United States of Cinemerica

What's This? The Winter Comedy FIlm Series!

2012-01-06T15:23:00.000-08:00

I don't know about you guys, but January's always been one of those "meh" months. What starts as a hangover (literally) sloshes into a malaise of returning Christmas gifts, dealing with holiday bills, beginning to worry about a looming tax season and contending with the cold and wet weather. Heck, if you're one of the lucky ones, you may even have to battle with a cold or... the flu. I say lucky because you then have an excuse to stay bedridden and sleep some of the month away. And when I finally make the time to buy a clearance-priced 2012 calendar, I always make sure it's about 30 days in, just so I can flip right past the first month.

Yes, I can get right ornery this time of year.

But wait... what's this I see?

My, my, my. Isn't this a pleasant surprise?

The Paramount Theatre is hosting a Comedy Film Series during the last week of January, and all of a sudden things look to be a little better. It's a little something to help lift us out of the doldrums, and will be very much appreciated. Comedic hijinks will flow due to the likes of Will Ferrell, Eddie Murphy, Woody Allen and Richard Pryor. There's something for everyone, as long as you're ready to get your laugh on.

The fun begins with a Will Ferrell double feature, who has come one heck of a long way from Night at the Roxbury (as an aside, remember when people thought Chris Kattan was going to be the successful one of that duo?). He's catapulted into one of the more prolific comedic actors working today. His unique brand of "everyman idiocy" combined with a boyish charm is evident in all of his performances, no matter how big or small his role is.

Everyone has their favorite Will Ferrell role, but I''m willing to bet that most can agree that his most iconic may well be the title role in 2004's film Anchorman: The Legend of Ron Burgandy. He was "like a god walking amongst mere mortals. He had a voice that could make a wolverine purr and suits so fine they made Sinatra look like a hobo." With a solid comedic cast including Christina Applegate, Fred Willard, Paul Rudd, David Koechner and Steve Carrell (and some truly great surprise cameos), it has over the years grown in stature as one the most quotable comedies in the past decade.

Step Brothers has Ferrell reunite with his Talledega Nights co-star John C. Reilly in this unlikely buddy movie. Farrell and Reilly star as two 40-something men who refuse to grow up. But when their single parents (Richard Jenkins and Mary Steenburgen) get married to each other, the two are forced to confront the fact they now each have a new step brother. And needless to say that, for these spoiled men, the news does not go over well.

Is Will a tad too silly for you? Is your sense of humor more of a sharp sword than a blunt hammer? Than surely you can appreciate the next double feature by legendary film director Woody Allen. I know some people have taken issue with the celebrity, but regardless what you think of the guy... it's never a bad thing to take in some of Allen's brand of humor. If all you know of Woody Allen is Annie Hall or this year's Midnight in Paris, this wouldn't be a bad place to start.

Bananas is a crazy story about Fielding Mellish (Allen), a neurotic average Joe who gets embroiled in a comic series of events to become the leader of a small Latin American country. Sure it sounds nutty, and when the plot involves Allen becoming the leader of a banana republic, you have to expect a bit of the Marx influence. No, I don't mean Karl. I'm thinking more of Groucho, Harpo, and Chico. Yep, it's that level of zaniness.

Love and Death is Allen's spin on Tolstoy and Dostoyevsky. Full of literary references and foreign film allusions, Allen also peppers the film with a self-aware attitude that is funny but never pretentious. In fact, although a historical comedy, Allen uses a clever awareness of anachronisms to make it a classic movie of absurdity.

Progressing from these early Woody Allen films of the 1970s, The Paramount shifts into the following decades with a double feature of modern classics. One is a genuine mega-hit blockbuster and the other is a cult classic.

In the comedic world, the undisputed champ of the 1980s was Eddie Murphy. His leap from standup to Saturday Night Live was but a precursor to a dominance at the theatrical box office. Ask around, and you may get differing views on which Murphy movie is a personal favorite, but from a purely financial point-of-view, none was bigger than Beverly Hills Cop. Although originally envisioned as a vehicle for Sylvester Stallone (?!?), it's hard to imagine anyone else in the role of Axel Foley, a Detroit cop who ventures to Beverly Hills to solve a friend's murder. Part action movie, part comedy, part fish-out-of-water story, it most importantly acts as a showcase for the charm of Eddie Murphy.

Fan fact about Beverly Hills Cop: It remained the highest grossest R-rated comedy of all time for 25 years. Years later, it still stands as a comedy classic. I don't mind if you forget about the sequels. In fact, I pretend the third one doesn't exist at all. Oh, and in case you were wondering, the movie that unseated this as the number one R-rated comedy was The Hangover in 2009. Coincidently, that also has a sequel I pretend doesn't exist.

Now from a box office giant to a movie that took time to find it's audience...

Office Space made a very minor splash when it was originally released in theaters in 1999. I guess more people were interested in seeing Austin Powers: The Spy Who Shagged Me, and that's a shame. Fortunately, as more people discovered it on home video, it become a cult classic. The depictions of frustrations in a work environment are pitch perfect, and it's satirical views has the light touch of genius that can only be found in creator Mike Judge ("Beavis and Butthead," "King of the Hill," Idiocracy). You know, they say you laugh at comedy either because it's funny or because it's true. Alas, if you've ever had an office job... this is one of those situations where both apply.

The trailer looks silly, but don't jump to conclusions... it's gold. I've never looked at fax machines the same ever since. Not to mention, I've also developed an affinity for red Swingline staplers.

The Winter Comedy Film Series winds down with a look at one of the true masters of the genre. Richard Pryor was a trailblazer in the realm of standup comedy, and is revered by nearly every comedian working today. Pryor often had a profane tone, but possessed a vulnerability that is unmatched to this day. There was often a palpable sense of sadness in his performances, and he often danced on the line of comedy and drama.

The double feature is of his standup film Live at the Sunset Strip, often considered the finest standup comedy film ever made. The second is a more personal story, and the only film Pryor directed himself. Jo Jo Dancer: Your Life is Calling is a semi-autobiographical tale about a comedian who has overcome long odds to experience success... as well as self-destruction.

Take in the double feature and see why so many hold Richard Pryor in such high esteem. Heck, when a man's this good, I can forgive him for the likes of Superman III.

Man, is it going to be a good week. It's just what the doctor ordered for those who are (like yours truly) suffering through this first month of the year. Heck, I may go buy a calendar earlier this year just so I can circle the dates. Then I can look at the red circled dates and bring to mind two things that can lift us from being down in the dump: Comedies and The Paramount Theatre? YAY!!

Showtimes for the films:

Anchorman: The Legend of Ron Burgandy
Sunday, Jan 22nd
2:00
6:00
Monday, Jan 23rd
9:10

Step Brothers
Sunday, Jan 22nd
4:00
Monday, Jan 23rd
7:00

Bananas
Tuesday, Jan 24th
7:00
Wednesday, Jan 25th
8:55

Love and Death
Tuesday, Jan 24th

8:55
Wednesday, Jan 25th
7:00

Office Space
Thursday, Jan 26th
7:00

Beverly Hills Cop
Thursday, Jan 26th
9:00
Sunday, Jan 29th

2:00

Richard Pryor: Live at the Sunset Strip
Friday, Jan 27th
7:00
Sunday, Jan 28th
6:05

Jo Jo Dancer: Your Life Is Calling
Friday, Jan 27th
8:55
Sunday, Jan 28th
4:05

Bastrop Fire Relief Screening of BERNIE

2011-09-14T19:12:00.001-07:00

If you live in the Texas, I need not remind you that the past few weeks have yielded a literal inferno of emotions.

For those of you who aren't local and may not be aware, wildfires ravaged Central Texas the past couple of weeks, some of which are still ablaze days later. Firefighters were stretched to the limits as fires rapidly spread across the area, and thousands of people have been displaced. Ongoing coverage of the events can be found here.

Suffering the worst of the damage was the community of Bastrop, Texas. The wildfires have devastated the town, consuming over 1500 homes. It's been a terrible ordeal for everyone in the area, and everyone seems to know at least one person who was directly effected. It's a true natural diaster, and the sheer magnitude of the fire can be glimpsed in this terrifying photo.

While our courageous firefighters diligently continue to battle the blaze, efforts are underway to help relieve those displaced by the wildfire. The whole community is doing all they can with donations and fundraisers, and now one of Austin's favorite cinematic sons is doing his part as well.

Director Richard Linklater is an Austin icon who personifies independent film in a way few film makers can. His films all have a distinct charm, and are a departure from the normal Hollywood products that flood the multiplexes. Best known for Slacker, Dazed & Confused and Before Sunrise, he also created two unique (and somewhat trippy) animated features in Waking Life and A Scanner Darkly.

Linklater likes to keep things local when it comes to his brand of cinema, and for his newest project, Bernie, he filmed it predominately in the greater Austin area: Georgetown, Austin, Lockhart and Bastrop. Although the film itself is not yet scheduled for release, Linklater is taking the opportunity to give back and screen an advance sneak preview to help benefit the town hit so hard by the destruction.

As for the film itself being screened...

Bernie sounds like fun in a morbid sort of way, yet thankfully does not involve these guys:

No Andrew McCarthy, Jonathan Silverman or Terry Kiser, thank you very much.

So what is Bernie, anyway?

Based on a true story, it's a comedic take on a small town mortician (Jack Black) who befriends a rich widow (Shirley MacLaine). After he kills her for the money, he goes through great lengths to indicate that she's alive. No one is the wiser, that is, until a local district attorney (Matthew McConaughey) begins to investigate.

It's kind of a Linklater all-star matchup, as McConaughey and Black both have had some of their more memorable (and quotable) roles in Richard's films. Matthew was at his hazy best in Dazed and Confused, while Jack Black's performance in School of Rock, well... rocks.

So the thought of these two in a bizarre game of cat and mouse has a weird appeal that I feel has to be seen to be believed.

The laughs will be welcomed during these final hot throes of summer, and most importantly the screening is for a number of great causes. 100% of the proceeds will benefit the following organizations: Friends of the Lost Pines State Parks, Bastrop County Emergency Food Pantry, and the Heart of the Pines Volunteer Fire Department.

The gesture to Bastrop is more of that Texas spirit to help one another, and Linklater himself explains:
"Since the film has been finished for a few months and isn't coming out until next year, we had scheduled a cast and crew screening for the 18th of September. After the catastrophic fires of the last week, we quickly jumped on the idea of opening it up to the public as an opportunity for Austinites and members of our artistic community to help our neighbors in Bastrop that have been so devastated. It seems like an appropriate movie for the cause - not only was it filmed largely in the Bastrop area, but it's a PG-13 comedy about small town Texas life. It's the least we can do for this wonderful community that opened its doors to us during production. It feels great that because of the generosity of the Paramount Theater, 100% of all ticket sales and donations with pass through to these important local non-profits that are doing so much to restore and maintain their community."

Oh, and one last thing. Linklater and Jack Black themselves will be in attendance. It promises to be a fun event for a great cause. A little laughter can go a long way, and what better way to help your neighbor than this screening for their benefit?

Now this, my friends, is a Bernie I could spend a weekend with.

Showtime for the Benefit Screening:

Bernie
Sunday, Sept 18th
4:00

Sponsorship packages are available through the Austin Film Society that include 6 tickets and a pre-show reception with the cast and crew.

Preview: The Grand Finale

2011-08-28T19:07:00.000-07:00

And so we've come to the end of the road.

Boyz II Men allusions aside, it's a happy and somber moment for fans of the Summer Classic Film Series. Sad because it this film marks the finale of another summer of classic film. Yet, it is a cause of celebration because it sees the return of Gone with The Wind. Arguably the most famous movie of all time, this gloriously epic motion picture returns to The Paramount to end the summer with a bang (and Atlanta ablaze).

Do I really need to describe this film? Even if you've never seen it, you know what it's about. The story of Scarlett O'Hara (Vivien Leigh) and her journey before and after The Civil War. Her loves, her home, her life and her pride take hits over the period, and monumental decisions present cascade upon her.

Adjusting for inflation, Gone with The Wind remains still the highest grossest film of all time. And to think, it accomplished this without Celine Dion soundtracks or wookiees. Or most importantly, without 3-D gimmicks to hike the ticket price. Yeah. Suck it, Avatar.

As long time readers may know, this film is my white whale. It remains the biggest title on my personal list of "classic movies I've should have seen already." Last year's attempt to see it was a tragic comedy of errors. This year, nothing shy of flash floods will keep me from the theatre to see it. And judging by the temperatures this summer, that isn't bloddy likely.

So here ya go, folks. Another season of classic films is almost in the can. Some 80 films have been screened this summer. No matter how many you made it to, I'm sure it was a whole new experience seeing these long-time favorites on the big screen. But no ne to cry, in nine short months we get to do it again.

Or maybe even sooner, depending on what surprises The Paramount Theatre might have in store for us throughout the next several months...

Whatever lies in store, you can bet I'll be there and covering it whenever I can. Why? Because when it comes to The Paramount... frankly my dear, I do give a damn.

Showtimes for the film:

Gone with The Wind
Saturday, Sept 3rd
6:30

Sunday, Sept 4th
2:00 7:00

Final Note about the screening

Parking:
"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."

Review: Day of The Bat

2011-08-28T14:19:00.001-07:00

It was a scorcher that Saturday afternoon, but not even the triple-digit heat could keep the Bat Fans away. The masses huddled to The Paramount Theatre to celebrate Austin's Day of The Bat, and to view the camp classic Batman (1966).

But while the fans were eager to get inside the theatre and cool off, there was one irresistible draw outside in the blazing sun. A diabolical plan to make us oooh and aaaah, and melt, perhaps? Behold, it was The Batmobile! Everyone was crowded around it, and I mean everyone. There it was, parked in the middle of Congress Avenue, which had been blocked off between 7th and 8th Street. Why the barricade, you ask? Alas, The Bat-Copter was actually due to make an appearance that day, but had to cancel due to Hurricane Irene. Bah! Curse that storm!

Before long, my inner thermometer told me to get indoors. As I entered the building and my eyes adjusted to the absence of sunlight, I found people were excitedly milling about and glancing at the booths, tables, and refreshment bars. There was merchandise galore inside the lobby. Comic book vendors were there offering toys, models, t-shirts, and comics. At a table of Paramount swag, I saw a limited edition poster print made for the day's screening, and it was beautiful. Oh, and how about this for a purrrfect touch? A costumed Batman was making the rounds and posing for photos. Even the bar was getting in on the action by offering a special drink, a "bat-tini." Holy cocktail buzz, it was tasty!

Upstairs was a private event where Gold and Platinum Film Fans had a personal meet-and-greet with the original caped crusader, Mr. Adam West himself. Last year, I got so caught up in the festivities that I missed my chance to meet West. Well, riddle me this! Who wasn't going to miss meeting Batman again this year? That's right. Yours truly.

I made my way up the stairs with a mix of excitement and heat exhaustion. Was I delirious? Was I really about to meet Gotham's hero? As I got in line, I was transported back to memories of taking pictures of Santa Claus as a child. Good Lord, don't let Adam jokingly ask me what I want for Christmas; I'd probably crack up into maniacal giggles like The Joker. I felt crazy from the heat already, the last thing I need is an episode that will get me a one-way ticket to the nut house (or Arkham Asylum).

Finally I calmed down and approached Adam West, cool as a cucumber. We greeted, talked for a moment, and then posed for Annie Ray to take our picture. At the last second, I photobombed my own picture and flashed my best batusi at the camera. Although needlessly silly, we all had a chuckle at that.

"Oh, nice one," West told me as I shook hands goodbye and made way for someone else. Although he's likely been subjected to that pose a billion times before, it was still nice of him to say that to me.

Making my way into the auditorium, I relaxed as showtime approached. The buzz in the auditorium, however, was feverish. By the time our hosts came out on stage, the crowd was ready to explode. Film programmer Jesse Trussell came out first to thank everyone for the turnout, and when he introduced Adam West the audience went bat**** crazy for the pop culture icon. West quipped and played the masses like a seasoned veteran. Charming, self-effacing, and endlessly funny, he shared stories and then fielded questions from the auditorium.

