed into a fully equipped counterfeiters workshop. “Operation Bernhard” was born. Prisoners were brought to Sachsenhausen from other camps to implement the plan: professional printers, fastidious bank officials and simple craftsmen all became members of the top-secret counterfeiter commando. They had the choice: if they cooperated with the enemy, they had a chance to survive, as first-class prisoners in a “golden cage” with enough to eat and a bed to sleep in. If they sabotaged the operation, a sure death awaited them. For THE COUNTERFEITERS, it was not only a question of saving their own lives, but also about saving their conscience as well…”

Join the Boston Sunday Night Film Club this Sunday, Mar 2nd at 7:15pm for Taxi to the Dark Side at the Coolidge Corner Theatre . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

“TAXI TO THE DARK SIDE, the latest documentary from now two-time Oscar-nominee Alex Gibney (ENRON: The Smartest Guys in the Room), confirms his standing as one of the foremost non-fiction filmmakers working today. A stunning inquiry into the suspicious death of an Afghani taxi driver at Bagram air base in 2002, the film is a fastidiously assembled, uncommonly well-researched examination of how an innocent civilian was apprehended, imprisoned, tortured, and ultimately murdered by the greatest democracy on earth. Intermingling documents and records of the incident with candid testimony from eyewitnesses and participants, the film uncovers an inescapable link between the tragic incidents that unfolded in Bagram and the policies made at the very highest level of the United States government in Washington, D.C. Combining the cool detachment of a forensic expert with the heated indignation of a proud American who holds his country to a high standard, GibneyÂ’s film reveals how the Bush administration has systematically betrayed the very ideals it professes to uphold.”

With both the Spirit Awards and the Oscars, it’s the Super Bowl Weekend for film nerds. Therefore the Boston Sunday Night Film Club will be taking the week off to let people nerd out. See you next Sunday, March 2nd!

Join the Boston Sunday Night Film Club this Sunday, Feb 17th at 6:30pm for Jumper at the AMC Boston Common 19 . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

“A smart kid with a tough family life discovers that he has the ability to teleport. Empowered, he leaves home for NYC. While using his abilities to track the man he blames for the death of his mother years earlier, he draws the attention of both the NSA and a possibly nefarious guy his own age who has the same abilities and enters into a dangerous game of cat and mouse with both.”

Join the Boston Sunday Night Film Club this Sunday, Feb 10th at 7:05pm for 4 Months, 3 Weeks and 2 Days at the Kendall Square Cinema . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

“Winner of the Palme d’Or at the 2007 Cannes Film Festival, this unforgettable drama is so gripping it plays like a thriller. Set during the last year of the Ceauçescu dictatorship, ironically called the “Golden Age of Romania,” life has become a nightmare for the hard-pressed citizens. The film unfolds over 24 tense hours as a college student (Anamaria Marinca) desperately tries to arrange an illegal abortion for her irresponsible roommate (Laura Vasiliu). As almost everything that could possibly go wrong does, the film reveals how oppression infects every aspect of the culture. A political, moral and spiritual knockout.”

If you’re looking for something Non-football related to do over the next few days, check out what’s going on over at the Harvard Film Archive! sean

