Monday, May 30, 2011

Preview: John Hughes' Love Triangles

Although the appearance of 1980s movies during the Paramount Summer Classic Film Series may irk some of the vintage filmheads, it's hard to argue against the magical appeal of John Hughes' films. For some of us, his flicks hold a very special place in our heart. It seems everyone who has grown up in the past few decades had their expectations of high school and teen years shaped by television or movies, be it "Welcome Back Kotter," Splendor in The Grass, "Glee," Clueless or "Saved By The Bell." Last year, I unabashedly praised Hughes' films with a list of my favorites, and this year two more of his works appear this summer.

Now don't hate on me, Hughes fans, but I have a confession. I had never seen Sixteen Candles until several years ago. I never had an agenda against it, nor did I think it was a mere "chic flick." It's just one of those movies that slipped under my radar.

Yes, it is pretty darn funny. This is why Molly Ringwald became America's sweetheart, and Anthony Michael Hall became America's twerp. And hey, look! Isn't that Joan Cusack? I love her.

Some Kind of Wonderful is, admittedly, another gap in my Hughes viewing. I was familiar with the cast, but knew nothing about the story. I do, however, distinctly recall this teaser trailer on a couple of VHS tapes from back in the day.

Yes, it's a great teaser, but it doesn't exactly sell a narrative, does it? Yeah, all I knew about the movie back in 1987 was that clip. Well, let's see something more proper in the way of trailers.

Now it looks interesting! How have these slipped by me all these years? This is one I gotta see. Of course, I had a huuuge crush on Lea Thompson during my formative years, thanks to SpaceCamp (I was one of those NASA dorks). While I don't recall being a part of any love triangles myself, my Lea crush gives this film a slightly different kind of nostalgic appeal.

Oh, those teen years. For some, they were filled with drama and love triangles. For others, it was a class struggle between the geeks and the cool kids. These two films contain more than redheads, unrequited love and hair gel; they have a distinct pedigree. Distilled with copious amounts of teen angst, the end product is no less identifiable or poignant. This weekend, it's time to get drunk on the love. Drink from this double feature that has aged like a fine wine. Although not decades old, they are no less robust. And why wouldn't they? Their label is still vintage...

Vintage John Hughes.

Showtimes for the films:

Sixteen Candles
Sunday, Jun 5th
2:00 (with cupcakes for the first 100 attendees courtesy of Lick It Bite It or Both), 6:00

Some Kind of Wonderful
Sunday, Jun 5th
4:00, 7:55

Tuesday, May 24, 2011

Preview: Late Orson Welles

"I started at the top and worked down."
-Orson Welles

Whether fair or not, Hollywood history looks at Orson Welles more as squandered opportunity rather than celebrated genius. At the time of his cinematic debut in 1941, Welles was already well-known (notorious, even) for the infamous "War of the Worlds" radio broadcast. His first film, Citizen Kane, is now debated as being one of the greatest films of all-time. Likewise, no one is apt to argue the caliber of The Magnificent Ambersons or his memorable performance in Carol Reed's The Third Man. But because of his splashy debut and early success, his lesser known work is often overlooked or outright dismissed.

And that, dear friends, is a crime. Welles consistently brought a lot of style and innovation to every film he worked on, well until the end of his days. In fact, one can argue that his talent could continue some 25 years after his death; assuming one could ever find the mythical lost original cut of The Magnificent Ambersons or complete the legendary unfinished film The Other Side of The Wind.

I must confess a life-long admiration of Orson's work. Seeing both Citizen Kane and The Third Man as a child (summers then were often spent visiting classic film on VHS) started my fascination with this man, and I found myself devouring anything I could about the man and his career. As a result, I've had countless arguments over Welles in my time. I've heard him called a genius, a liar, a charlatan, and even an overrated bloat of man. While in my youth I would have gladly defended the position of genius, I now see years later that Orson was likely delighted to be called all of the above. I can easily imagine him chuckling and playfully mocking such accusations, all with his distinctive sonorous voice that makes you feel like you're slipping into a warm bath.

F For Fake was a title that I was only familiar with in a cursory manner until several years ago, when The Criterion Collection put out the title on DVD. It's a documentary... of sorts. On one level, it is a story about a professional art forger. Soon, however, lines begin to become blurred between reality and authenticity in the film. It pulls you through a looking glass, then fractures your perceptions into broken shards. Or does it?