Some of the questions inquired about his thoughts on the recent Christopher Nolan movies (oh, and he confirmed that he is NOT going to cameo in nest year's The Dark Knight Rises). He expressed great admiration for those "expensive films," but reiterated that his take on the Caped Crusader was from a much different time. In contrast to the current Dark Knight, Adam finished by proclaiming himself as Gotham's Bright Knight.

And with that, he exited the stage, the light dimmed, and everyone got to partake in some 1960s campy goodness. That afternoon, all of us were children again. It was too warm for Santa Claus to show up, but we still had something to cherish. That afternoon, we all believed... in Batman.

Even if we didn't get a visit from Mr. Freeze that day, it was still one Bat-tastic time.

Preview: The Texas Epic

2011-08-25T11:22:00.000-07:00

Texas. It's one of the few states that immediately conjures an instant vision. Off hand, the only others that come to mind are New York with its metropolitan landscape and California with it's laid back lifestyle. Alas, thanks to the portrayals of the past, Texas' image is still of ten-gallon hats and cattle herds. They say everything's bigger in the Lone Star state, and I guess that also applies to generalizations about us. To this day, it amuses me when I travel out of state and people ask if we all live on ranches and all wear cowboy hats. I can't vouch for you, but surely don't.

Alas, film portrayals don't help the cause. And although Giant is likely a seminal movie that others use to profile Texas, it's still a truly great film. All in all, I shouldn't really complain. If given a choice between stereotypes, I'd much rather take a moment to counter a portrayal of our citizens as oil ranchers than as a clan of chainsaw wielding killers.

Last year, after years of resistance, I saw Giant for the first time during last summer's Classic Film Series. It was an eye-opening experience, to be sure (one can read about it here). I watched it again earlier this summer during a road trip to Marfa, TX. There we watched the movie at the Hotel Paisano, where cast and crew stayed when the film was being made. Inside, there was a veritable shrine to Giant, and it was amazing to look upon the abundance of props and memorabilia.

That evening, the movie was shown outdoors on a large inflatable screen under a moonless sky. While it was beautiful to behold under the stars and literally in the shadow of the historic hotel, the experience just didn't hold a candle to my first experience at The Paramount. Maybe it was the wind bellowing the screen, maybe it was the passing trains or murmuring crowds during the film. Either way, I knew to appreciate it best I would have to return home.

And so Giant returns again this summer to The Paramount, and I couldn't be happier.

Released in 1956, Giant was directed by George Stevens and stars Rock Hudson, Elizabeth Taylor and James Dean. A multi-generational tale about a cattleman (Hudson) and his East Coast bride's (Taylor) rivalry against a local ranch hand (Dean) and against society itself, the film is an epic on a Texas-sized scale.

On the surface, Giant has no reason to be this good. Based on a best-selling novel by Edna Ferber, it easily could've been translated into a melodramatic soap opera of sorts. In fact, while watching this movie one can clearly see situations that were to be echoed in the overwrought TV series, "Dallas" that was to come two decades later.

What helps this film transcend is the awe-inspiring scope that Stevens took to the material. Although undeniably Texan, it is at its heart an American story, a look at a family and the shifting of social and personal beliefs through the generations.

I can't say enough about the performance here, either. Rock Hudson is great as Bick Benedict, the patriarch and central figure of the story. James Dean is Jett Rink, a rags to riches to decay character who steals nearly every scene he appears in. Tragically, Dean died in a car accident just one week after filming concluded. His role in Giant remains an example of Dean at his finest, and sadly hints at the incredible career he could have had. However, perhaps the most stellar performance belongs to the late Elizabeth Taylor in the movie. As Leslie, Benedict's wife, she represents the heart of the story. Smart, compassionate and strong, Taylor is sublime with an understated power that reaches across generations. She's the catalyst for change, and is tough enough to survive Texas customs and then dig in her own spurs to break a historically conservative culture.

I continue about the majestic excellence of Giant, but after one viewing you would likely be inclined to agree. The superlatives can rattle on and on and on to fill Texas itself. Even in a summer of amazing film classics, it stands tall among like an oil derrick on the landscape. Appropriately, it's cinematic gold. Or should I say... "black gold. Texas tea."

Showtimes for the film:

Giant
Thursday, Sept 1st
7:30

The Sept 1st screening is also the 2011 Summer Classic FIlm Series CLOSING PARTY.
Film Fans receive FREE admission, drinks, popcorn & a special gift!

Friday, Set 2nd

7:30

Saturday, Sept 3rd

2:00

Final Note about the screening

Preview: Lemmon and Wilder

2011-08-24T22:13:00.000-07:00

"I'm terribly fond of Jack. We understand each other very well and it's a pleasure to work with him. He is a thinking actor, but not an argumentative one. By that way I mean if we start shooting at nine o'clock, he would be there at 8:15 and would come to my office and say, "Hey, I've got a great idea! Look, why don't we do this? Blah, blah, blah, blah." And I just look at him, and he says, 'I don't like it either.' And he walks out."

-Billy Wilder on Jack Lemmon

We are in the home stretch, folks. Summer is coming to a close, school has started again and temperatures are dropping back down to a mere 100 degrees or so. Okay, so the heat hasn't really abated yet, but that's okay. The Summer Series is now in its last week, and they're not letting up either. And what better way to refresh oneself during these tepid days than something light. How about some high caliber comedies, courtesy of the great Billy Wilder and each with a twist of Lemmon. Jack Lemmon, that is.

Over his career, Bily Wilder had a diverse career from charming comedies (Sabrina) to darker fare (Sunset Boulevard) to dramas (Double Indemnity, The Lost Weekend, Stalag 17). Yet, Wilder's bread and butter was that signature charm of his witty comedies, and Jack Lemmon was a frequent collaborator.

Some Like It Hot was the first film that they worked on together, and fifty years later it is widely considered one of the best comedies of all time. Jack and Tony Curtis are two guys on the run from the Mob, and travel disguised as women. Things get interesting when the fellas travel with a female band and become enamored with the vocalist in the process. Oh, did I mention she's played by Marilyn Monroe? So categorize that infatuation under "duh."

While I recognize that some do like it hot, we've been suffering through over 70 days of 100 degree temperature this summer. Insult my manhood if you want, but some of us like it air-conditioned.

From an awards standpoint, The Apartment stands as Bill Wilder's most lauded film. The winner of Best Picture of 1960, it stars Jack Lemmon along with Shirley MacLaine and Fred MacMurray. Lemmon plays C.C. Baxter, an insurance agent who is another faceless drone at his company. But he possesses a key to success that is questionable ethically and morally. He lends out his apartment to executives to take their mistresses for their liaisons. Wait a second. 1960? New York City? Affairs at big corporate businesses? Don Draper would be so proud.

Alas, Baxter finds that this method of climbing the corporate ladder is not without its own dangers.

The film is a showcase for both director and star. Wilder flaunts his brand of dark humor, and Lemmon embodies that role of an everyman that he often does to perfection.

During his career, Billy Wilder earned over 20 Academy Award nominations, with eight of those nods for Best Director. Although Jack Lemmon never won Oscars for these collaborations with Wilder, he went on to become the first man to win both a Supporting Actor Award (Mister Roberts in 1956) and Best Actor Award (Save The Tiger in 1973) in the course of a career.

Thinking back, it's hard to believe both of these men have been gone for nearly ten years now. Lemmon passed in 2001 and Wilder in 2002. Then again, the term "gone" is hardly accurate. The sense of joy that they left behind on film is eternal, and feels fresh no matter how many times you revisit these movies. It's a rare gift that we are able to laugh at ourselves in the bleak times. And that, dear friends, is what Billy Wilder and Jack Lemmon have left for us: the ability to smile in the face of adversity, and then laugh heartily at the circumstances of life itself.

Since I am likely to laugh so hard in an air-conditioned theater that I still get flushed and feel warm tears streaming out of my eyes, then I have to admit I was wrong. In that regard, I guess I do like it hot, after all.

Showtimes for the films:

Some Like It Hot
Monday, Aug 29th
9:30
Tuesday, Aug 30th
7:00

The Apartment
Monday, Aug 29th
7:00
Sunday, Aug 30th
9:45

Final Notes about the screening:

Some Like It Hot (Some Don't) Fan Drive Benefitting Family Eldercare

"Some Like It Hot” but some don’t, especially in their “Apartment” or homes. With Central TX’s unrelenting 100+ degree days this summer, the challenge to relieve low-income seniors, adults with disabilities and families with children from life-threatening heat is especially critical. That’s why the Paramount is hosting a fan drive benefitting Family Eldercare in conjunction with their summer film series screenings of Some Like It Hot & The Apartment. Drop off a new fan to the Paramount theatre the day of these screenings and receive a free film pass.*

*One film pass per donation, may be used for screenings at the time of donation or for any other regularly scheduled Paramount film accepting film passes through printed expiration date on film pass.

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!)

Parking:
"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."

Preview: Night of the Bat with Adam West!

2011-08-21T20:10:00.000-07:00

Holy encore, Batman!

Last summer, The Paramount Theatre played a big part in the City of Austin's Night of The Bat celebration. There was a screening of Batman, based on the iconic (if incredibly campy) 1960s television series. It was a treat to see such cheese on the big screen, but the real treat was an appearance by Batman himself: Mr. Adam West. The Q & A was a delight, and it was great to hear personal anecdotes from Gotham's "Light Knight."

Well, get ready. This weekend the batarang comes through Austin yet again. The Night of the Bat is celebrated with another screening of the 1966 classic Batman, once again with Adam West in attendance.

I must confess that I am a big Batman fan. Although I've never been a comic book guy, I did read some of the key graphic novels during my formative years. Then, of course, I was swallowed by the 1989 Bat-hype (like the rest of America). Around that time, I also rediscovered the '60s television series in syndication. And no matter how silly one may think the campy old TV show is, you can't deny the charm that exudes from Adam West's portrayals of Batman and Bruce Wayne. He still ranks high when compared to his more serious counterparts over the decades.

I mean, seriously? Val Kilmer?? Who thought that was a good idea?

POW!

I know we're now very familiar with a more serious tone of the Caped Crusader, so one may wonder: what's the 1966 Batman movie like in comparison? Well... it isn't The Dark Knight. It's basically an extended episode of the television show, with slightly bigger sets and more expensive production values. The dynamic duo of Batman (West) and Robin (Burt Ward) get to show off some new wonderful toys, including a sleek Bat-Boat and bubble-like Bat-Copter. And they'll need it against a rogue's gallery of villains that band together like a Pro Bowl team. Well, now that I think about it, I'm thinking Gotham City's not in too much danger with this motley crew of ~~clowns~~ villains.

That's Cesar Romero as The Joker, Burgess Meredith as The Penguin, Frank Gorshin as The Riddler, and Lee Meriwether as Catwoman (meee-ow!). Together they're not playing for keeps or to hurt anyone (also like a Pro Bowl team). Yet that doesn't stop them from chomping on the scenery. There's no menace like Bane to break Batman's back, but you might crack a rib laughing at how ridiculous the action is. Heck, Batman even battles a shark in this movie. You read that, right. A shark. Yeah, I know. Just go with it, roll with the punches, and you'll be fine.

Oh, but don't take my word for it. Below is the original trailer of the film, and like the costumed hosts of a karaoke night, Batman and Robin talk you through the preview of their big screen adventure.

BAM!

Be sure and save some laughs for the Q&A, because Adam West's stories and wit are sure to keep you entertained. Even at age 82, he still knows how to play to an audience.

Hey, and there's a bonus also if you happen to be a Platinum or Gold Film Fan member. There will be an Adam West Photo Booth by Annie Ray. There, you can have your photo professionally taken with Adam West himself. Bu leave all your Bat gear and comic books at home, folks... no autographs are allowed.

All in all, Saturday is shaping up to be a bat-tastic time. Silly fun, Adam West, and a uniquely Austin celebration. What more can you ask for? If that doesn't sound like a good time, I simply must ask... why so serious?

Showtimes for the film:

Batman (1966)
Saturday, Aug 27th
1:00

Final Notes about the screening

Adam West Photo Booth by Annie Ray:

For Gold and Platinum Film Fans Only. Have your photograph taken professionally at our Annie Ray photo booth with Adam West himself. No autographs allowed. All Film Fans receive access to preferred seating section and a complimentary specialty drink. DOORS OPEN AT 12 PM.

Preview: 70mm Week

2011-08-21T18:44:00.000-07:00

It's the most wonderful time of the yeeeear...
No, not Christmas. To me, this is even better.

Movie palaces like The Paramount beat the pants off any generic multiplex for seeing movies. Over the past year, I've seen classic films, sneak previews, exhibitions, film festival entries, and even traveling cinema shows there. Trust me, it's always treat to see things in 35mm up on the historic screen. It's a top notch experience.

However...

Sometimes, even the elite have special presentations. And this week, the films shown are presented in 70mm format. It's a larger film format from the past and is a bit of a rarity among films. Possessing a larger size and increased resolution, you could call it a "high-def" format before terms like "HD" became marketing buzz words. So what does it mean? It means that these films, filmed fo a larger format to reflect their epic scale, will look absolutely incredible up on the big screen.

This selection of mind-blowing beautiful presentations include:

I enjoyed Vertigo immensely last year when I saw it last summer in its full glory. Alas, I now feel somewhat spoiled by the screening. When I tried to se it again at home on my bedroom TV earlier this year, I nearly wept at how inadequate the presentation was that time. Now is the time to take advantage of the 70mm format, and see Hitchcock's tale of obsession and mystery as it was meant to be seen.

I realize that many of you my not be familiar with Baraka, but it is a remarkably gorgeous example of filmmaking. Like a Louis Armstrong song, it shows us what a wonderful world this is. It's a free-form documentary with no narrative to speak of, but is a series of moving images about our planet and the things that inhabit it. The film is widely regarded as a must see experience on the big screen, and in 70mm I imagine it can show us that a world that exists beyond anything words could possibly express.

Long shots of red-faced monkeys aside, this is another screening I'm losing sleep over. No worries regarding insomnia, though. I also can't wait to see what dreams may come from watching this beautiful view at our planet.

People have called Stanley Kubrick's 2001: A Space Odyssey many things, but few would use the term "accessible." It's ambiguity is actually one of its greatest assets, in my opinion, but I've heard so my call it difficult or dull. Now, it may be described several ways, but "boring" is a word that should never be applied to this masterpiece about a space mission gone bad (and a computer gone mad). Above all else, the film should be described as "impressive." It's bold in ambition, and the visuals are so breathtaking that it still stands as a convincing example of special effects over 40 years later. This is one I'm dying to see in its original 70mm scope, so that it the images can stand like a monolith before me.

Finally, we have Lawrence of Arabia. David Lean's masterpiece about T.E. Lawrence and his complicated adventures in the desert during wartime. I also saw this last year in 70mm, and it was nearly a religious experience. Everything felt so vibrant and alive, and even the desert itself was like another player in the story. It's another film that I simply can't wait to drink up once again.

I'm giddy at the thought of seeing this quartet over the next week. The films, the scale and the venue will combine to create an experience I won't soon forget. Throughout the week, I'll be perched up in the mezzanine taking in the majestic scope of the 70mm features with mouth agape in amazement. In fact, I'm very likely to look just like Dave Bowman from 2001 when he sees the cosmos: awe-struck and speechless. I'm ready to have my mind blown.

Showtimes for the films:

Vertigo
Monday, Aug 22nd

7:30

Tuesday, Aug 23th
7:30

Baraka
Wednesday, Aug 24th
7:00
Thursday, Aug 25th
9:55

2001: A Space Odyssey
Wednesday, Aug 24th
9:10

Thursday, Aug 25th

7:00

Lawrence of Arabia
Friday, Aug 26th
7:00
Saturday, Aug 27th
7:30

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!)

Parking:
"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."

Preview: Leaders of the New Wave, Godard & Truffaut

2011-08-18T01:54:00.000-07:00

Alas, the run of World Cinema Classics this summer come to an end this weekend, but the screenings conclude with a showcase of cinema royalty. During the 1960s the French New Wave began to reinvent film's attitudes and structures. Directors like Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Demy and Éric Rohmer were major filmmakers in this cinematic revolution, and their impact on cinema was no less distinctive than the Beatles were on the world of music. Of these players, Godard and Truffaut are usually considered the leaders of the New Wave, and in effect were the Lennon and McCartney of French film.