At the Harvard Film Archive February 1 - February 7, 2008 Arthur Penn, American Auteur February 1 - February 4 Arthur Penn in person February 1 and February 2! Director Arthur Penn in person Special Event Tickets $10 The Chase Friday February 1 at 7pm Penns first great masterpiece is also one of his darkest works, a portrait of small town America as a festering backwater stagnant with avarice, envy and racism. Marlon Brando is magnificent as the weary sheriff appointed by a small towns corrupt patriarch and reluctantly assigned to capture a misunderstood fugitive, played by Robert Redford. As night descends, debauched house parties boil over into a frenzied carnival of raw violence that tears apart the flimsy façade of cracker barrel hospitality erected by the town elders. With an impressive line-up that includes Angie Dickenson, Jane Fonda, James Fox, Bruce Cabot and Miriam Hopkins, The Chase boasts an ensemble cast that draws from both Old and New Hollywood. Directed by Arthur Penn. With Marlon Brando, Jane Fonda, Robert Redford US 1966, 35mm, color, 135 min. Screening with The Tears of My Sister In 1953, Penn directed two live television dramas from scripts by Horton Foote, The Death of the Old Man and The Tears of My Sister. The broadcasts mark the beginning of Penn’s work for live television, which would culminate in The Miracle Worker and launch Penn’s film career, as well as the beginning of a partnership with Foote that would be renewed with The Chase (based on Foote’s play and subsequent novel). The Tears of My Sister is narrated by a young girl, whose voice we hear but do not see, played by Kim Stanley, as she watches her older sister struggle with the pressure to marry a man she does not love. Directed by Arthur Penn. With Kim Stanley, Katherine Squire, Frank Overton US 1953, video, b/w, 30 min. Little Big Man Saturday February 2 at 3pm A remarkable adaptation of the Thomas Berger novel, Penns epic recasting of American history blends dark satire with ribald comedy to crack open the myths of the tamingof the Western frontier. Dustin Hoffmans hilarious and heart-wrenching portrait of the stumbling anti-hero, Jack Crabb, brings a poignant vulnerability to Bergers story of the little manswept along by the forces of history. Often cited as one the finest of the revisionist Westerns, Little Big Mans potent outrage over the cruel massacre of Native Americans echoed loudly during the Vietnam War. Directed by Arthur Penn. With Dustin Hoffman, Faye Dunaway, Martin Balsam US 1970, 35mm, color, 150 min. Director Arthur Penn in person Special Event Tickets $10 Night Moves Saturday February 2 at 7pm One of the strongest of the film noir revivals popular during the 1970s, Night Moves pushes the genre to a bleak point of no return. Gene Hackman is wonderfully cast as a disillusioned Los Angeles detective hired to track down a washed out movie stars daughter while also trying to understand the mystery of his own rapidly disintegrating marriage. Night Moves sinister tale of conspiracy and intrigue powerfully evokes the Watergate-era and stands as one of the quintessential American films of the 1970s. Directed by Arthur Penn. With Gene Hackman, Jennifer Warren, Susan Clark US 1975, 35mm, color, 100 min. Followed by Mickey One Strangely underrated, Penns wonderfully offbeat and inventive film is an extraordinary tour de force and one of his most stylish and satisfying works. Warren Beatty gives a brilliant turn as Mickey, a stand-up comedian on the lam who descends, like Orpheus, into a strange back alley underworld that just might be of his own invention. At turns haunting and comic, Mickey One offers a mysterious allegory of fear and redemption that features gorgeous photography by Robert Bressons favorite cinematographer, Ghislain Cloquet, and an improvised soundtrack by jazz great Stan Getz. Directed by Arthur Penn. With Warren Beatty, Alexandra Stewart, Hurd Hatfield US 1965, 35mm, b/w, 93 min. And The Hightest from Visions of Eight In Penns cinema the human body is frequently explored as expressive medium, with gesture, posture and movement taking on a new level of meaning and subtlety in his filmsoften more expressive than even dialogue. Penns contribution to the eight-part omnibus film of the 1972 Tokyo Olympics is a wonderful study of the body in motion that follows the thrilling trials of the pole vaulting competition. Directed by Arthur Penn. US/West Germany 1973, video, color Alices Restaurant Sunday February 3 at 3pm Loosely based on Arlo Guthries spoken ballad, Alices Restaurant is Penns first and only credit as a screenwriter. A lament to the end of the countercultural revolution,Penns film vividly evokes the hopes and dreams burnished by the hippie generation. Guthrie himself stars as a wandering soul perplexed by the strange contradictions of America during the Vietnam-era and ultimately engaged in a peaceful one-man battle against the bureaucratic war machine. Effused with a melancholy spirit, Alices Restaurant is one of Penns gentlest and most poignant films. Directed by Arthur Penn. With Arlo Guthrie, Pat Quinn, James Broderick US 1969, 35mm, color, 111 min. Bonnie and Clyde Sunday February 3 at 7pm One of the pivotal films of the 1960s, Bonnie and Clyde is also a wonderful portrait of amour fou, with Warren Beatty and Faye Dunaway as the eponymous heroes whose pursuit of love and larceny scars a dark arrow across the heart of America. Penns brilliant evocation of the Depression-era and Americas most notorious bandits caused a scandal for its unusual counterbalance of comedy with a new level of graphic violence hitherto unseen in American cinema. Directed by Arthur Penn. With Warren Beatty, Faye Dunaway, Gene Hackman US 1967, 35mm, b/w, 111 min. Followed by The Left Handed Gun Totally ignored by American critics when it was first released, The Left Handed Gun was recognized as a major first film by the French, who noted the films sensitive portrait of troubled youth and its disturbing vision of violent America. Originally conceived as a vehicle for James Dean, Penns debut explores the first in a line of social outcasts that recur throughout Penns cinema, reinventing the legendary figure of Billy the Kid as a sympathetic misfit unable to integrate into a society deliberately cruel to those who are different. Paul Newman subtly captures Billys fragile, troubled life in a nuanced performance that frequently replaces words with resonant and unexpected gestures. Directed by Arthur Penn. With Paul Newman, Lita Milan, John Dehner US 1958, 35mm, b/w, 105 min. The Miracle Worker Monday February 4 at 7pm Penns first real recognition as a director came from his screen adaptation of the beloved play which he had successfully directed twice on Broadway. For the screen, Penn beautifully captured the tenderness and terror that united Helen Keller and Anne Sullivan, played with great sensitivity and power by Patty Duke and Anne Bancroft, respectively. The Miracle Worker is a key work in Penns oeuvre, the film that perhaps makes clearest the concern for non-verbal communication and expressive gestures that runs throughout his films. Directed by Arthur Penn. With Anne Bancroft, Patty Duke, Victor Jory US 1962, 35mm, b/w, 106 min. Missouri Breaks Monday February 4 at 9pm Featuring the incredible pairing of Jack Nicholson as a feckless cattle thief and Marlon Brando as the Irish regulatorhired to hunt him down, Missouri Breaks is a rollicking and highly unusual Western that, in typical Penn fashion, strains the boundaries of the genre. Penns empowerment of performers is taken to a wonderful furthest extreme by the subversive presence of Brandos cross-dressing and unpredictable assassin, who effectively turns codes of masculinity and narrative continuity upon their heads. Once dismissed as an oddityin Penns career, The Missouri Breaks has been reevaluated as one of the more ambitious and original Westerns of its time, placing it in the company of Peter Fondas The Hired Hand and Monte Hellmans The Shooting. Directed by Arthur Penn. With Marlon Brando, Jack Nicholson, Randy Quaid US 1976, 35mm, color, 126 min. The Harvard Film Archive is located on the lower level of the Carpenter Center for the Visual Arts, 24 Quincy St. Cambridge 617 495 4700 http://hcl.harvard.edu/hfa Check us out on myspace: http://www.myspace.com/harvardfilmarchive or on facebook: http://harvard.facebook.com/profile.php?id=645641425