It's apt to make you ask, "What the hell is going on here?" But in a good way.

Touch of Evil was another I remember from summers past. I believe I first saw it some time during my junior high school years, and I was mesmerized by its sense of style. The tracking shot alone is worth the price of admission, but it's also a late specimen of Hollywood film noir, most often associated with 1940s and early 50s cinema. In addition to the leads of Charlton Heston and Vivian Leigh, keep your eyes peeled for appearances by Zsa Zsa Gabor, Dennis Weaver, Marlene Dietrich, and long-time Welles collaborator Joseph Cotton.

Of course after seeing Tim Burton's Ed Wood in 1994, whenever I visualize Charlton Heston in Touch of Evil all I think of is this scene:

Good for a punchline, but don't let that deter you. Join us at The Paramount for one night only to view these two films and appreciate the work of Orson Welles, a man that was written off by far too many as a mere wunderkind. Once you see these, you'll know he was more than a fleeting shooting star that burned fast and bright. Instead, Welles was a supernova, shining on years after he's gone.

Showtimes for the films:

Touch of Evil
Wednesday, Jun 1st

F For Fake
Wednesday, Jun 1st

Tuesday, May 17, 2011

Preview: Texas Film Commission 40th Anniversary

Hollywood, who needs it? Over the past few decades, Texas has established itself as a viable alternative for filmmakers. Spearheading the efforts of the industry in the Lone Star state is the Texas Film Commission, an agency managed by the Governor's office. They do everything they can to foster the seed of creative cinematic talent, from professionals to novices in the fields of film, television, commercial and video game production. In celebration of 40 years of excellence, The Paramount will be screening seven films filmed inside our grand state.

Set aside some time this coming week to partake of these films:

Silkwood, the Mike Nichols directed film starring Meryl Streep, Kurt Russell and Cher, was partially filmed in Texas City, Dallas, Howe, and Tom Bean. The story of a worker at a plutonium processing plant who uncovers safety violations and undergoes unspeakable to keep her silent.

There Will Be Blood, a drama about greed, religion, and family centered around the early days of the oil business, features a tour-de-force performance by Daniel Day-Lewis. A monstrous portrayal of the frailty and darker sides of human nature, it won wide acclaim and an Oscar for Day-Lewis. The oil field scenes were filmed in the wide open spaces near Marfa.

The Sugarland Express, the debut feature film of director Steven Spielberg (you may have heard of him), shot exclusively in Texas. Locations included: Floresville, Del Rio, Pleasanton, and San Antonio. The story of a hard-luck woman and her fugitive husband who are on the run with a lawman hostage shows hints of the future Spielberg flair, and already features music by John Williams (Jaws, Jurassic Park, Indiana Jones saga, Star Wars saga). Also present is the cinematography by the great Vilmos Zsigmond (The Deer Hunter, Deliverance, McCabe and Mrs. Miller), who later worked again with Spielberg on Close Encounters of the Third Kind in 1977.

The Best Little Whorehouse in Texas is a comedy/musical about the infamous "Chicken Ranch," and features Dolly Parton and Burt Reynolds in their prime. Location shooting took place in Austin, Pflugerville, Hallettsville, College Station, and supposedly (gulp) my hometown of Victoria. Oddly, when investigating the matter further I yielded no details on what scenes used my old stomping ground as a setting. Call me crazy, but perhaps a story about prostitutes (no matter how cheeky) may not be the source of civic pride. Go figure.

Spy Kids, by Austin-based film maker Robert Rodriguez, is a special effects-driven tour of a kiddy fantasy land. In addition to location shooting overseas, filming was also done in San Antonio and Austin. In fact, Spy Kids was the first feature produced at Troublemaker Studios, created by Rodriguez and Elizabeth Avellán. The production house is nestled right here in Austin, and is Robert's base of operations for the Spy sequels, Sin City, Once Upon a Time in Mexico, Grindhouse, and the somewhat controversial Machete.

The Coen brothers' brilliant True Grit also was made in the local area. Filming took place in Granger, Blanco, and in Austin. Jeff Bridges, Matt Damon, Josh Brolin and Hailee Steinfeld star in this remake of the old John Wayne classic.