François Truffaut made a distinct splash with his early films The 400 Blows and Jules and Jim, each reinforcing a joy of life through film. But after setting the world on fire with those movies, Truffaut took a darker turn away from the joie de vivre with The Soft Skin. In this film, a well-to-do middle aged lecturer has an established life complete with solid career and family. He meets a young woman after one of his speeches and begins an affair. In a combination of shame and unbridled passion, his emotions overtake his better judgment and begins making choices that have dire consequences.

When Jean-Luc Godard made Breathless in 1960, he planted the flag of French New Wave cinema that threw old cinematic conventions right out the door. His filmography is vast and acclaimed. Over the decades his works have aged like a fine French wine, and he is widely accepted as one of the finest directors in the world.

Vivre se Vie ("My Life to Live") was released in 1962, just as Godard was reaching his stride as a filmmaker. It is a film divided into 12 "chapters" that chronicle a young woman's descent from housewife into prostitution. Godard uses techniques of cinéma vérité to document her story, but infuses more striking cinematography to give the movie a distinct look and emotion. Within her story, the director also comments on philosophy, consumerism, and the pop culture of the period. Although not as well-known as his other work, it nevertheless remains a quintessential example of Godard.

These leaders of the New Wave has provided riches that are still appreciated to this day. Just as The Beatles were influenced by the likes of Carl Perkins, Buddy Holly, Little Richard and Elvis Presley, these French directors were strongly inspired both by Americana and the Hollywood. Godard, Truffaut and their French contemporaries were inspired by American film makers such as Nicholas Ray, Orson Welles, John Ford and even Britain's Alfred Hitchcock. Ironically, their appreciation for the culture of the past helped fuel the evolution of cinema's future. And so from their roots, the French New Wave has paved the road to modern movie making. Like a game of tennis, the creativity has bounced from our court to theirs to ours once again. Generations to come will continue to be inspired, and their fresh ideas will no doubt spark many artists to come. Such is life, such is art. C'est le vie.

Showtimes for the films:

The Soft Skin
Saturday, Aug 18th
4:30 8:45
Sunday, Aug 19th
4:00

Vivre sa Vie
Saturday, Aug 18th
6:50
Sunday, Aug 19th
2:00 6:20

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Preview: A Forgotten Master, Masahiro Shinoda

2011-08-13T23:28:00.002-07:00

"(some preceding gibberish)

Like Kurosawa I make mad films
Okay, I don't make films
But if I did they'd have a Samurai

(more gibberish)"

-Lyrics from "One Week"

A.K.A. that one Barenaked Ladies song from the late 1990s

When it comes to the history of film, we've all heard of the French New Wave, and this week were introduced to the Czech New Wave courtesy of Milos Forman. But did you know there was a Japanese New Wave in the 1960s as well? It's only natural. Japan has a prolific film industry, and is one of the top producing cinematic nations in the world.

Japanese cinema has had it's share of masters over the decades, and so it irks me when people think movies from Japan are either: bizarre horror, samurai movies, or Godzilla creature features. In a cinematic culture that is as deep and diverse as any other, it's to my chagrin that most people when asked to name a Japanese director (at best) come up with... Akira Kurosawa.

While I agree that Kurosawa is a master of film (of all-time for any nation), it's nonsense to reduce the history of a country's film culture down to one name. That's like someone proclaiming Spielberg is the only American director. Uh, hello? What about Scorsese, Allen, Kubrick, Welles, Coppola, Ford, Huston, or Fleming?

A director of prime importance in the Japanese New Wave was Masahiro Shinoda. Often overlooked except by the most discerning film buff, his films often focused on those on the fringe of society. Shinoda came from a theatre background in his youth, and therefore had a flair for the dramatic and a knack for the theatrics of storytelling. This week The Paramount shines a light on this often unrecognized name of Japanese cinema.

Pale Flower tells the story of Muraki, a hard-boiled Yukuza gangster just released from prison. The ex-con revisits some of his old stomping grounds, and notices that time indeed has changed all he knew. In the the shadows of this world, he happens upon the young and nubile Saeko. She's like a flower amongst the weeds of his underworld culture, but the relationship that blossoms between the two escalates in dangerous new ways. For them, too much is not enough. A film of incredible style, stark cinematography and smash edits, Pale Flower follows Muraki down into the depths where gambling comes with rapidly raising stakes. Facing long odds, it seems this yukuza has gone all in for the largest gamble of all... the one for his soul.

Released in 1964, this film cemented Shinoda as an important voice in the new cinematic movement. Sure, crime stories had been done before (and since), but rarely with such technique. Think of this movie as a tighter and classier Carlito's Way.

Although the second example of his work is equally dark in tone, it is a far cry from gritty crime stories. In fact, this one is set in 18th century Japan, where tradition always trumps desire.

Double Suicide, you may be disappointed to know, is not an alternate title to Romeo and Juliet (sorry for the spoiler) but another film of Masahiro's screening this week. It is an adaptation of a classic Banraku, a type of theatrical puppet play. Infused with Shinoda's natural sense for the stage, the film shines as a unique tale of two doomed lovers.

A paper merchant becomes obsessed with a prostitute, and yields both his fortune and family in pursuit of this unattainable woman. Needless to say, society frowns on this. Soon, she grows equally enamored with him, and the duo's lives begin to orbit one another like objects going down a drain. Faced with pressures and desires too overwhelming to endure, the couple arrive at the conclusion that there is only one way out.

It's a classic tale with a modernist slant, not unlike Powell and Pressburger's The Red Shoes. Rarely has the blending of stage and film come so alive as it does in Double Suicide.

Among the deep riches of Japanese cinema, the title of crown jewel will likely always remain with Kurosawa. Yet buried like a rare pearl, Masahiro Shinoda's films still luster nearly fifty years later. An overlooked ambassador from a prominent nation's culture, Shinoda's films are true works of art whose gallery has been neglected for far too long. This week, do yourself a favor and view both movies. These haunting and moving films from Japan's forgotten master will stay with you longer than any annoying Barenaked Ladies song lyric could ever hope to.

Showtimes for the films:

Pale Flower
Thursday, Aug 18th
7:00
Friday, Aug 19th
9:10

Double Suicide
Thursday, Aug 18th
9:o0
Friday, Aug 19th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

$2 from each ticket benefits the Japan Red Cross Relief Fund

Preview: Passion and Love

2011-08-13T23:28:00.001-07:00

World cinema classics continue with tales of love, but not romance in the classic sense. Don't expect anything mushy or lovey-dovey here. These darker tales of love are unconventional to say the least, and for some may well be heart-wrenching. Desire can take many forms, and the things we do for love reveal much about who we are. Not as citizens of any particular nation, mind you, but as human beings.

In 1962, at the time of its release, Mamma Roma was highly controversial. It is the story of an ex-prostitute (the title character, played by Anna Magnani) who has retired to run a fruit stand. Now able to provide a better life, she brings back her son to live with her. Despite her best efforts, she finds raising an upstanding young man is no easy task, particular when the red-light districts can cast long shadows from the past.

Oddly, the film suffered backlash over its foul language rather than the obvious sexual overtones. Directed by Pier Paolo Pasolini, the film reflects a dark, if poetic, view of the things we do for love. The cinematography in Mamma Roma at times hint at how alone we all can be, no matter how hard we try. It reflects also a grim view of humanity as a whole, depicting post-WWII Italy as a place populated by pimps, whores and other criminals. An indictment of the Mussolini era, Pasolini was attacked by Fascist protesters at the film's premiere. These reactions contributed to his bleak outlook in his poetry and cinema, culminating in 1975's infamous film, Salò. In his career, Pasolini illustrated sad realities where he hoped passion and love could overcome the horrors of mankind.

Over the past few decades, Miloš Forman has directed several acclaimed Hollywood films: One Flew Over the Cuckoo's Nest, Amadeus, The People vs. Larry Flynt and others. But before he came stateside, Forman was at the forefront on the Czechoslovak New Wave of the 1960s. A pioneer of Czech cinema that countered the oppressive Post-WWII Communist society of his country, Forman's films featured dark humor and a balance of optimism versus disappointment. They usually feature outsiders, characters fighting against the system that suppresses any counter-culture expression.

Loves of a Blonde was one of Miloš Forman's early films, yet still features nearly all of these trademarks. Released in 1966, it is the story of Andula (Hana Brejchová), a young woman in a blue-collar Czech town. When the local factory manager bargains to bring in male Army reservists to balance a disproportionate female population, Andula finds herself spurning the advances of the imported suitors. Eventually, she finds herself drawn to a young musician and subsequently drawn into discussions from others about her questionable virtues. She finds that the misadventures in love can often lead down paths with no map, and Forman paints her world as one where sexuality is depicted as an antidote for totalitarianism. Alas, it remains one that can still reveal disillusion once the paint dries.

Nominated for Best Foreign Language film, Loves of a Blonde turned a spotlight on Czech cinema and also jumpstarted Forman's career.

Exposure to other cultures is always a fine way to prevent an ethnocentric view of one's world. Foreign classics like these help open on eyes to both universal plights of the human condition, but also to situations we have the luxury of rarely encountering here in the U.S. Hardships appear everyday, regardless of if spawned by love, hate, emotions or apathy. Most often, it's our passions that drive us to action, and there lies the cautionary tale. Passion can hold the key to our very hearts, but also to Pandora's box.

Showtimes for the films:

Mamma Roma
Tuesday, Aug 16th
7:00
Wednesday, Aug 17th
8:55

Loves of A Blonde
Tuesday, Aug 16th
9:10
Wednesday, Aug 17th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Preview: Silent Movie with Live Score!

2011-08-09T13:47:00.001-07:00

Has the run of world cinema classics the past week whet your appetite for more? Then have I got something for you. As Corleone said, it's an offer you can't refuse. You see, last year my favorite screening from the Paramount Summer Series was of the silent Best Picture classic Wings with an original live score. The movie was incredible, and the live score was amazing. It was an electric night, and one that will stay with me the rest of my days. Well guess what, friends? Lightning is about to strike twice.

This year, The Paramount presents a rarity, a true world cinema classic from Mexico. The film is El Tren Fantasma ("Ghost Train"), directed by Gabriel García Moreno and released in 1927. It's an action-packed thriller about a railroad engineer who investigates a robbery spree by bandits. The movie is full of action, creative camera movements, fight scenes, and stunts (all performed by the actors themselves).

Why is it rare, you ask? In 1982, tragedy struck when a fire at the Mexican film archive burned all of its contents to the ground. It was a devastating blow to a country's rich cinematic history, and it has been estimated that between 5,000 to 6,500 feature films and shorts were lost. Very few of Mexico's old classic remain in existence, so El Tren Fantasma is a rare example of the country's film culture. The feature now stands as one of the best surviving silent Mexican films.

As if the idea of viewing a rare classic isn't enough, that's just the beginning of why the evening will be truly special. A live score is to presented along with the film by Michael Ramos and Charanga Cakewalk. Ramos, a native Texan, is a multi-talented musician who began his career working with artists such as John Mellencamp, the BoDeans and the Rembrandts. Charanga Cakewalk is his personal project that he started in 2002, and is acclaimed for its style. A mix of jazz and urban grooves, it remains as accessible and savory as your favorite tortilla-wrapped treat.

Films doesnt need sound to convey emotion, and music doesn't need visuals to resonate, but when the two meet it can be a perfect storm of art and creativity. During a summer when rain has been few and far between, this electrifying event promises to bring the thunder.

I don't know about you, but events like this are the reason I love the summer series. I love to see new visions and drink up the culture like a parched man at an oasis. The combination of a rare national treasure and a live score is something I simply can not miss. To paraphrase the most interesting man in the world: I may not always enjoy silent film (or Mexican cinema), but when I do, I prefer them like this... at The Paramount Theatre. Stay thirsty, my friends.

Showtime for the film:

El Tren Fantasma
Saturday, Aug 13th
8:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

VIP Tickets available - Includes post show meet & greet with Michael Ramos, an original limited edition show poster, and an advance copy of Charanga Cakewalk's forthcoming album for the first 25 people! Your VIP ticket benefits Cine Las Americas.

Preview: Comedy of the Past and Present

2011-08-08T19:47:00.000-07:00

World Cinema Classics continue at The Paramount Theatre with a somewhat lighter tone. Although both of these films are comedies, there is a hefty dose of social commentary found in both, and they still do the heavy lifting of more serious works of art.

Last year I was reacquainted with Jacques Tati during a summer screening of Mr. Hulot's Holiday, and I find his style of minimalist comedy to be endearing and occasionally profound. Tati's recurring role of Monsieur Hulot is his signature character, and I love his lighthearted and oblivious nature to the world around him. Much like Chaplin's Little Tramp or even Rowan Atkinson's Mr. Bean, they offer a heavenly innocence as a respite from the society they inhabit.

Playtime was one of Tati's later films, released in 1967, and is easily his most ambitious film. It depicts an ultra-modern and futuristic Paris, where organization has taken the place of organic interaction. This time Mr. Hulot's adventures take place in a city made of glass, steel and a generally cold sense of efficiency. Basically, it's Paris if re-imagined as an Apple store (Genius Bar, indeed). The movie is populated by a variety of characters and Tati's trademark minimalist style, where sound effects drive the comedy more than the sparse dialogue.

Playtime took Tati nearly three years to complete, and when you see the film you'll know why. Creating the film required an enormous set to be built and maintained. Hundreds of construction workers toiled to create this world of concrete and glass, which even necessitated the creation of its own power station during filming. There were numerous setbacks to Tati that prolonged the making of Playtime, but he persevered in making a masterpiece to his exact standards. There's something remarkable in employing maximum effort to make something so minimalist and pure; where a man's idea can yield something magical. A complex concoction of modernization, malaise, satire and the unwavering human resistance to conformity, the film shows that the shortest distance to connect people is rarely a straight line.

Director Federico Fellini was a great fantastical style of director, and his films rank as some of the most influential of the 20th century. Known for 8½, Nights of Cabiria and La Dolce Vita, his movies are true works of art. Each reflects his unique and personal vision of memories, dreams, and society. Amarcord is Fellini's reflection on his youth when he grew up under Mussolini's regime. A free form film depicting the silliness that exist between the lines of the mundane, it depicts a memory (or fantasy?) of a people's vitality that not even fascism could keep at bay. Full of whimsy and quirky as life itself can be, it became perhaps Fellini's most accessible film.

For this film, Fellini won an Academy Award for Best Foreign Language film, but his legacy goes far beyond that one little gold statue. So many modern filmmakers are clearly influenced by his visual stylings, and in many ways he's the father of cinema by Martin Scorsese, Terry Gilliam, David Lynch, Pedro Almodovar, among many others.

And so the influence of foreign films of this caliber reaffirm that America is not the center of the cinematic universe. And like that old geocentric idea, it can be disproved by those who are willing to open their eyes to something new. Even if your ears are unable to understand the languages, the emotions and laughter can never be lost in translation. With so much volatility in the news this summer both here and abroad, films like these illustrate that fighting the system doesn't require anger, but instead can be fueled by joy.

Showtimes for the films:

Playtime
Thursday, Aug 11th
7:00
Sunday, Aug 14th
2:00 7:00

Amarcord
Thursday, Aug 11th
9:30
Sunday, Aug 14th
4:30

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Preview: Theft and Thieves

2011-08-07T23:52:00.000-07:00

August is there, and the sweltering heat is in full swing. These are the dog days, as they say. Doesn't some quality time in a chilly movie theater sound... amazing right about now? More over, this is not simply mindless entertainment, like that new Ryan Reynolds/Jason Bateman body switch movie.

Over the next two weeks, the Paramount Theatre is celebrating Classic World Cinema, foreign films of a much higher caliber than anything found in a local multiplex. First up are two French films from the mid 1950s, both of which pre-date the New Wave of Godard and Truffaut. Ahh, and who doesn't love that French sense of style? After all, if I recall correctly, tout le monde aimait quand Bradley Cooper parlait le français, non?

