Final Day! Tuesday, April 3

  • 1:00 2:45 4:30 6:15 8:00 9:45

$7 Member  $12.50 Regular


*****! 5 STARS - highest rating  #1 CRITICS' PICK!
[highest rating]                                     
"ENTRANCING! A GLORIOUS NEW 35mm PRINT! Everything proceeds with a dreamy allusiveness—witness the stunning God’s-eye tracking shot over the protagonist's frequent haunts as Debbie Reynolds croons 'Tammy'... Past and present are alien concepts; to Davies, the unbearably moving fact is that we are who we were."

– Keith Uhlich, Time Out New York


(1992) It’s pouring in Liverpool in 1955, and the camera tracks slowly down a desolate Kensington Street, then turns up the steps as we hear the 20th Century-Fox fanfare, Nat “King” Cole singing “Twilight Time” and Alec Guinness asking about a room in The Ladykillers; an eleven-year old boy wheedles a few pennies for the pictures from his Mam; a spotlight focuses on the boy at school as we hear a richly old-fashioned soprano voice and, turning to see the ship in her song, he’s hit by the spray; light patterns flutter on the upstairs carpet; and an overhead camera seamlessly side tracks above the boy swinging on a bar above his basement steps, above the aisle of a smoky cinema, above the pews of a church, above rows of boys in school, as Debbie Reynolds sings “Tammy.” Davies’ third and final autobiographical film is an impressionistic slice of life, the camera elegantly gliding via near-invisible transitions (straight cuts, brief dissolves, moves into shadow and out) through vignette after vignette, contrasting the warmth of sing-a-long-loving family life with the iciness of school (ruled by a cane-happy teacher) and the fear of church (a crucifix startlingly comes to life to bark “Boo!”), even as Doris Day, Orson Welles, and Judy Garland punctuate the soundtrack. Among the truly ensemble cast, Leigh McCormack (as young “Bud” Davies) had never acted before — and didn’t like it — while Tina Malone (Shameless) supplies a hilarious cameo cutting down impression-loving hubby Jimmy Wilde. Approximately 83 minutes.

A Terence Davies retrospective runs at BAM, through March 27. Davies’ latest film, The Deep Blue Sea, starring Rachel Weisz, opens in March.



"EXQUISITE! A nocturnal family stroll through a carnival takes on the air of a solemn religious procession, and a breathtaking set of overhead tracking shots through a church and a movie theatre suggests the essential unity of Bud’s passions—and their equally strong exaltation of daily life. Davies resurrects footfalls and shadows, the pattern and texture of carpets, the sound of his mother’s singing voice—the sort of undramatic things that are lodged in memory for a lifetime."
– Richard Brody, The New Yorker

****! 4 STARS - highest rating
[highest rating]
"A poet of memory and recreation whose approach fuses painterly composition and musical flow, Davies addresses the past not with a nostalgist's doting tidiness, but with a sense of fluid emotions perpetually at play; far from collections of pinned-down poses, his cinematic photograph albums shiver with anger and love, sorrow and hope."

– Fernando F. Croce, Slant Magazine
Click here to read the full review.

"Davies’ most autobiographical and fully achieved work... The purity of Davies’s concentration can make an epiphany of even Debbie Reynolds’s tremulously saccharine rendition of the title song from Tammy. The movie one actually sees is often the play of light on drab walls and worn rugs. With consummate subtlety, Davies suggests Liverpool itself as a sort of sound stage."
– J. Hoberman, The New York Review of Books
Click here to read the full feature.

– Armond White, CityArts

BEAUTIFULLY POETIC! IT DAZZLES! Such is Davies’ artistry that he shapes his material into a poignant vision of a paradise lost... The stately camera movements; the tableaux-like compositions; the evocative use of music and movie dialogue; the dreamy dissolves and lighting – all make this a movie which takes place in its young protagonist’s mind. Beautifully poetic, never contrived or precious, the film dazzles with its stylistic confidence, emotional honesty, terrific wit and all-round audacity.” 
– Geoff Andrew, Time Out (London)

MESMERIZING! A celestial vaudeville in a fastidiously grubby heaven... Davies treats each remarkably studied image as though exhuming some sepia-tinted relic from the archaeological site of Catholic, working-class Liverpool.” 
– J. Hoberman, Village Voice

– Stephen Holden, The New York Times

“No cozy nostalgiathon... Davies doesn’t so much direct his films as compose them as visual mosaics — a brother fixing a bicycle, a sister and her friends doing their makeup — that seem about to turn into Caravaggios or Rembrandts.”
– Graham Fuller, Interview