Dazed and Confused, directed by Austin's own Richard Linklater. Made in Georgetown, Seguin and Austin, it is a cult classic comedy following several teens on the last day of school in 1976. Featuring numerous young actors who later broke out into stardom (Ben Affleck, Renee Zwelleger, Parker Posey, Adam Goldberg, Matthew McConaughey and Milla Jovovich among others), Linklater himself remains the most valued treasure in this town. He's the city's favorite cinematic son, not only for putting Austin on the map of independent film, but for founding the Austin Film Society along with his collaborator Lee Daniel.

The screenings of Dazed and Confused will also have a fun event tied to them. A Red Diversions Movie-Themed Scavenger Hunt will take place between Saturday and Sunday. Teams of up to 4 people will race around Austin as they figure out clues. They will be completing challenges, collecting items, and taking pictures all revolving around the film. Unlike most Red Diversions' games, this fun clue pursuit game lasts all through the night into the next day, guaranteed to leave you... wait for it... "Dazed and Confused!"

Showtimes for the films:

Tuesday, May 24th

There Will Be Blood
Wednesday, May 25th

The Sugarland Express
Thursday, May 26th
Friday, May 27th

The Best Little Whorehouse in Texas
Thursday, May 26th
Friday, May 27th

Spy Kids
Saturday, May 28th (with Intro and pre-screening Q&A with director Robert Rodriguez!)
Sunday, May 29th

True Grit
Saturday, May 28th
Sunday, May 29th

Dazed and Confused
Saturday, May 28th (with post-screening Q&A with director Richard Linklater)
Sunday, May 29th

Final Notes about the screening
Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Tuesday, May 10, 2011

Preview: Bogart in Love

The Summer Classic Film Series at The Paramount Theatre presents its many movies in small blocks centered around a certain theme. As you browse the schedule, you will find the 80 films are divided into over 35 different themes. Each will be previewed on this blog, complete with original trailers when available...

I don't know about you, but when I think of Humphrey Bogart, my first image is of Sam Spade, the hard-boiled detective from The Maltese Falcon. In fact, that's pretty much my impression of Bogie in general; as a hard man. I admit it's an image reinforced by his most well-known roles, such as the aforementioned Falcon, The Big Sleep, Treasure of the Sierra Madre and High Sierra among others.

However, upon a closer look, one can see the longevity of his career was due to the fact that many roles he played had a great deal of heart as well as grit. Take his most famous role of Rick Blaine from Casablanca. Not only is he "the most dangerous man in the world's most dangerous city," as the trailer states, but he's man motivated by heartache. Not a softee but any means, but a character that is simultaneously glamorous, sauve, smart, and humane.

Often debated as possibly the best movie of all-time (and it's really hard to argue against that contention), The Paramount Summer Classic Film Series kicks off with Casablanca. It's the 1942 Academy Award winner for Best Picture, directed by Michael Curtiz and starring a perfect cast of Bogart, Ingrid Bergman, Paul Henreid, Claude Rains and Sidney Greenstreet.

Here's a bit of trivia for you. When Casablanca was re-released in 11 theaters in 1992 to celebrate its 50th anniversary, one of those selected was The Paramount Theatre in Austin. Why? Because at the time, this was one of the few venues still standing that screened the film upon its original release in 1942.

The other film featured in this theme is Sabrina, the 1954 romantic comedy directed by Billy Wilder and starring Bogart, William Holden and Audrey Hepburn. It's a Cinderella story of sorts about the title character (Hepburn), the daughter of a chauffeur (Hepburn) for a wealthy family. She's had a crush on David (Holden), a fickle playboy and the younger of the two brothers in the family. He never gave her the time of day until Sabrina blossoms after some time overseas. Unfortunately, he's also engaged. So it's up to his workaholic older brother, Linus (Bogart), to try and distract the young lady.

It's a light movie, but it's a classic for the smiles it brings and for its sheer star power. Plus, it's Billy Wilder, folks. I mean, come on!

If you've never see Sabrina, you owe it to yourself to check it out. And if you've only seen the rather stiff 1995 remake, run to see this one to rinse that film's staleness out of your mouth. Although casting Harrison Ford in the Bogart role was an inspired choice, it fell flat. I'd say the only good thing that came out of the Sydney Pollack-directed remake was Greg Kinnear's career. Otherwise, he just would've been that guy from E!'s "Talk Soup" (remember that show?). And although she was a darling of the mid 1990s after Legends of the Fall and First Knight, Julia Ormand couldn't hold a candle to Audrey Hepburn's charm. Then again, no one can.