Bob Le Flambeur, released in 1956, is a stylish movie that shows director Jean-Pierre Melville's affinity for American noir and gangster films of the '30s and '40s. It's the story of Bob, an aged gambler and ex-con who is down on his luck. He's not the "Kenny Rogers" brand of gambler, he's an old school hustler; the kind of cool and suave fellow that knows everybody. And although Bob's walked the straight path for 20 years, he's tempted by a casino safe rumored to hold millions of francs. With that kind of jackpot at stake, Bob takes one last roll of the dice and plans a heist in the very place where the house always wins. Sure it's a risky venture, but it's a lot easier to go all in when you don't have much to lose.

A cool and confident movie with style in spades, Bob Le Flambeur is now considered to be a predecessor to the French New Wave of the early 1960s. Decades later, Melville's concept of the hardened yet cool gambler still echoed in 1996's Hard Eight and obviously in Steven Soderbergh's Oceans 11 trilogy. In 2002, director Neil Jordan (Mona Lisa, Interview with the Vampire, The Crying Game) remade this French classic as The Good Thief, starring Nick Nolte.

Robert Bresson is another influential French director who is known for making emotive and often gloomy yet beautiful tales. His Diary of a Country Priest and Trial of Joan of Arc are arguably his best known works, and examples of the Catholicism he injected into his stories about redemption and temptation. He made Pickpocket in 1959 and, far from a conventional crime story, more of a morality tale that many critics have compared with Dostoyevsky's novel, Crime and Punishment. In this film, Michel is a lonely pickpocket who is under the watchful eye of the local police inspector. This larceny begins as a hobby, but soon becomes an alternative to a series of harsh hands life deals him. Should he go straight? How much of a crime is his petty stealing? Or is he merely living by his wits?

So while the rest of the world feels so hot that it may well melt around you, say oui to the Paramount Theatre and take in these two influential French crime films. Allow them to steal your attention for a spell, and perhaps you can remove those myopic glasses and open your eyes to a larger worldview. After all, across the globe we often tackle the same problems, we face long odds, we suffer from the consequences of human nature, and we all feel the same relief when we can earn a respite from those overbearing dog days... or should I refer to them as the canicule de l'été? After all, that's what the French would say, ça va?

Showtimes for the films:

Bob Le Flambeur
Tuesday, Aug 9th
7:00
Wednesday, Aug 10th
8:40

Pickpocket
Tuesday, Aug 9th
9:00
Wednesday, Aug 10th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Preview: Birth of The Slasher

2011-08-02T01:31:00.001-07:00

Oh, the slasher flick. In this particular brand of film, where a serial killer slays a sequence of victims, the audience themselves are also brought along for the ride. The cameras act as our own eyes and ears, and in effect we get to witness the crimes in a form of deadly voyeurism. Kinda twisted, huh? Yeah, and I love it. You can keep your typical splatterhouse horror movies, because slasher films are the ones dearest to my heart.

You see, the slasher film is is the very subgenre of horror that introduced me to the cinema of terror. At a very young age (four or five, I think) I watched John Carpenter's Halloween late one night on TV. Yes, I was mesmerized. But I'll also freely admit that the experience was intensely traumatic, and to this day I can feel my pulse quicken ever so slightly at the sight of that white Michael Myers mask. As my childhood progressed in the 80s, a cornucopia of pop culture horror slashers paraded on screens: Freddy Kreuger, Jason Voorhees, Leatherface, and even Chucky invaded multiplexes and terrorized audiences. By the early to mid 1990s, slashers were played out through overuse and self-parody. But after the Scream movies reawakened the slasher genre in 1996, it was like greeting an old friend.

Sure it scared the bejeebus out of me as a kid, but now I get to appreciate them as exercises in film-making excellence (granted, in some... not all). If one has an eye trained to ignore all the blood, they can learn the importance of editing and particularly sound. Such high caliber is usually found in the best horror films, because they are the most effective tools by the director to play the audience like a harp.

As a treat this week, The Paramount is presenting the fathers of this genre we now all know so well. It is time to explore the roots of the slasher film, as directed by two British masters of cinema: Alfred Hitchcock and Michael Powell (Black Narcissus, The Red Shoes) in 1960.

Over fifty years after its original release, Alfred Hitchcock's Psycho is one of those films that not only was a landmark movie but a pop culture phenomenon. The movie has always been one of my favorites, and I could revisit it endless times. There's a evil giddiness that rises in me every time I see it, and every twist, turn and stabbing never get old. Don't be scared, I'm not a bloodthirsty viewer; I simply marvel at Hitchcock's craftsmanship. I doubt anything could ever recapture the amazement from the first time I saw Psycho, but then again nothing can probably ever ruin my enjoyment of the film. Well, almost nothing.

Regardless if one has seen the film or not, it's hard to imagine anyone not knowing the major twists to the story. Out of respect for those who know nothing about of the shocks and thrills in Psycho, I will refrain from spoilers. Perhaps it's best if I let the director himself sell you. Mr. Hitchcock himself, ever the showman, guides you through this unorthodox trailer for the film. It's a strange tone for this clip, which somehow is a hybrid of hotel tour and CSI investigation.

To this day, one of the more remarkable elements of Psycho is the manipulation of the audience and the shifting allegiances as the situations change. One minute, we're shocked by a character's act, and the next we're quietly rooting for them to get away with it. Alarming in its actions and flawless in its execution, Alfred always keeps us on our toes.

The influence of the movie goes way beyond people's showering habits. Hitchcocks slight-of-hand techniques are now practically standard on all thrillers, and every slasher film since aims to shock and awe like the original Psycho.

Peeping Tom, also released in 1960, also helped kick open the door for modern horror slasher films. Directed by the legendary British director Michael Powell (Black Narcissus, The Red Shoes), also deals with a serial killer but raises the perverse factor up a few notches. It's the story of a murderer who slays his victims and films their deaths in an attempt to make a magnum opus of snuff. There's enough complex psychological themes and sexuality in it to make Freud's head spin, and it takes the voyeuristic tendencies of the slasher film to perverse heights.

Like Psycho, this film was considered shocking in its presentation. Unlike Psycho, however, Peeping Tom pushed buttons and challenged boundaries that audiences weren't quite ready for. Reviled by many when first released, it developed a cut following over the years and has since been reappraised as a masterpiece of horror. Considering the disturbing imagery we see in cinemas today (and even more so in the news), it's safe to say that Peeping Tom was way ahead of its time.

The influence of Peeping Tom and Psycho runs deep over the past few decades. It's hard to imagine the horror franchises of the 80s, dramas like Se7en, The Silence of the Lambs and Henry: Portrait of a Serial Killer, or even subpar movies like 8mm without these initial pioneers. Most recently, Scream 4 (released just a few months ago) borrows heavily from the premise of Peeping Tom and even references it directly in that way that only the Scream movies can.

Historians and sociologists can always turn to the 1960s as an era of cultural transformation, but not all change are like those seen in episodes of "Mad Men." Even the arts were breaking through barriers and exploring new frontiers. As these two films show, film was evolving on both sides of the Atlantic, and even horror movies can surprise us and cut through conventions... like a knife through flesh.

It's just a figure of speech, I swear.

Showtimes for the films:

Psycho
Saturday, Aug 6th
4:00 8:45
Sunday, Aug 7th
4:10

Peeping Tom
Saturday, Aug 6th
6:15
Sunday, Aug 7th
2:00 6:25

Final Notes about the screening
Bloody Mary & Peeping Tom Collins Drink Specials All Day!
Psycho Shower Photo Booth before 8:45 pm screening by Annie Ray

Preview: Scary Cats

2011-08-01T17:06:00.000-07:00

A staple of horror movies are scary creatures. Most of the time, monster movies frighten us with creatures that are inherently scary (Arachnophobia with its spiders, Jaws with one big shark). Occasionally, a movie will come out of nowhere and change our views on a previously benign animal, like Cujo did to Saint Bernards. And of course, there are the classic monsters with human features: such as vampires, werewolves and others that aren't in those Twilight or Underworld movies.

But can cats be scary? Well, yeah. Cats have been featured in some horrific films too. Take for instance, that abysmally horrible Catwoman movie starring Halle Berry, Sharon Stone and that Merovingian guy from those crappy Matrix sequels. Not that it was a horror film, mind you, but it is scary that someone thought this movie was a good idea.

Seriously, though, cats are (to me) kind of freaky critters. How "scary" they actually are might just a matter of personal opinion. I've known many people who love cats, and also scores more who detest what they refer to as "untrustworthy, vile creatures." Yikes. That's a bit... much, isn't it?

Those feline haters would then probably get a real kick out of Cat People, the 1942 film directed by Val Newton. In this tale, a lonely Serbian woman falls for and marries an American man but refuses to consummate their union. The reason? She believes she descended from a cursed people from her country. In that folklore if she were aroused, she will turn into a panther. A man-eater, like the Hall & Oates song. Alas, there is no passion for the newlyweds. This naturally causes all kinds of problems, whether they be real and fantastical.

The trailer for this bizarre tale of felines and sexual repression can be seen here.

The success of Cat People spawned a more benevolent (and seemingly misnamed) sequel, Curse of the Cat People, that is most noteworthy for being the second film directed by Robert Wise (The Haunting, West Side Story, The Sound of Music). In 1982, Paul Schrader wrote and directed a loose remake that was much less subtle in its eroticism. It starred Natassja Kinski (herself a bit of a sex kitten of an actress at the time), Malcolm McDowell and the dad from Home Alone. The remake wasn't so good, but it did feature an awesome David Bowie song.

Now, when I say "black cat," what's the first thing that comes to mind? Bad luck? Halloween? That old Janet Jackson song? The cabaret with that iconic poster? That fake-looking thing from "Sabrina The Teenage Witch?" Or does your mind conjure up this?

As much of a staple of Independence Day and New Year's celebration is this black cat is, it doesn't fit with the horror film theme I'm going with. With all apologies to Katy Perry, baby that's just a firework.

No, the Black Cat in question is a classic Japanese horror film from 1968, and its a very dark tale indeed. The movie, Kuroneko (translated as "black cat") is a creature story, a revenge tale and a supernatural fable all combined like a sushi roll of terror. In this film, directed by Kaneto Shindō, the story begins in feudal Japan with two women who are brutally attacked and murdered by a roving band of samurai mercenaries. Later, samurai are discovered to be dead, all having been killed by slashed throats. Convinced that these slayings are the act of an onryō, a vengeful dark spirit, the governor summons a lone warrior to confront these ghostly killers. Shindō invokes the same raw sensibilities he exhibited in 1964's Onibaba, another tale where women slay passing samurai. Atmospheric and spooky, Kuroneko is a unique terror tale that represents some of the very best in Japanese cinema.

So there you have it, my dear readers. These are two classic films with a sleek and sinuous tone that is ever so appropriate for the feline predators found within. Do yourself a favor and don't miss them. No matter how scary they are, no matter how hard your heart will pound, it can't be any harder on your body than watching Halle Berry's Catwoman.

And if you find yourself too frightened in the theater aisles, just remind yourself that, like vampires, these werecats are only fictional. I mean, they just can't be real... right?

(Cure that scary Vincent Price laugh)

Showtimes for the films:

Cat People
Thursday, Aug 4th
7:00
Friday, Aug 5th
9:05

Kuroneko
Thursday, Aug 4th
8:40
Friday, Aug 5th
7:00

Final Notes about the screening

Bring in an item for the Austin Pets Alive! drive and receive a free small popcorn! Check their wish list here.

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!)

Parking:

"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."

Preview: Don't Go Into The House!

2011-07-29T17:04:00.000-07:00

Oooooooh. Time for another theme week at The Paramount Theatre.

This time, it's... horror. Thrills and chills, as they say.

Oh, how I could lambast the current state of cinematic affairs when it comes to horror. While at least the Saw movies have finally appeared to run out of steam, there is still a plethora of "horror movies" that are light on terror but are big on gore or cheap scares. Can you believe they're making another Final Destination movie?! And let's be real, the "found footage" subgenre may have been scary when The Blair Witch Project came out, but when the plots now revolve around a hidden lunar exploration, you know Hollywood's slurping the last of the slurpee from the straw.

They can keep all their gimmicks. To me, the scariest kinds of movies are those that get in your head.

Horror week kicks off with two horror classics, featuring ghost encounters of the cerebral kind. In effect, they are haunted house tales. The spookiness you find in these are more intense than any episode of "Ghost Adventures."

There are so many creepy things in The Shining (aside from the overly late 1970s decor) that it's not even funny. This unlikely hybrid of Stephen King's bestseller and Stanley Kubrick's horrific sterility made for the ultimate in the cinema of the unnerving. Jack Nicholson plays Jack Torrence takes a job as a caretaker in a hotel for the winter so he can focus on his writing. HIs family comes along for the ride, and although it's clear they have inner demons of their own, it's nothing compared to what they encounter at this haunted hotel.

The Shining is Kubrick's overt attempt at a horror story, and it's chock full of unsettling imagery. That trademark "sterility" of Stanley's films really is served well here, and the film features some great steadicam work and long shots of desolation and despair. Nicholson's work here is the source of endless imitation and parody, but that's because it's so damn frightening to see his descent into madness. The effects on his loved ones is also startling, from his son's susceptibility to supernatural forces ("REDRUM!"), to his wife's (Shelley Duvall) becoming unhinged in fear. All in all, it's some intense (and deliberately paced) stuff.

The Haunting, based on the novel The Haunting of Hill House by Shirley Jackson, is a very stylish classic film directed by the great and versatile Robert Wise (West Side Story, The Sound of Music, The Day The Earth Stood Still). Here, a doctor investigates a notorious house with a dark past. Assisting him is a skeptic young man, a mysterious clairvoyant, and a sensitive psychic. Before long, all discover that they are in waaaaay over their heads. Full of terror and boasting a clever array of lens trickery to enhance the disorientation of the paranormal, The Haunting stands a darker and more intellectual horror movie.

Alas, this creepy movie spawned a truly horrible remake in 1999, directed by Jan DeBont (Speed, Twister) and starring Liam Neeson, Catherine Zeta-Jones, Lili Taylor, and Owen Wilson (before anyone but Bottle Rocket fans knew who he was). True story: I saw the original with a friend of mine about ten years ago, and they dismissed it as boring (!!). Furthermore, they went on to say that the remake was much better (!!!).

Yeesh. If you need CGI effects as the basis of your scares, then you probably don't have a scary movie on your hands. If Jan DeBont is the director, don't expect a tiny shred of subtlety. A big budget remake does not assure that bigger will be better. No small coincidence, I am no longer friends with this person who preferred the remake.

Sigh. That remake only proves that they don't just even try to make 'em like this anymore. I wish modern audiences had better sensibilities so that Hollywood could stop churning out the crap. There's really no need for the senseless and purely visceral gore fests of today for experiences in fear. Sometimes all you need for a good scare is a cold and dark theater, where imagination can take over... and your heart can pound about the things that go bump in the night.

Showtimes for the films:

The Shining
Tuesday, Aug 2nd
7:00
Wednesday, Aug 3rd
9:10

The Haunting
Tuesday, Aug 2nd
9:40

Wednesday, Aug 3rd

7:00

Final Notes about the screening

Come drink Red Rum and hear Paramount ghost stories from stage before the screening of The Shining!

Preview: Sing-A-Long Fun!

2011-07-21T18:28:00.000-07:00

♫ The hills are alive... with the sound of Griswold. ♫

Oh wait, that's the spoof from National Lampoon's European Vacation...

Let's try this again.

♫The hills are alive... with the sound of music. ♫

There. That's much better.

It should only be natural that the revered Rogers & Hammerstein musical The Sound of Music be screened during the Summer Classic Film Series. And so it shall. This 1965 musical stars Julie Andrews and Christopher Plummer in this story set in 1930s Austria. Andrews plays Maria, a nun who isn't quite making the grade in becoming a nun. A widower captain (Plummer) then hires her to watch after his "difficult" children, and she (in a fashion only fitting from the woman who played Mary Poppins) eventually charms her way into their hearts. Numerous obstacles rise as Maria and the Captain recognize deeper feelings, including a neighboring nation known as... Nazi Germany. Gulp.

So how about that? A musical classic that can be enjoyed by the whole family. Sounds like a nice, wholesome and benign way to spend an afternoon, no? Oh, but wait (again). There's a little treat I forgot to mention.