The Sunday Night Film Club will be taking this Sunday off to avoid any collateral insanity associated with the Patriots success (or failure) at the Super Bowl. See you on February 10th!

Join the Boston Sunday Night Film Club this Sunday, Jan 27th at 7:15pm for Billy the Kid at the Coolidge Corner Theatre . Look for Dan wearing a “Grave Digger” monster truck t-shirt in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

Winner of the Best Documentary title at both the SXSW and Los Angeles film festivals this year, BILLY THE KID is a sensitive and humorous verite portrait of Billy, a 15-year-old outsider growing up in small-town Maine. Billy appears, in many ways, like other teenage boys. He’s into heavy metal and martial arts, is an desperate to find a girlfriend, and aspires to a career as an actor and rock star. Yet in other ways Billy is unique. A troubled past and ongoing behavioral issues have left him marked. But he is unapologetic about his personality and refuses to be victimized, creating his own techniques to help him survive in an environment of pain, conformity and prejudice. Billy funny, sharp and strangely funny for his age, and remarkably candid. We witness his life from his perspective – from intimate conversations with his mother, to being bullied at school, to his fantasies of becoming a superhero. We also experience the exhilarating pangs of first love as Billy pursues Heather, a shy 16-year-old waitress. Will Billy get the girl? Will his community accept him on his own terms? BILLY THE KID challenges viewers to imagine themselves beyond labels.

Join the Boston Sunday Night Film Club this Sunday, Jan 20th at 7pm for Cloverfield at the Regal Fenway Stadium 13 . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.

Five young New Yorkers throw their friend a going-away party the night that a monster the size of a skyscraper descends upon the city. Told from the point of view of their video camera, the film is a document of their attempt to survive the most surreal, horrifying event of their lives.