So be sure and see some vintage Bogie in two of his finest. If you're "too tough" to come and sit through two vintage romantic films, don't be silly. There's nothing to be ashamed about. After all, they have Humphrey Bogart starring in them. He's still a hardened movie star, right? His status hasn't been diminished one bit by appearing in these two classics. Quite the contrary, it helped solidify him as one of the best of all time. Come on, I'll see you there!

(Unless I see you crying during these movies. In that case... I didn't see anything, tough guy)

Showtimes for the films:

Saturday, May 21st
Sunday, May 22nd

Saturday, May 21st
Sunday, May 22nd

Final Notes about the screening
Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Monday, May 9, 2011

Coming Soon: The CASABLANCA 2011 Kick-Off Party

Glancing at the thermometer, summer is certainly in full swing. Temperatures reside in the upper 90s, and a hankering for swimming pools and snow cones are already taking root inside me. However, as an Austinite/cinephile, the season kicks off when The Paramount Summer Classic Film series gets under way. About to launch its 36th year, the series begins on May 20th with a recurring opening night screening and a very special guest.

A tradition from years past, the kick-off party includes a screening of perennial favorite Casablanca, the 1942 classic starring Humphrey Bogart and Ingrid Bergman. It's a film that truly needs no introduction, and is a classic in every sense of the word. No matter how many times you've watched the movie, the thrill of being able to see it on the big screen should be an enticement itself to attend this party.

But, if that's not enough for you... there will be a special guest: Director/Actor/Writer/Walking Hollywood Wikipedia Peter Bogdanovich.

Although known primarily as the director of The Last Picture Show, Bogdanovich has appeared throughout the movie industry in numerous capacities. He's popped up as an actor in television and film, most notably as Dr. Elliot Kupferberg on "The Sopranos." However, Peter has also made a huge impact as a Hollywood historian. His career began to take build steam when he was a film programmer and a writer for Esquire magazine, which built upon his obsessive movie-viewing habits from his youth. He wrote about legends such as John Ford and Alfred Hitchcock, and crafted prolific profiles about Jerry Lewis, James Stewart... and Humphrey Bogart.

As he began his film career, he paid tribute to the style of Old Hollywood and the Golden Age from a time gone by. Ironically, as part of the New Hollywood of the 1960s and 70s, where the director was referred to as the auteur, Bogdanovich's films emphasized a more collaborative aesthetic. Directing several of his actors to Oscar nominations (which a few of them won), it can be safely said that his approach is performance-based. Peter has often praised Casablanca as a work of the ‘non-auteurist’ tradition, and his reverence for this film obviously influenced one of his more underrated films, 1979's film Saint Jack.

In addition to sharing his thoughts about the opening night film, Bogdanovich has also chosen a mystery film to serve as the second half of a double-feature that evening. To date, no one knows what the movie will be. How about you? What do you think it will be?

So be sure to join us as- Wait a sec.
Ack, I almost forgot a couple of important details.

First: Admission tickets are already reasonably prized (and can be found here), but if you become a Paramount Film Fan, admission to this event and double-feature is FREE. That's right. On top of that, enjoy discounts and perks (like free popcorn) throughout the 2011 Summer Series based on your level of membership. Curious? Then click here for details.

Second: For Gold and Platinum Film Fan members, there will be a Meet & Greet Reception with Mr. Bogdanovich himself prior to the screenings.

It promises to be a thrilling night for all. The appearance of Peter Bogdanovich is an ever so appropriate one for the Summer Classic Film Series. Why? Because he still holds his sensibilities to a long-ago Golden Era of film. I'm reminded of this gem of a quote by our special guest, one that reveals this particular truth:

"I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned."

Here here. Maybe my cinematic views are archaic, but you can lump me in full agreement with that statement. Seeing these treasures on the big screen stirs a level of excitement you just can't get from any HDTV screen.

Doors to the party open at 6:00 p.m. on Friday, May 20th. The films begin at 7:00 p.m. Don't you dare miss it, because if you do... "you'll regret it. Maybe not today. Maybe not tomorrow, but soon and for the rest of your life."

Wednesday, May 4, 2011

BEHOLD! The 2011 Summer Film Series List!

Want an instant excuse for doing backflips? Look no further for inspiration, my friends. The COMPLETE 2011 Classic Summer Film Series List has been released!

I'll be doing additional write-ups/previews as each theme approaches, so be sure to bookmark or check back often. It's gonna be one rockin' summer.