One of the screenings of The Sound of Music will be a sing-a-long. That's right. You can warble and yodel like a Ricola commercial to your hearts desire while imaging you're in a Bavarian postcard of musical fun. Rebecca Havemeyer will be on hand to lead the audience in a warm up before the show and give a run down of the actions and use of the interactive goody bag the audience receives. That's right, a goody bag! I hear some folks will even dress up. Your only limit is your imagination. Heck, you can even close your eyes and pretend you're starring in a bizarre mashup of The Sound of Music and "Glee." You don't have to be a good singer (like "Glee"), you just have to be enthusiastic (like "Glee").

It sounds like silly fun, but it's all to assist a worthy cause. The screening benefits the AIDS Services of Austin (ASA), and there is even a special VIP pass you can purchase that includes: pre-party admission with drinks & snacks, premier seating, and free parking. You can purchase that right here.

Sing-A-Long movies and Paramount screenings
ASA parties and singing with feeling
Fun times with others more precious than rings
These are a few of our favorite things

When my voice cracks
And the song ends
Then I'm feeling sad
I simply remember my favorite things
And then I don't feel... sooooo bad

Showtimes for the films:

The Sound of Music (NON-Sing a Long)
Saturday, Jul 30th
2:00

The Sound of Music (Sing-A-Long Event)
Saturday, Jul 30th
7:00

Final Notes about the screening

VIP Reception:

ASA Package Purchasers and Paramount Film Fans are invited to a pre-show reception on the Mezzanine Level of the Paramount Theatre. Complimentary drinks and snacks will be provided.

Parking:
"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."

Preview: Iron and Wine Presents...

2011-07-16T22:44:00.000-07:00

Some may be familiar with Sam Beam as the singer/songwriter known as Iron and Wine. His music is deliberate and contemplative, yet you can feel the emotion behind every chord. I admit to having a passing familiarity with his work, which I heard for the first time in 2004's Garden State starring Zach Braff and Natalie Portman. That song, "Such Great Heights," was part of a stellar soundtrack, and later appeared in a memorable M&Ms commercial. That proved to be just the tip of the iceberg for Beam, who has had music featured in "Grey's Anatomy," "Friday Night Lights," Paul Weitz's In Good Company (2004 film with Dennis Quaid and Topher Grace), Todd Haynes' I'm Not There (the unconventional biopic about Bob Dylan) and even (gulp) one of those Twilight movies.

But don't hold that against him.

Truth is, Sam Beam is somewhat of a modern Renaissance man. A former film studies professor, Beam still is known for his appreciation for the cinematic arts. Heck, the man even was selected by The Criterion Collection to present his personal top 10! He's even dabbled in directing, as he created the swoon-worthy yet torrential music video for The Swell Season's "Slow Rising."

And so, as an extension of his great taste, Iron and Wine has been selected to host a couple of films during the Summer Series. This year, we get to imbibe the cinema of Peter Bogdanovich, whose two films presented here have aged like a fine wine.

Paper Moon was probably the first Bogdanovich film I ever saw, way back during my early teens. A story about a con-man and a young girl (who may or my not be his daughter) during The Great Depression, it features real-life father and daughter Ryan and Tatum O'Neal. Their chemistry, needless to say is stellar. But just as impressive is Madeline Kahn in her role as Trixie Delight, a "harem dancer girl" that eventually tags along. With a name like that, you just gotta be an exotic dancer of some sort, am I right?

The trailer for Paper Moon is a bit unorthodox. Although at times it feels like an outtake reel, it still gives a sense of the movie's vibe and sharp humor.

For her debut performance in this picture, Tatum O'Neal became the youngest Oscar winner in history at age 10. Let me repeat that. Ten. Wow. At age ten I think I was somewhere still walking like an Egyptian and learning how to transform a toy robot into a cassette recorder.

And really, what more can be said about The Last Picture Show? Well, I for one said plenty about it last year. This film is simply amazing and authentic in its emotions. Who knew a story of complacency versus change in a small Texas community would reflect the human condition so strongly? Evidently, Bogdanovich did. The story of a town treading water to avoid drowning in its own malaise is filled with an amazing cast: Jeff Bridges, Timothy Bottoms, Ben Johnson, Cloris Leachman, Ellen Burstyn, Eileen Brennan, Randy Quaid and Cybil Shepard (who never looked more beautiful).

Although captured perfectly here in a fictional Texan town, the loneliness depicted here isn't exclusive to the Lone Star state. Alas, it's definitely an American sensibility as well.

In his prime, Peter Bogdanovich was a young master of capturing sentiments and telling stories about people. And now, 40 years after The Last Picture Show, who better to host these two classics (where empathy and emotion are at play) than Iron and Wine himself, Sam Beam. A man whose music and artistic appreciation both runs deep and rings true. It promises to be an insightful couple of nights.

Like the most affecting of music, the greatest stories can be those where we recognize something about ourselves, and then can reveal the truisms you don't even realize. It's our choice to do with them what we please. Do we allow the narrow views to restrain our spirit like iron shackles? Or, per chance, do we let this new awareness broaden our horizons... letting them mature like that fine wine?

Showtimes for the films:

Paper Moon
Wednesday, Jul 27th
7:30

The Last Picture Show
Thursday, Jul 28th
7:30

Final Note about the screening

Preview: LIghts! Camera! Music!

2011-07-16T22:27:00.000-07:00

We've had some fun partaking of classics from many different varities: dramas, comedies, noir, sci-fi, thrillers and more. But now, it's time for some musicals. So get ready to watch a couple of vintage song-and-dance movies that'll have you humming under your breath and shuffling your feet under your seat.

I saw West Side Story last year for the very first time, and was blown away. The thought of seeing it again on the big screen at The Paramount leaves me ecstatic. It's truly one of the finest musicals ever made, and I wrote on last year's experience here.

The film is easily the most acclaimed musical in motion picture history. Winner of 10 Academy Awards including: Best Supporting Actor, Supporting Actress, Art Direction, Cinematography, Costumes, Editing, Direction, Score, Sound and Best Picture. At the time, the soundtrack album was also the best-selling album of all-time. Set on the streets of New York City, it's a clever modernized Romeo and Juliet that is far less headache-inducing than anything by Baz Luhrman. It's incredible, it's moving, it's visually stunning... it's West Side Story.

Does it seem a little dated to you? Well, then try this one on for size. It's a later trailer for a DVD release. It showcases much more of the soundtrack and the vibrant visual style, and captures the energy and vibe perfectly.

Just goes to show ya, after 50 years this one is still powerful and amazing.

The second film featured, Swing Time, is a classic from the collaborations of Fred Astaire and Ginger Rogers, whom are still regarded as two of the best dancers in cinematic history. And contrary to what may have been instilled in you since the late 1990s, the title neither refers to The Brian Setzer Orchestra or a Gap commercial.

Of all the films featuring Fred Astaire and Ginger Rogers, Swing Time is often referred to as their best dance musical. Released in 1936, it marked the peak of popularity for the dancing duo. The story is about a young man (Astaire) who bumble a wedding and must make $25,000 to make up for his error. Broke and penniless in New York City, he then meets a dance school instructor (Rogers). They eventually form a successful dancing partnership, but let's be honest. Here, the plot is incidental; merely an excuse to see these two dance around each other like orbiting bodies. Director George Stevens smartly allows their dance sequences to be the showcases in the film and they are presented mostly in real time, without manipulation of edits. The results are beautiful to behold.

Swing Time is also notable for the song "The Way You Look Tonight," which won the Academy Award for Best Original Song and has been covered countless times since. It's one of a few sequences in the film where Astaire and Rogers practically glide over the floor in such elegance. Once you see them in action, it will be easy to see why, after over 75 years, Fred and Ginger remain the gold standard in dance.

Experience two of the most amazing musical dance films of all time at The Paramount. Even if you normally don't care for musicals, make the effort to check these out. They are two that simply don't want to miss. Musicals can engage you like few other films can. All you have to do is let them into your hearts and minds, let the rhythm surround you, and let the magic sweep you off your feet.

Showtimes for the films:

West Side Story
Sunday, Jul 24th
4:00
Tuesday, Jul 26th
7:00

Swing Time
Sunday, Jul 24th
2:00 7:00

Final Notes about the screening

Preview: The Movie Star, Katharine Hepburn

2011-07-12T00:52:00.000-07:00

"I'm a personality as well as an actress. Show me an actress who isn't a personality, and you'll show me a woman who isn't a star."

-Katharine Hepburn

This summer, we've already visited with royalty of cinema; icons of the silver screen like Bogart, Chaplin, Brando, Newman and Audrey Hepburn. But when it comes to the most acclaimed actress in film, the biggest star, few can argue against that other Hepburn. Katharine Hepburn had a career that spanned six decades working with the titans of the industry. Or rather, perhaps I should say that many of the best known names in film worked with a titan like her. A talent that lit up screens and a personality to match her vivacious performances, Katharine Hepburn was truly one of a kind.

She has the most Oscars for Best Actress with 4 wins, and had a total of 12 nominations under her belt. Katharine was known for playing strong-willed characters, and was at her best when she played off a strong male lead. Watching the inevitable clash of characters was always a joy to behold, whether it was dramatic or comedic.

The African Queen is one of the great classics, and is widely seen as the validating film near the end of Humphrey Bogart's illustrious career. Released in 1951 and directed by John Huston, the film also features Hepburn displaying her bossy splendor. She plays Rose Sayer, a missionary alongside her reverend brother in German East Africa at the outbreak of World War I. Bogart is Charlie, their rough-and-tumble supplier. When the mission village is destroyed and her brother is killed by German forces, Charlie helps her bury her brother and begins the task of helping her escape the volatile area in his ship, The African Queen.

Rose, however, has other plans. Evocative of the spunk that so well defines Hepburn, she wants to strike back and convert the vessel into a torpedo boat to attack a fortified German boat. Charlie finds that the passage down a dangerous river is nothing compared to Rose's moxie. Audiences were beckoned to the adventure and the clashing of these two movie stars. Katharine was nominated for an Academy Award as Rose, and despite a treasure trove of performances by Humphrey Bogart over the years, this is the only film that won him an Oscar.

Not that Hepburn wasn't adept at comedy as well as dramatic river adventures.

The comedic banter of Hepburn and Cary Grant may be best known in Howard Hawks' Bringing Up Baby, but they also made a trio of films with director George Cukor around the same time. Holiday is another fine example in the Hepburn and Grant repertoire of witty performances.

It harkens back to a time when romantic comedies were actually both romantic and funny. In Holiday, Grant plays Johnny Case, a man who thinks outside he box and wants to escape the grinds of work to go on an extended holiday. Think of it as a retirement to enjoy one's youth while one is actually, well... young. Naturally, everyone thinks it's a bad idea. Among those trying to dissuade him are his finance and her millionaire father, who want Johnny to settle into their business, but he refuses to yield his ambition to do nothing.

Actually, he does have encouragement from two of the darker sheep in the fiance's wealthy family: her lush brother and a free-spirited sister, Linda (Hepburn). As he gets to know the headstrong Linda, he begins to see that he has more in common with her than his fiance. With her influence, Johnny must decide what path is right for him... and possibly which girl.

Katharine Hepburn was an actress who literally could do anything, over the decades she displayed enormous levels of talent, and she always had personality in spades. She's the grand dame of movie stars, and her level of smart and dynamic female roles opened the doors for actresses everywhere. Without her, we would have no Meryl Streep or Cate Blanchett... or Cate Blanchett winning an Oscar for playing Katharine Hepburn herself. A unique blend of sophistication, intelligence and charm, Hepburn was true Hollywood royalty. Hail to the queen.

Showtimes for the films:

The African Queen
Tuesday, Jul 19th
7:00
Wednesday, Jul 20th
9:00

Thursday, Jul 21st

7:00

Holiday
Tuesday, Jul 19th
9:10
Wednesday, Jul 20th
7:00

Thursday, Jul 21st

9:10

Final Notes about the screening

Preview: A Very Swayze Weekend

2011-07-11T12:57:00.000-07:00

Here's the story,

Of a man named Swayze,

Who made movies that lots of people own.

They weren't great but,

as guilty pleasures, they stood all alone...

I don't know about you, but I didn't realize the prevalence of Patrick Swayze fans until he died a couple of years ago. At first I found it surprising, but as I've listened I've discovered that everyone has at least one Swayze film that they simply love. We can talk about Trekkies and Harry Potter fans all we want, but if you want to see a true cult of devoted followers, find some Swayze fans.

What's most fascinating to me is that his fans are comprised from all walks of life. Sure, many of them were swooning young ladies when Dirty Dancing came out, while others found connection with the romanticism in Ghost. Some are adrenaline junkies who obsess over Point Break. I know several who adore his performance in To Wong Foo: Thanks for Everything, Julie Newmar, and then there are the legions who love anyone that appeared in The Outsiders. Personally, I was intrigued by his hypocritical turn in Donnie Darko.

But the ones who appear to have the most fun with Swayze's career are those who revel in the films of his that are, well... not so good. And let's fact it, there are plenty of those to choose from, also. Winners like Tiger Warsaw, Next of Kin (where he played a Kentuckian hillbilly with brothers played by Bill Paxton and Liam Neeson?!?), Black Dog and Steel Dawn. They make lemon-flavored moonshine out of lemonade. To me, they are The Swayze Bunch.

The undisputed heavyweight champ of these trashier Patrick Swayze movies is the epic testosterone fest, Road House. Released in 1989, it stars Swayze as Dalton, a virtual jedi master of bouncers who is a consummate professional in a business of drunken brawls. Hired to clean up a rowdy honky tonk bar from hell, he soon finds himself waist-deep in the middle of a a business man's dirty practices, pissed-off henchmen, and the local doctor (Kelly Lynch). Popping up in this movie also are Sam Elliott (as an aging mentor to Dalton) and Ben Gazzara, whose appearance here is a loooong way from the cinema of John Cassavetes.

The movie may well be the crown jewel of awesomely bad cinema. And who can argue when there are lines of dialogue like:

"I want you to be nice until it's time to not be nice."
"Calling me 'sir' is like putting an elevator in an outhouse, it don't belong."
"Pain don't hurt."
"You're too stupid to have a good time."
"This place has a sign hangin' over the urinal that says, 'Don't eat the big white mint.'"

And several more that I'm just unable to print here. Yes, Road House is a true slice of trashy celluloid with all the subtlety of a roundhouse kick to the face.

Grab a seat, a beer and watch the bedlam cut loose. It won't win any Oscars, but Road House is more than just a regular Saturday night thing.

If you prefer guns instead of hand-to-hand combat, may I interest you in Red Dawn? A 1984 action movie where the Soviet Union and some Sandanisitas invade the U.S. (in a Reagan-era America, mind you) and nuclear war doesn't ensue. Instead, the Russkies casually drop down in Colorado (?!) and proceed to kill or enslave the local populace. It's up to a band of freedom-fightin' teenagers to fight back (um, sure). Led by Patrick Swayze and including Charlie Sheen, C. Thomas Howell, Lea Thompson and Jennifer Grey (basically anyone who wasn't in a Brat Pack or John Hughes movie at the time), the kids practice their right to bear arms and target foreign enemies. A jingoistic and shamelessly manipulative exercise, Red Dawn is an rootin', tootin', shootin' piece of Reagan-era cheese. Loaded like an AK-47, the movie is sure to get the blood pumpin, assuming you can watch it with a straight face. Wolverines!!

For some reason, the powers that be at MGM decided to remake this outside of the context of the Cold War. Yes, these are the same powers that have made such sound decisions that MGM is now mired in bankruptcy. Filmed a couple of years ago, it is currently stuck in a vault somewhere. Starring Chris Hemsworth (Thor) and some other kids I'm not terribly familiar with, this time the invading force is supposedly the North Koreans (snicker snicker). Perhaps next year it will see the light of day, and we can make fun of the remake in a whole new way.

I'll admit that when it comes to an appreciation of awesomely bad 80s movies, I'm more of a Schwarzenegger fan than Swayze. Give me Commando or The Running Man and I can quote in my imitation Austrian accent with the best (worst?) of them. Nevertheless, I must confess I am pumped for this twin bill of Patrick Swayze action. I may not be a life-long member, but I can appreciate the glory of these awesomely bad films.

One day we can all enjoy together,
movies that pack a certain kind of punch.
That these fans,
Are somehow like a family.
In that way we all became the Swayze Bunch
That's the way we all became the Swayze Bunch,
The Swayze Bunch- the Swayze Bunch
That's the way- we became the Swayze Bunch.

That day, my friends, is Saturday, July 16. Join the family and enjoy a very Swayze weekend.

Showtimes for the films:

Road House
Saturday, Jul 16th
4:30 9:10

Red Dawn
Saturday, Jul 16th
6:50

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!)

Parking:
"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."

By the way, just in case you're wondering what was the best thing Patrick Swayze ever did? Easy. It's THIS.

Preview: Thrillers and Blondes, Hitchcock & Grace Kelly

2011-07-10T21:29:00.000-07:00

"Blondes make the best victims. They're like virgin snow that shows up the bloody footprints."

-Alfred Hitchcock

If you're familiar with the cinema of Alfred Hitchcock, there are a few staples of his films that you are likely familiar with. His most famous is the director's cameo, so well known that it's almost a game for viewers to find Alfred somewhere in his films. Also known to cinephiles is Hitchcock's penchant for using blonde actresses. Just off the top of my head, I can think of: Tippi Hedren, Janet Leigh, Eva Marie Saint, Kim Novak and Ingrid Bergman.

Although many foolishly attribute Alfred's use of flaxen stars as a bizarre fetish of his, but the truth is Hitchcock often said his preference for blondes was from a belief that they were "a symbol of the heroine." He believed that audiences would be more apt to be suspicious of brunettes, and since his career began in the black and white era, blondes merely show up better on film. Of course, Hitch always had a way of making them look great in color, as well. Perhaps of all the actresses, it is Grace Kelly who stands as the most iconic blonde actress from his decades of film. Her natural elegance captivated audiences and elevated her above suspicion. And it looks like Big Al was on to something too. Beginning with Dial M for Murder, the three films they made are among the highest caliber in Hitchcock's filmography.

Rear Window was the second collaboration between Hitchcock and Grace Kelly, and it remains one of the greatest thrillers of all time. James Stewart stars as a wheelchair-bound photographer who starts peeping on his neighbors as a way to pass the time. He shares his perceived stories of the people living around him with his girlfriend (played by Kelly), and first it's an amusing pastime. But as he starts to notice some oddities, his mind wonders what nefarious activities his neighbors might be up to. Is it possible that murder can take place next door? The film is vintage Hitchcock, with suspense and thrills ratcheted up to eleven.

Originally released in 1954, the film was re-released a few times and even spawned a television remake starring Christopher Reeve in 1998. A modern take was made in 2007 as Disturbia, a thriller starring Shia LaBeouf as the housebound snooper. And it has clearly influenced scores more, including most of Brian DePalma's career and even The 'burbs, a silly 1989 comedy starring Tom Hanks before he was Tom Hanks.

Kelly's final film with Hitchcock was 1955's To Catch A Thief, where she appeared alongside Cary Grant in a cat-and-mouse thriller. Grant plays a retired jewel thief nicknamed "The Cat," who is enjoying life on the French Riviera when a new series of burglaries occur that have his style. Convinced that The Cat is up to his old tricks, the police come for him. Now on the run, he has to evade capture and trap the copycat thief to clear his name. He acquires a list of probable targets, which include a rich American and his daughter (Kelly). What follows is a fun and sexy ride. Think of Oceans Twelve minus ten people and the messy plot. George Clooney can sometimes come close to emulating Cary Grant, but Julia Roberts could never steal one's heart like Grace Kelly could.

Grant was no stranger to working with Hitchcock, as they had also worked together on four films over two decades. In addition to this one, they also made Suspicion, Notorious and North by Northwest. If Grace Kelly was Hitchcock's ideal leading lady, then Grant was his favorite leading man. Of working with Cary, Hitchcock has stated that "he's the only actor I ever loved." So in many ways, To Catch A Thief stars the royal court of Alfred's films.

Thrills, chills and golden-haired heroines. Now that's an icy cocktail one can enjoy in the heat of the summer. Who better to capture our hearts than the ethereal Grace Kelly? And who better to craft a thriller than the master of suspense himself? It's can't miss entertainment this week from Alfred Hitchcock, the British gentleman who preferred blondes.

Showtimes for the films:

Rear Window
Thursday, Jul 14th
7:00
Friday, Jul 15th
9:15

To Catch A Thief
Thursday, Jul 14th
9:20
Friday, Jul 15th
7:00

Final Notes about the screening

Candy jewelry for the first 100 attendees + champagne specials!

Preview: The Subversive Comedy of Albert Brooks

2011-07-09T22:17:00.000-07:00

"I've always felt like I work in a small little area that doesn't represent anything like the rest of society."

-Albert Brooks

Despite my long-standing love of cinema, it boggles my mind why some people get swallowed up by Hollywood. Has no one seen Sunset Boulevard!? But seriously, it is so easy to get assimilated by the machine and turned into another cog in the meat grinder out there. Therefore, it's even more amazing when someone inside the system can consistently operate outside the box and never compromise who they are.

This seems to be particularly rare for comedians and comedic actors. I can think of countless formerly edgy performers who settled into "safer territory" as their career went on. Robin Williams, anyone? I mean, Flubber, really? And has Eddie Murphy been funny the past fifteen years or so that doesn't require him to be a talking donkey? The prosecution rests, your honor.

So take someone like Albert Brooks. Ok, let me rephrase that, since there is no one quite like Albert Brooks. He's been excelling as the over-thinking, neurotic yet empathetic guy all his life. I think my first encounter with Brooks' work was when he played the only "normal" character in Taxi Driver. I later recall catching him & Meryl Streep in Defending Your Life, and became a fan of his self-effacing brand of humor. It's safe to say the only step into the mainstream he's taken was in Finding Nemo, where he played a version of the same phobic character he defines so well. Working for Pixar didn't damage his cred at all and, as a result, kids everywhere now know his voice (if not necessarily his name). And let's be honest, you loved Finding Nemo, too. You're smiling right now while thinking about it, aren't you? "Just keep swimming, just keep swimming..."

Born Albert Einstein, he changed his professional name to Albert Brooks because, well, you just HAVE TO when your given name is Albert Einstein. People would be more apt to think you're a physicist than a humorist, right?

Well... Still, changing the name was a smart move.

At a young age, he quit college to focus on comedy and developed a reputation for being a "comedian's comedian," deconstructing the art of humor while still cracking people up. It's this very art of deconstruction that continues into his body of work. Brooks breaks down his character into a shallow and vapid individual to send up that image of the self-absorbed and petty persona that too often defines a true American in our modern world.

Modern Romance is one of the early quintessential Albert Brooks performances, where he lampoons the ideals that supposedly accompany one's love life. You know that saying that you don't know what you've got until it's gone? That's just the beginning in this case. The film is a funny look at a man too consumed with pettiness and jealousy to realize how dependent he is on someone else to make him happy. Sounds familiar? Surely we've all known or experienced such a relationship.

Alas, it was mostly ignored by the public at the box office when it was released in 1981. Perhaps it was just ahead of its time, because the main character clearly has issues not unlike those of our "friends" we commonly read on our Facebook wall or Twitter posts.

Aside from Nemo, Brooks is probably best known from his role in Broadcast News, the 1987 comedy directed by James L. Brooks (Terms of Endearment, As Good As It Gets). A sharp and funny film about television journalism and the difference between style and substance, it features three incredible performances by Holly Hunter, William Hurt and Brooks.

For his performance as an insecure reporter, Brooks received an Oscar nomination for Best Supporting Actor (he lost to Sean Connery in The Untouchables). The film also got nominations in the categories of: Best Actor, Actress, Original Screenplay, Cinematography, Editing and Picture.

Even though Hollywood reflects no part of any real society, that hasn't stopped generations from feeling entitled to a life of privilege, dreaming of being rich and famous for its own sake. After all, we're special enough to get whatever we want, right? What nonsense. Luckily, Albert Brooks understands the absurdity of our self-obsessed culture and keeps holding mirrors to our faces before drawing silly faces on them.

He's not exactly a troublemaker, and he's a far cry from being a revolutionary, but Albert Brooks still cranks out his own brand of subversive humor. Always keen at pointing out the flaws of our system, I think of him as a speed bump on the long and possibly mundane highway of American experience. To use the parlance of our time, Albert keeps it real when so many sell out, and his consistent voice does more than tread water in Hollywood. He just keeps swimming, just keeps swimming... against the current.

Showtimes for the films:

Modern Romance
Tuesday, Jul 12th
7:00
Wednesday, Jul 13th
9:35

Broadcast News

Tuesday, Jul 12th
9:00
Wednesday, Jul 13th
7:00

Final Notes about the screening

Preview: Dystopian Futures

2011-07-05T23:39:00.000-07:00

dystopia |disˈtōpēə|
noun
an imagined place or state in which everything is unpleasant or bad, typically a totalitarian or environmentally degraded one. The opposite of Utopia.

When it comes to the future, cinema rarely has painted a rosy picture. Quick! Other than Back to the Future Part II, name a movie set in the future where things are bright and sunny? You see, not so easy, huh?

Even when movies show off the projected power of mankind and technology in a depicted future, it always accompanies a darker side of society grown as a result. The earliest example that comes to mind is Fritz Lang's Metropolis in 1927, but perhaps the most referenced imagery of a dystopian future in the past few decades is found in Ridley's Scott's techo-noir Blade Runner in 1982. Close your eyes for a minute. Do you have that imagery in your head right now? Not so pretty, is it? No rose-colored glasses when it comes to these visions of the future.

As Sci-Fi week comes to a close, The Paramount will screen two films with a similar icy view of humanity: Terry Gilliam's Brazil and Robert Altman's Quintet.

Released in 1985 after months of arm wrestling between Universal Studio bosses and Gilliam, Brazil has been hailed as a biting satire set in an Orwellian world. Filled with Terry's trademark cinematography and quirky inventiveness, it paints a view of society as bureaucratic hell. Imagine an agonizing unknown land furnished by a grim Office Depot with a hint of Chapin's Modern Times and you'll begin to get a faint idea.

An embodiment of one man's struggle in a time of paper and inefficiency, Brazil is referred to by Gilliam himself as an entry in his "imagination trilogy," along with similar themed films Time Bandits (1981) and The Adventures of Baron Munchausen (1989). Here, the man in this house of mirrors is all of us, because who among us hasn't dreamt of soaring free from the red tape that unfortunately binds and restricts our lives? To spread our wings and just... fly.

I know what you're about to ask. If this film takes place in an unknown land... why is named Brazil? Well, it's a reference to the musical piece Aquarela do Brasil, a familiar tune that acts as a theme song throughout the story.

Kinda trippy. Kind beautiful. That's the cinema of Terry Gilliam. All of his films have that signature look, and he dabbled again with dystopian futures with 1995's 12 Monkeys. And to think, he was J.K. Rowling's first choice to direct the Harry Potter movies. How odd and awesome would that have been? Someone get Hermione's time-turner and go back to make that happen.

By 1979, Robert Altman had already established himself as one of America's great directors with his ensemble films MASH and Nashville. But by this time he had also established that he was capable of more eccentric fare, like Brewster McCloud (1970), Images (1972) and 3 Women (1977).

Quintet is a rather literal departure from the warmth found in his other films. Set in a post-apocalyptic ice age, it is a story that unfolds with the rapidity of a glacier. Paul Newman is a man who wanders the desolate frozen landscape and finds a group of hardened survivors who whimsically partake of a deadly game, a kind of ultra-high stakes game of Yahtzee. Boasting an impressive international cast including Bibi Andersson, Fernando Rey and Vittorio Gassman, Quintet remains one of Altman's oddities: definitely overlooked, but perhaps misunderstood as well.

If you come away confused from this one, don't fret. There have been many that have been flummoxed by Quintet. Heck, in one of his recent tweets, even Roger Ebert professes a perplexed attitude.

What one must bear in mind is that sometimes the riddle is not to be cracked. Films of this genre aren't so much foretelling our future, but are a cautionary tale (if not indictment) of our present.

What will your opinion be? Come check the films out and see for yourself. After all, if we're to believe the future as depicted in these movies, we better enjoy our own thoughts while we are still allowed to have them. In dystopian futures, things are often bleakest because the society dictates the individual and "IMHO" is a four-letter word. Let us learn our lessons now. The future's never set in stone, but we can do something before our present sets and becomes an immovable part of our past.

Showtimes for the films:

Brazil
Sunday, Jul 10th
2:00 7:00

Quintet
Sunday, Jul 10th
4:35

Final Notes about the screening

Preview: Sci-Fi 25th Anniversaries

2011-07-02T12:30:00.000-07:00

Is there anything that can make movie fans feel older than anniversaries of favorite films? I know that for the most part, observing a film's anniversary is merely a marketing ploy for a re-release in theaters or a new DVD/Blu Ray release, but it still has the ability to make one feel damn old.

Hey, I'm someone who's childhood is rooted in the 1980s, and I don't need the reminders that some of the movies from my youth are now around a quarter-century old. Wait. The Goonies was released 26 years ago? Gremlins was 27 years? E.T. will be 30 next year?!? Even '90s staples are approaching or have passed the 20 year mark. What's that you say? The Simpsons are 22? Aye carumba!

As my generation now gets to be indoctrinated in the marketing of nostalgia, it's time to accept that some of our beloved childhood memories are aging just like the rest of us. As part of Sci-Fi week, the theatre is screening two films that celebrate their 25th anniversary this year: Star Trek IV and Aliens. Can you believe it's been two and a half decades already?

For both, the history of both franchises actually extends farther back.

Despite several ups and downs, Star Trek is still going strong. This year marks the 45th anniversary of the original television series, and they're celebrating in a big way next month in Las Vegas. What happens there stays there, I suppose. But if you're going, be aware that others may have cameras. That's if... uh, you're going to do something foolish...

Convention or not, what's Klingon for "where's my dignity?"

Star Trek was originally a live-action television series broadcast from 1966-69 and an animated series from 1973-74, then re-launched as a film franchise at the end of the 1970s. Despite a lukewarm reception for Star Trek: The Motion Picture in 1979, the film franchise really hit its stride with Star Trek II: The Wrath of Khan in 1982 and the blockbuster smash Star Trek III: The Search for Spock in 1984. Since parts II and III were a connected narrative, it was natural for the story arc to continue into part IV. Released in 1986, Star Trek IV: The Voyage Home is the completion of this "narrative trilogy" within the franchise.

Star Trek IV is easily the lightest, silliest and most accessible of the series. It remains a bold departure from a series that is always viewed as a bit stiff and self-important (until J.J. Abrams' reboot in 2009, that is). The plot here involves our 23rd century crew rescuing Earth from a mysterious space probe that's wrecking havoc on the atmosphere. Turns out the probe is looking to chat with some humpback whales (extinct in this story since the 21st century). So, the solution is simple. Go back in time to 1986 and bring whales back to sing their whale songs at the probe or something. Logical, right? Right. Wait, HUH?!? Eh, just go with it.

A little preachy in its environmentalism, Star Trek IV is, above all, a good time. Who doesn't want to see Spock ask what exact change is? For McCoy and Scottie to boggle over how to use a Mac? For Uhura and Chekov to look for nuclear wessels? To see Kirk confront someone with this catch phrase?

The movie was very '80s in its sensibilities, and not just because it involved time travel set in the period. The comedy is heavily dependent on that "fish out of water" theme that accompanied successful comedies by studios of the period: Crocodile Dundee, The Golden Child and Coming to America. But for such a serious sci-fi series, it's still remarkable that the studio suits gave director Leonard Nimoy carte blanche. Then again, after part III made beaucoup cash under Nimoy's direction, why not? It's not like the studio wanted them to put Eddie Murphy in it or anything (oh wait, they actually did).

Luckily for all of us, Murphy declined the role planned for him. It's good to know someone learned a lesson from Superman III. Nevertheless, Part IV played it loose and light, and flourished from its bizarre mixture of time travel, hijinks, and humpback whales.