So take a gander and plan accordingly, fellow film buffs!

Classic Kickoff

Special Guest Peter Bogdanovich hosts Casablanca and another mystery film of his choosing.
5/20 at 7 p.m.

Bogart in Love

5/21 at 2 p.m. and 6:20 p.m.
5/22 at 4:30 p.m.
5/21 at 8:25 p.m.
5/22 at 2 p.m. and 6:40 p.m.

Texas Film Commission 40th Anniversary

5/24 at 7:30 p.m.
There Will Be Blood
5/25 at 7:30 p.m.
Sugarland Express
5/26 at 7 p.m.
5/27 at 9:25 p.m.
Best Little Whorehouse in Texas
5/26 at 9:20 p.m.
5/27 at 7:00 p.m.
Spy Kids
5/28 at 3 p.m.
5/29 at 2 p.m.
True Grit (2010)
5/28 at 7:00 p.m.
5/29 at 6:40 p.m.
Dazed and Confused
5/28 at 9:30 p.m.
5/29 at 4:30 p.m.

Late Orson Welles

F for Fake
6/1 at 9 p.m.
Touch of Evil
6/1 at 7 p.m.

John Hughes' Love Triangles

Sixteen Candles
6/5 at 2 p.m. and 6 p.m.
Some Kind of Wonderful
6/5 at 4 p.m. and 7:55 p.m.

Brando on Film

Last Tango in Paris
6/8 at 9:40 p.m.
6/8 at 7 p.m.

Chaplin Like You've Never Seen Him (Restored Prints!)

City Lights
6/9 at 7 p.m.
The Gold Rush
6/9 at 9 p.m.
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Modern Times
6/11 at 4 p.m. and 7:50 p.m.
6/12 at 2 p.m. and 6:15 p.m.
Chaplin Shorts
6/11 at 6 p.m.
6/12 at 4 p.m.

Eccentric Westerns

Destry Rides Again
6/14 at 7 p.m.
6/15 at 9:15 p.m.
Johnny Guitar
6/14 at 9 p.m.
6/q5 at 7 p.m.

Lovers on the Run

Bonnie and Clyde
6/16 at 7 p.m.
6/17 at 9 p.m.
They Live By Night
6/16 at 9:15 p.m.
6/17 at 7 p.m.

Ford, Fonda and America

The Grapes of Wrath
6/18 at 4 p.m. and 8:40 p.m.
6/19 at 4:05 p.m.
Young Mr. Lincoln
6/18 at 6:35 p.m.
6/19 at 2 p.m. and 6:40 p.m.

A Star for Modern Times: Julie Christie

McCabe & Mrs. Miller
6/21 at 7 p.m.
6/22 at 9:15 p.m.
Fahrenheit 451
6/21 at 9:25 p.m.
6/22 at 7 p.m.

Comedies of Sidney Poitier

Uptown Saturday Night
6/23 at 7 p.m.
6/24 at 9:15 p.m.
Stir Crazy
6/23 at 9:10 p.m.
6/24 at 7 p.m.
Icon: Audrey Hepburn

Breakfast at Tiffany's
6/25 at 2 p.m. and 6:40 p.m.
6/26 at 2 p.m. and 6:40 p.m.

6/25 at 4:20 p.m. and 9 p.m.
6/26 at 4:20 p.m. and 9 p.m.

The Intensity of Charm: Paul Newman

The Hustler
6/30 at 7 p.m.
6/30 at 9:40 p.m.

Hucksters & Princes: Burt Lancaster

The Leopard
7/2 at 2 p.m. and 8:30 p.m.
7/3 at 2 p.m.
Elmer Gantry
7/2 at 5:35 p.m.
7/3 at 5:35 p.m.

Sci Fi: Monsters From Beyond

Godzilla (1954)
7/5 at 7 p.m.
7/6 at 9 p.m.
7/5 at 9:05 p.m.
7/6 at 7 p.m.

Sci-Fi: 25th Anniversaries

Star Trek IV: The Voyage Home
7/8 at 9:45 p.m.
7/8 at 7 p.m.

Sci Fi: Dystopian Futures

7/10 at 2 p.m. and 7 p.m.
7/10 at 4:35 p.m.

The Subversive Comedy of Albert Brooks

Modern Romance
7/12 at 7 p.m.
7/13 at 9:35 p.m.
Broadcast News
7/12 at 9 p.m.
7/13 at 7 p.m.