To this day, I know several Trekkies that curse Star Trek IV for being "fun." Can you believe that? The nerve of those filmmakers. Making something lighter and more accessible. How dare they!? (mock gasp) Oh well. Vulcans are like that, I suppose.

Ah, but Star Trek IV isn't the only sci-fi gem celebrating an anniversary this year.

When Alien came out in 1979, it was such a high-end spin on a B-movie concept that no one thought it could ever be matched in its caliber. Few even thought of attempting to make a sequel to it, since Ridley Scott had crafted such a masterpiece of space-gothic horror.

Enter James Cameron...

Cameron, an ambitious young film maker who was creating The Terminator (itself a now iconic sci-fi franchise) at the time, pitched the idea of a sequel that emphasized "terror more than horror." After some years in development, Cameron finally got to craft his own take on the Alien universe. In 1986 his sequel, Aliens, was released.

A direct sequel to the 1979 film, Aliens is still a very different creature than Ridley Scott's masterpiece. It's just as capable as getting your pulse pounding, but this time the thrills come straight from your own adrenal glands. It's a rip-roaring roller coaster that comes out guns a blazin'.

Decades after the events of Alien, a hibernating Ripley (Sigourney Weaver) is found in her escape pod. Debriefed by the company regarding her claims of an encounter with such a strange creature, she's brushed off as a hysteric. However, when contact is lost with a colony on the planet where the alien was found, the Marines are sent in. All of a sudden, Ripley is taken seriously and tags along as an expert. Then all hell breaks loose. It's one of the most visceral thrill rides in motion picture history.

Heck, even the trailer does a great job of getting the blood pumping. So here it is, lean and mean:

25 years later, it's still the tightest movie that Cameron has ever made. Remember when James was capable of consistently making things like this? Now we get pedantic space epics like Avatar, and I'm more than a bit disappointed. I entreat you, Mr. Cameron, to engage more than my eyeballs. Up until the last 20 minutes of The Abyss in 1989, you used to know how. At this rate, I'll be able to celebrate the 25th anniversary of the end of Cameron's true creativity in three more years.

In retrospect, both of these films are remarkable gamechangers in shaping their franchises. Star Trek IV introduced a lighter side to the space epic, albeit one that backfired miserably in 1989 with Star Trek V. Still, the franchise has since proved most successful when balancing comedy, drama and an affable ensemble, as evidenced by The Next Generation cast in their series and subsequent films. For the foreseeable future, I can imagine Trekkies will still argue over who's the better captain, Kirk or Picard? Heck, in a few years there may even be a new argument over who was the definitive James Kirk: Shatner or Pine?

As for the Alien series, well... it was all downhill from here. While I concede that the arguments I hear about the best Alien movie are a matter of taste, they never include parts 3 or 4 in the discussion. David Fincher directed Alien³ in 1992, and it was a notoriously difficult production that yielded subpar results. And as for 1997's Alien: Resurrection? Well, it had Winona Ryder in it, and that's just about all one needs to know to judge that film.

The true seed that sprang from Aliens is, in my opinion, the modern action movie. Jaws may have spawned the modern summer blockbuster, but James Cameron brought guns to the battle and transformed Hollywood action hits into pure boy toy exercises. Alas, no one has reached the apex in mixing interesting characters, thrills and action like Cameron did. He's excelled at making loud and innovative action films, but his figurative children have only succeeded in recreating the sound and fury, signifying nothing. All of you Michael Bays of the world take note, make us care about the characters before blowing everything up.

It doesn't frighten me at all that 25 years can pass in the blink of an eye. In fact, I'm comforted by it. I've lived a heck of a lot since 1986, and look forward to whatever my future may bring. I enjoy that I can be content in occasionally revisiting the past, instead of living in it. Truth is, I still don't feel that old just because these two films are observing 25 years. I say, here's to 25 more. Another quarter century that can be written as we see fit, where we can all live long and prosper.

Showtimes for the films:

Star Trek IV: The Voyage Home
Friday, Jul 8th
9:45

Aliens
Friday, Jul 8th
7:00

Final Notes about the screening

Preview: Monsters from Beyond

2011-07-01T02:30:00.000-07:00

Embrace your inner geek, it's science fiction week!

For goodness sake, stop feeding money to Michael Bay and his silly Transformer exercises. If you simply must geek out at the movies, you have to do it in style at The Paramount Theatre. No crappy emerald CGI suited Ryan Reynolds or Shia LeWhat'sHisName standing next to a new open-mouthed bimbo while rock 'em sock 'em robots carry on. Here, we do things old school. There's plenty to choose from in the realm of sci-fi this week, and it starts with big, bad creatures.

Monsters make for great icons when it comes to sci-fi. There's so many to choose from when it comes to giant critters running rampant across the country or in the city. Most, if not all of them can fall into those "cautionary tales" subgenre of sci-fi. The message is usually "don't eff with mutha nature." And the undisputed heavyweight champs of all these "monsters from beyond" is Gojira. That's Godzilla to you Americans.

Wait. I'm not referring to horrendous incarnation from the 1998 remake by Dean Devlin and Roland Emmerich, those Independence Day (ID4) guys. That was an awful piece of cinematic trash and a sully to the Godzilla name. Seriously, in all my years I've never met anyone who thought the '98 version was good in any shape or form. That's saying something in a day when trash like Transformers 3 can make $100+ million dollars in its opening weekend. Heck, even Jar Jar Binks must've had fans when he first appeared, right?

No, I'm talking about the real Godzilla. The one that everyone instantly identifies and loves, ~~zippers~~ warts and all.

Made in 1954, it was an impressive undertaking in spite of the limits faced by the film makers. The movie was made quickly to satisfy Toho Studios demand after a previous project fell through. As a result, most everything about the production of Gojira was a happy accident, from the chilling black & white photography (color film rejected by Toho) to the infamous rubber suit itself (stop motion proved too costly). And yet, the film makers carried on...

See the original Japanese trailer here:

http://youtu.be/hPAmGBdT_MY

The results were gangbusters in Japan, despite many feeling this tale of an atomic monster exploited the real-life horrors of Hiroshima and Nagasaki. Always eager to make a buck, American producers made a "remix" of the film and released it as Godzilla: King of Monsters! in 1956. Using footage from the 1954 Japanese version, the American release edited in scenes with Raymond Burr, effectively making a whole new film.

When unleashed on American audiences, Godzilla tore it up. The film was a phenomenal success, and helped stamp the monster as a global icon. To this day, Godzilla-mania is everywhere. He's a regular staple of pop culture, and has been featured in books, Saturday morning cartoons, video games, comic books, songs, and even a Nike ad campaign with Charles Barkley!

My personal favorite? This funny cartoon short I remember seeing in my youth:

Ahhh. Good times.

Japan may have the good on the king of the monsters, but they certainly don't have a monopoly on such films. Here in the good ol' U.S. of A., we had our own giant creature film to contend with, 1954's THEM! A movie manifested out of nuclear uncertainty in the early days of the Cold War, the movie is about giant mutated ants that grow from radioactive fallout in the aftermath of New Mexico atomic tests.

Although it may have a slightly silly premise, THEM! is a very well made sci-fi film with solid performances, distinctive special effects, and tight editing. Oh, and who can forget that creepy sound effect for the ants? Seeing this as a youth, nothing stuck with me more than that noise.

A solid money maker for Warner Brothers, THEM! spawned a line of similar "irradiated giant critter" movies: Tarantula (1955), Attack of the Crab Monsters (1957), Attack of the Giant Leeches (1959), The Giant Behemoth (1959), The Killer Shrews (1959), Night of the Lepus (1972), and scores more that were often lampooned on TV's "Mystery Science Theater 3000."

But for now, suspend you inclination to laugh at the somewhat cheesy 1950s sci-fi production values. Appreciate the film as a landmark of science fiction excellence on par with the original verisons of The Thing from Another World and Invasion of the Body Snatchers, two other films that preyed on the paranoia of the Cold War years. Stifle that giggle and allow yourself to get caught up in the terror of THEM!

Bigger than life, badder than bad, and ready to lay waste to the foolish humans who played with atomic power, these monsters have come from beyond to teach us a lesson. SCREAM in fear or ROAR in delight. Experience two of the best from either side of The Pacific this week, and enjoy these sci-fi creature features.

Showtimes for the films:

Gojira (Godzilla)
Tuesday, Jul 5th
7:00
Wednesday, Jul 6th
9:00

THEM!
Tuesday, Jul 5th
9:05
Wednesday, Jul 6th
7:00

Final Notes about the screening

$2 from each ticket for Godzilla will benefit the Japan Red Cross relief fund

Preview: Hucksters & Princes, Burt Lancaster

2011-06-28T21:08:00.000-07:00

"I woke up one day a star. It was terrifying. Then I worked hard toward becoming a good actor."

-Burt Lancaster

What image pops in your head when you think of Burt Lancaster? Is it of a star or an actor? Is it that iconic image on the beach with Deborah Kerr in From Here to Eternity? Is it any of the pairings with Kirk Douglas? Is it his muted solitude in The Birdman of Alcatraz? The crazed genius from The Island of Dr. Moreau? Personally, I think of his performances. What always struck me was his face: strong and athletic, with that distinctive grin. I've seen Lancaster in all of the films listed above, and was always impressed by his physical presence and a perceived solemn demeanor.

His filmography presents an actor who was never content with taking the same roles. He challenged himself constantly and adapted himself to a wide variety of roles, as long as they aligned with his personal beliefs.

As Lancaster approached middle age in the 1960s, he began to step outside of his wheelhouse and tackle more ambitious projects. He hasn't too shy to even appear in European productions, and as a result worked with some well-known foreign directors. The Leopard provided him with the most complex, challenging and overall finest role of his career. An Italian film directed by Luchino Visconti, it is a story of an aristocrat trying to maintain some order during the 1860s Sicilian social upheaval. An epic of breathtaking beauty and cinematic landscapes, it still stands tall despite being an overlooked gem on Burt's resume.

As an added treat, The Leopard will be shown in a brand new restored print. This promises to be its most gorgeous exhibition ever.

In his most acclaimed role, Lancaster won a Best Actor Oscar for his work as Elmer Gantry. He plays a hard drinking, smooth talking con man who takes up selling religion in the 1920s. Elmer becomes a charlatan fire and brimstone preacher in league with a genuine revivalist, Sister Sharon (Jean Simmons). But as he lures more and more with his blustery charm, some begin to take aim on him and his past rears its ugly head. Not an indictment of religion as much of a warning on the perils of religious zealotry, the film is a tale about personal growth and salvation that some are unable to find even when steeped in their particular brand of theology.

Hmmm. Wonder how Elmer would react to Texas governor Rick Perry's own modern religious spectacle? Would he applaud or condemn the current charlatan?

And so here are two of Lancaster's most iconic performances as both a star and an actor. It appears that Burt had nothing to be afraid of after all. The tall thespian with a game show host smile worked hard so that he could play it both ways: as a huckster and as a prince. Regardless of how you initially remember Burt Lancaster before this double feature, your respect and image of this fine actor is sure to grow by leaps and bounds afterwards.

Showtimes for the films:

The Leopard
Saturday, Jul 2nd
2:00 8:30
Sunday, Jul 3rd
2:00

Elmer Gantry
Saturday, Jul 2nd
5:35
Sunday, Jul 3rd
5:35

Final Notes about the screening

Italian cocktail and wine specials all night!

Preview: Paul Newman, The Intensity of Charm

2011-06-23T10:53:00.000-07:00

It pains me to see classic movie stars remembered for something other than their brilliant careers. Case in point: I once heard someone refer to Paul Newman as "that guy from the salad dressing." I would've been furious if not so heartbroken. The sad truth remains that for younger generations, they may not actually know that Newman was a movie star of the highest order. So if any of you younglings happen to be reading this, let's have a primer.

Actor. Entrepreneur. Race Car Enthusiast. Philanthropist. THAT is Paul Newman. He's a man that audiences have loved for generations for his variety of endeavors.

It is difficult to find a defining role for Newman. But for many, The Hustler may be what he is remembered for the most. As "Fast Eddie" Felson, Newman charmed audiences everywhere as a small-time pool hustler trying to take on legendary billiard king "Minnesota Fats" (played by Jackie Gleason). A beautifully photographed and edited story of chasing dreams and facing our harsh realities, The Hustler enjoyed both popular and critical success immediately on its release, and 40 years later is now a true classic. Not just a mere sports movie, it's a life movie. Face it with cue in hand, and rack 'em up.

A quarter century later, Newman returned as Fast Eddie in The Color of Money, the sequel directed by Martin Scorsese. It featured Newman as a mentor for a cocky pool protege played by Tom Cruise. Newman won the Academy Award (Oscar) for Best Actor that year for this role.

In Harper, Paul Newman turns on the charm yet again. Released in 1966, he plays Lew Harper, a cool and cynical private investigator (is there any other kind, really?). Adapted from a novel by legendary screenwriter WIlliam Goldman, Harper is a tale of a P.I. hired to find a missing man and gets embroiled in both seedy characters and an increasingly nefarious kidnapping plot. Or is that a red herring? Is there even more beyond a missing persons case? All the while, he contends with a line of ladies that challenge him in different ways, including: Lauren Becall, Julie Harris, Shirley Winters and an ex-wife played by Janet Leigh.

There's some perceptable homages to Humphrey Bogart's old detective stories, particularly in the casting of Becall, who appeared with her husband (Bogart) in 1946's The Big Sleep. There's also plenty of social commentary (and jaded views) inside this 1960s neo-noir, reflecting the shifting attitudes of the culture at that time.

Newman reprised his role as Lew Harper in a sequel, 1975's The Drowning Pool. In that film, Harper relocates to Louisiana where he has to deal with blackmail, an oil tycoon, and a nympho played by Melanie Griffith. Some guys have such tough luck, huh?

Throughout his career, Newman demonstrated a rare mix of his intense charm and success time and again. A life-long racing fan, he won numerous championships in Sports Car Club of America (SCCA) racing. He was a political activist for many noble causes.

Oh. And as for being "that guy from the salad dressing..."

In the 1980s, Paul started Newman's Own, a venture where he donated all profits to (in Newman's words) "a number of tax-deductible charities and causes, some church-related, others for conservation and ecology and things like that." Since 1982, the foundation has donated over $300 million to various charities.

And of course, let's not forget his initial endeavor: acting. For decades, his performances were always as captivating as those icy blue eyes, forever establishing a level of charm that will eternally be... well, Newman's own.

Showtimes for the films:

The Hustler
Thursday, Jun 30th
7:00

Harper
Thursday, Jun 30th
9:40

Final Notes about the screening

Print out your confirmation e-mail for a FREE game of pool at Buffalo Billiards! (21+ only)

Preview: Audrey Hepburn, Icon

2011-06-21T02:47:00.000-07:00

In this time of marketing when any damn reality star can become "a star," it seems celebrity has lost a bit of it luster. Heck, twice a year a collection of people I hardly know are trotted out and on "Dancing with the Stars." And even those I am familiar with are just headliners from 80s movies. I mean, come on. Jennifer Grey? Ralph Macchio? Sure, they may have headlined one successful movie, but... stars? Really? Really?

Harder still is to label someone as an "icon." I'll come right out and say it, but no one is worthy of that mantle in the present day. To find a real icon of cinema, you have to go back a while. I'm talking Humphrey Bogart, Liz Taylor, James Stewart, Marilyn Monroe. Those are icons. They are the standard that often have people compared to them, but no one ever truly comes close.

Take for instance, Audrey Hepburn (a definite icon). She's a distinctive actress with an iconic image and persona. A renown humanitarian, talented actress and a fashion icon. Not everyone can be the muse to Hubert de Givenchy, after all. She is, quite simply, incomparable.

Without question, the enduring image of Hepburn is of her character Holly Golightly from Breakfast at Tiffany's. I could say many words about this 1961 comedy directed by Blake Edwards. In fact, I have (after last year's screening). When it comes to romantic comedy, an adaptation of a Truman Capote book does not strike me as an ideal recipe for success. However, for all its darker nuances about loneliness, it remains a thoroughly charming film. It's like a pre-Sex and the City, revealing a deep sadness while masquerading as glamour.