Thrillers and Blondes: Hitchcock & Grace Kelly

Rear Window
7/14 at 7 p.m.
7/15 at 9:15 p.m.
To Catch A Thief
7/14 at 9:20 p.m.
7/15 at 7 p.m.

A Very Swayze Weekend

Road House
7/16 at 4:30 p.m. and 9:10 p.m.
7/17 at 4:20 p.m.
Red Dawn
7/16 at 6:50 p.m.
7/17 at 2 p.m. and 6:40 p.m.

Katherine Hepburn

The African Queen
7/19 at 7 p.m.
7/20 at 9 p.m.
7/21 at 7 p.m.
7/19 at 9:10 p.m.
7/20 at 7 p.m.
7/21 at 9:10 p.m.

Lights! Camera! Music!

West Side Story
7/24 at 4 p.m.
7/26 at 7 p.m.
Swing Time
7/24 at 2 p.m.
7/26 at 9:50 p.m.

Iron and Wine Presents

Paper Moon
7/27 at 7:30 p.m.
The Last Picture Show
7/28 at 7:30 p.m.

Sing-A-Long Fun!

The Sound of Music
7/30 at 2 p.m. (non-singalong) and at 7 p.m.

Horror: Don't Go Into That House!

The Shining
8/2 at 7 p.m.
8/3 at 9:10 p.m.
The Haunting (1963)
8/2 at 9:40 p.m.
8/3 at 7 p.m.

Horror: Scary Cats

Cat People
8/4 at 7 p.m.
8/5 at 9:05 p.m.
8/4 at 8:40 p.m.
8/5 at 7 p.m.
Horror: Birth of the Slasher

8/6 at 4 p.m. and 8:45 p.m.
8/7 at 4:10 p.m.
Peeping Tom
8/6 at 6:15 p.m.
8/7 at 2 p.m. and 6:25 p.m.

Foreign: Theft and Thieves

Bob Le Flambuer
8/9 st 7 p.m.
8/10 at 8:40 p.m.
8/9 at 9 p.m.
8/10 at 7 p.m.

Foreign: Comedy of The Past and Present

8/11 at 7 p.m.
8/14 at 2 p.m. and 7 p.m.
8/11 at 9:30 p.m.
8/14 at 4:30 p.m.

Foreign: Silent Classic, Live Score!

El Tren Fantasma
8/13 at 8:00 p.m.

Foreign: Passion and Love

Mama Roma
8/16 at 7 p.m.
8/17 at 8:55 p.m.
Loves of A Blonde
8/16 at 9:10 p.m.
8/17 at 7 p.m.

Foreign: A Forgotten Master, Masahiro Shinoda

Pale Flower
8/18 at 7 p.m.
8/19 at 9:10 p.m.
Double Suicide
8/18 at 9 p.m.
8/19 at 7 p.m.

Foreign: Leaders of the New Wave, Godard & Truffaut

The Soft Skin
8/20 at 4:30 p.m. and 8:45 p.m.
8/21 at 4 p.m.
Vivre Sa Vie
8/20 at 6:50 p.m.
8/21 at 2 p.m. and 6:20 p.m.

70mm Week

8/22 at 7:30 p.m.
8/23 at 7:30 p.m.
2001: A Space Odyssey
8/24 at 9:10 p.m.
8/25 at 7 p.m.
8/26 at 9:55 p.m.
Lawrence of Arabia
8/26 at 7 p.m.
8/27 at 2 p.m. and 7:30 p.m.

Lemmon and Wilder

Some Like It Hot
8/29 at 9:30 p.m.
8/30 at 7 p.m.
The Apartment
8/29 at 7 p.m.
8/30 at 9:45 p.m.
The Texas Epic

9/1 at 7:30 p.m.
9/2 at 7:30 p.m.
9/3 at 2 p.m.

The Grand Finale

Gone with the Wind
9/3 at 6:30 p.m.
9/4 at 2 p.m. and 7 p.m.

Whew! That's a lot of movies. 80 to be exact. Yep. Eight. Zero. Last year, I made it to 72 of the screenings, and I'm totally gunning to take that record down. Who's with me? More often than not, I'll be sitting in the mezzanine, just left of center. I usually toting my handy-dandy black messenger bag, so I'm fairly easy to find. If you see me, say hi. I promise I won't bite anything but the popcorn.

See ya there!