But the ingredients in this Breakfast are all quite delicious. The chemistry between Hepburn and George Peppard is complicated, yet light and honest. Blake Edward's balance of melodrama, charm and slapstick get extra mileage with the talented supporting cast assembled here. And as far as the iconic imagery and sounds go... it really is hard to top the combination of 1960s cosmopolitan New York, "Moon River," Audrey Hepburn, Tiffany's, and that little black dress.

Charade, on the other hand, displays Audrey Hepburn's charm and style in an entirely different kind of film. An excellent thriller starring Hepburn and Cary Grant, it surprisingly was directed by Stanley Donen, best known for Hollywood musicals (On The Town, Singin' in the Rain, Seven Brides for Seven Brothers, Funny Face). Tense, fun and full of twists, Charade is very Hitchcockian in its plot and in its sense of showmanship. Hepburn plays a woman who is prepared to leave her husband but finds him dead. She learns he was hiding a fortune, and different men show up wanting to claim the riches. Dealing with the blow of a sudden loss and the pursuit by strangers, she finds herself questioning all she knew about her late spouse. Why the charade? And does she trust now... if anyone?

A classic and memorable thriller, Charade was remade in 2002 as The Truth about Charlie, directed by Jonathan Demme and starring Thandie Newton and ~~Marky Mark~~ Mark Wahlberg. Less a remake and more of a tribute to French New Wave cinema by Demme, it failed to resonate with audiences. Then again, attempting to recreate Grant and Hepburn in a remake leave is no small task. Those are some mighty big shoes to fill. They practically are the embodiment of class and dignity, making their shoe one large glass slipper. Alas, by comparison Thandie and Wahlberg were more of a pair of Crocs.

So there you have it. Two films by a legend, a superstar, an icon of the silver screen. Despite what the Natalie Portman supporters say, there will never be another Audrey Hepburn. Her natural grace and elegance unfortunately reflect a time long gone in Hollywood. Audrey Hepburn helps embody the very definition of being glamourous, metropolitan, chic, and regal. A true legend from Hollywood's golden era, her image is often imitated but can never be eclipsed. Luckily for us, we still have her cinematic performances to help us remember a time when icons weren't just those tiny images on our desktop computers.

Showtimes for the films:

Breakfast at Tiffany's
Saturday, Jun 25th

2:00 6:40
Sunday, Jun 26th
2:00 6:40

Charade
Saturday, Jun 25th
4:20 9:00
Sunday, Jun 26th
4:20 9:00

Final Notes about the screening

Special "Martinis and Manicures" Events before the 2 p.m. screenings of Breakfast at Tiffany's. See the Paramount Theatre page for details.

Preview: Comedies of Sidney Poitier

2011-06-20T19:11:00.000-07:00

No one will ever question Sidney Poitier's place as an actor. The man is a legend, and there is no debate there at all. His quiet intensity and stately manner are hallmarks of his performances, and he blazed a path for African-American thespians by being the first to win an Academy Award for Best Actor in 1958. His dignified and solemn work include his appearances in The Defiant Ones, A Raisin in the Sun, Lilies of the Field, To Sir, With Love, Guess Who's Coming to Dinner, In The Heat of The Night and its sequel, They Call Me MISTER TIBBS. Yes, there's an almost regal aura about him, and he brings instant credibility to anything he's associated with.

He's Denzel Washington and Morgan Freeman rolled into one. He's all business. So if anyone ever had a complaint about Sidney Poitier, it just may be... (with all apologies to The Joker)...

...Why so serious, Mister Tibbs?

Ah, but there is more to Sidney than stoic glares and a steady voice. For all his accomplishments and merits as an actor, few realize that Poitier has indulged in directing as well. In the 1970s and 80s, he directed several movies; often teaming up with Bill Cosby for some light comedies. These were the pre-Huxtable days for The Cos, and for younger audiences, it's hard to fathom Bill in any other type of role (unless as Jell-O pitchman). Poitier and Cosby appeared in a trio of comedies together: Uptown Saturday Night, Let's Do It Again and A Piece of the Action. See? Well look at that. Sidney's got a sense of humor after all!

In Uptown Saturday Night, Poitier and Cosby are two guys who go to an illegal uptown club for a party (you guessed it, on a Saturday night). There everyone is held up at gunpoint by robbers, who abscond with all of their valuables. The next day, one of them realizes he won the lottery but left his ticket in his stolen wallet. Thus begins a journey to recover the wallet, encountering all types of seedy characters along the way. Keep your eyes peeled for appearances by Harry Belafonte, Calvin Lockhart, Flip Wilson and Richard Pryor.

After the trio of movies in the 1970s, Sidney and Bill went on to make one more movie together. That film turned out to be Ghost Dad. Ouch. Yeah, that one. The one that makes the lists of all-time worst movies. The movie that puts the rotten in Rotten Tomatoes scores. Oh, how I wish I was kidding. Guess we can't win them all.

Moving on...

Stir Crazy was released in 1980, and is considered by many to be the pinnacle of the Richard Pryor/Gene Wilder movies. That duo made three other feature films together, Silver Streak (1976), See No Evil, Hear No Evil (1989) and Another You (1991), but Stir Crazy was the only one directed by Poitier. In this one, Pryor and Wilder are two guys framed for a bank robbery and sentenced to 125 years in prison. Needless to say, prison life never goes well (even in comedies), and the two have a hard time adjusting to... well... hard time.

Stir Crazy was wildly successful at the box office, grossing over $100 million dollars and became the third highest grossing film of 1980 (behind The Empire Strikes Back and 9 to 5). Heck, it even made more money than Airplane!, another classic comedy in its own right. The chemistry between Pryor and Wilder was golden, and Poitier played their absurd humor with just the right notes.

As an actor, Sidney Poitier forever remains a king amongst Hollywood royalty. However, he reveals a unique sense of humor as a clown prince of comedy directors. Two examples of Poitier bringing the funny will be screened at The Paramount later this week. Do check them out. That way, if ever you are lucky enough to meet him, you can refer to him as something other than "Mr. Tibbs." You can address him as a talented director.

Just don't bring up Ghost Dad.

You won't wanna be on the receiving end of that stare.

Showtimes for the films:

Uptown Saturday Night
Thursday, Jun 23rd
7:00
Friday, Jun 24th
9:15

Stir Crazy
Thursday, Jun 23rd
9:10
Friday, Jun 24th
7:00

Final Notes about the screening

Preview: Julie Christie films

2011-06-18T23:32:00.000-07:00

"All women are aware of that moment when suddenly the boys don't look at you. It's a fairly common thing, when suddenly you no longer attract that instant male attention because of the way you look. I never really knew how to enjoy beauty, but it took the form of a subconscious arrogance, expecting things, all muddled up with celebrity. Then you begin to deal with it. In the 1970s I was amazed to be talked about as a 60s sex symbol. I wasn't that person, as if I were a doll from the past. I had to learn to come to terms with that. It's funny, it's silly, the ridiculousness of having asked so much of celebrity. Then it becomes really interesting and very much part of the excitement of the life you're living now, knowing you're approaching the end of it."

-Julie Christie

The 1960s and 70s were certainly a turbulent time in our culture, and it was no different in the world of movies. It was a post-studio system era, but not quite the age of New Hollywood. The studios were looking to sell anyone as a product, and it was a time that was easy for an actress to be regarded as a mere sex symbol.

Few were thinking of building an actress' career as a body of work, and fewer still were in a position to do anything about it. Too often, a woman with any appeal was packaged up like deli meat and served up as a mere sex kitten. Raquel Welch is s prime example of one who become a hollow sex symbol, although she did help Andy Dufresne during his time at Shawshank prison.

Julie Christie could easily have become another log in this fire. A British actress who rapidly shot to prominence, she was unquestionably beautiful. More importantly, Christie had talent. She exploded on the scene after playing Lara in David Lean's epic Doctor Zhivago and winning an Oscar for her role in Darling. She worked with prominent directors, but also turned down many roles in other films. As the 70s continued, she became even more selective in her roles, effectively rebelling against the idea of being a mere product.

McCabe & Mrs. Miller is a very unconventional film directed by the great Robert Altman, who often referred to it as an "anti-western." Starring Christie and Warren Beatty as partners in a brothel that proves to be a successful venture. Eventually, as the town prospers, their business attracts the interest of a mining company. The company makes them an offer they shouldn't refuse, but McCabe holds out; an action that will bring dire consequences. Music for the film was by musician and poet Leonard Cohen, whose moody rhythms and vibe fit the film like a velvet glove.

Prior to the making of McCabe & Mrs. Miller, Christie and Beatty were dating and had already been declared the most glamorous couple in Hollywood. They were the "Brangelina" of the late 1960s and early 70s before ending their relationship in 1973. Regardless, they remained close afterward, appearing together in Shampoo and in Heaven Can Wait.

Fahrenheit 451 gave Julie the opportunity to work with young French director François Truffaut. An adaptation of the acclaimed Ray Bradbury novel, it is a depiction of America as a dystopian nightmare, where hedonism rules and books are outlawed. Christie is showcased in dual roles here, as Linda Montag and Clarisse McClellan. Truffaut imagined these women as two sides of the same coin to the protagonist (Guy Montag), and felt Christie was capable of pulling off both roles. It was, however, a very difficult production that Truffaut endured, ultimately resulting in this quizzical and eccentric science fiction film.

Although these two films may be from Julie Christie's youth, in no way did her career peak during the 60s and 70s. In a rare feat for an actress, she has achieved a whole new degree of success as a mature woman. The 1980s were a quieter time for her, but the 90s saw her reignite her status as a cinematic legend. She appeared as Gertrude in Kenneth Branagh's unabridged film adaptation of Hamlet in 1996 and followed that with another Oscar-nominated turn in 1997's Afterglow. She joined the hit parade of British thespians who have appeared in the famous Harry Potter series, performing as Madam Rosmerta in 2004's Harry Potter and The Prisoner of Azkaban. But perhaps her most significan role in her recent years was that of an Alzheimer-stricken patient in Away from Her in 2006.

Never content to be just another cog in the machine, Julie Christie has proven to be more than a pretty face. Yes, British 60s swinger Austin Powers would have thought of her as merely "shagadelic," but she's so much more than that. She's a legend, a treasure, an intelligent and beautiful woman who has chosen her own path when the world and Hollywood were beginning to spiral out of control. So is Julie Christie a modern star for modern times? Yeaaaaah, baby.

Showtimes for the films:

McCabe & Mrs. Miller
Tuesday, Jun 21st
7:00
Wednesday, Jun 22nd
9:15

Fahrenheit 451
Tuesday, Jun 21st
9:25
Wednesday, Jun 22nd
7:00

Final Notes about the screening

Bring your new or gently used books for Fahrenheit 451 and receive FREE admission! The drive benefits Austin Public Library.

Preview: Ford, Fonda and America

2011-06-16T23:31:00.001-07:00

Hey folks, July 4th approaches. As we contemplate the USA's birthday and the state of our union, now it the time to rejoice in that most American of art form: motion pictures. Through the summer The Paramount has been showcasing the best of classic cinema, both foreign and domestic, but this weekend is particularly special. A double feature featuring Henry Fonda, a patriarch of Hollywood royalty and John Ford, who may well be America's greatest and most diverse film director ever.

Fonda requires little introduction. A giant star from the classic Hollywood era, Fonda appeared in over 100 films and shorts throughout his long career. Father of Jane and Peter Fonda, and grandfather to Bridget Fonda, his legacy continues its imprint on the world of film to this day. Best known from 12 Angry Men, Mr. Roberts, How The West Was Won, Once Upon A Time In The West and On Golden Pond, it is his appearance in The Grapes of Wrath that lingers as his signature performance.

Beginning in 1914, director John Ford cut his teeth in the silent era, and was one of the busiest filmmakers of the time. In a nine-year span between 1917 and 1928 he made 62 shorts and feature films. He seamlessly transitioned into talkies and continued his successful streak for years to come. His most lauded works of that period included Stagecoach and How Green My Valley. During World War II, he served the Navy as a documentary film maker for the OSS. Ford filmed on D-Day on Omaha Beach, and produced various propaganda films on behalf of the war effort. Post-war his statue grew further, and he made both critical and box-office hits: Fort Apache, Rio Grande, Mister Roberts and The Man Who Shot Liberty Valence.

The directors Ford has inspired reads like the roster of an all-star cinema director's club: Hitchcock, Welles, Truffaut, Godard, Kurosawa, Spielberg, Renoir, Fellini, Wenders, Lean, Scorsese, Tarantino and scores of others.

Two of his pre-war films screen this weekend, including the film adaptation of John Steinbeck's classic novel The Grapes of Wrath. A tale of a displaced family in the midst of The Great Depression. A very human story with overt socio/political overtones, it nevertheless is a brilliant film and a testament to the power of human perseverance. As a literary character, Tom Joad remains an icon of that most American of qualities: resistance in the face of adversity. As a performer, Henry Fonda gives the character new life, drawing us closer into such dire circumstances. His piercing eyes are a window into Joad's soul, reflecting not only the hardships around him, but the sincerity within.

Young Mr. Lincoln is in many way a love letter to the President that John Ford greatly admired. A story that takes liberties from any history one would find in a textbook, it is a fictionalized story of Lincoln as a blossoming lawyer and politician. Made in 1939, this marked the first collaboration between Ford and Fonda, but one can already see the majestic cinema they were capable of creating. The film humanizes Lincoln that anyone has ever dared, and reminds us that in America, the greatest feats of mankind can come from any single one of us.

A director repeatedly working with an actor is nothing new. If you stop and reflect for a moment, you can think of numerous examples in cinema: Scorsese and DeNiro, Kazan and Brando, Welles and Cotton, Spielberg and Dreyfuss, Zemeckis and Hanks among others. Seldom, however, do we ask ourselves why. What draws the artists together time and again, what are they aiming to say in their storytelling?

To me, the pairing of John Ford and Henry Fonda aim to say something about our society's virtue. Together they illustrate the greatness that Americans are capable of. They provide a window to our hearts and souls, and show a land that can unite for a cause beyond mere marketing jingoism. A land where we can toil and struggle and still remain optimistic. A land called... America.

Showtimes for the films:

The Grapes of Wrath
Saturday, Jun 18th
4:00 8:40
Sunday, Jun 19th
4:05

Young Mr. Lincoln
Saturday, Jun 18th
6:35
Sunday, Jun 19th
2:00 6:40

Final Notes about the screening

Bring two canned food items for The Grapes of Wrath food drive and receive a free small popcorn! The drive benefits Capital Area Food Bank.

Preview: Lovers on the Run

2011-06-12T18:19:00.001-07:00

Ah, young love. There are so many of those lovely and sometimes clumsy moments that lay the foundation for a budding relationship: a loss of what to say, unnecessary sweatiness, general anxiety... the first bank robbery, the first murder... wait, what?

Now, I'll be the first to admit we all do some pretty stupid things when we're young and lovestruck. Not listening to your loved ones who warn you about your new paramour? That's about par. But felonies? Back robberies? Unless you're reading this from a prison cell, it's safe to say neither you or I have indulged in such activities. Good thing we have the movies, so we can live vicariously through Hollywood criminals on the screen.

Bonnie and Clyde were notorious historical figures, and are the earliest of celebrity criminals in America. Their story was a fascinating one, and their exploits on the silver screen became a notorious and seminal film in modern history. Released in 1967 and directed by Arthur Penn, it is widely considered to be the first film of The New Hollywood era, which fearlessly broke down boundaries and challenged audiences in ways seldom seen before. Many scenes are reminiscent of crime films from the 1930s and 40s, but then escalate into orgies of graphic violence. And the finale is well... let's just say it's one of the great moments in the history of cinematic bloodshed.

Although visceral in its initial appeal, the film is actually incredibly well done. The editing and direction were groundbreaking, and the performances across the board are top notch. Not only are Warren Beatty and Faye Dunaway devilishly charming, the supporting cast features many familiar faces early in their respective careers: Gene Hackman, Gene Wilder and character actor Michael J. Pollard.

The average moviegoer may not be familiar with the crime story They Live By Night, and that itself should be a criminal act. The debut feature for director Nicholas Ray (Rebel Without A Cause, In A Lonely Place, Johnny Guitar), it not only depicts lovers on the run, but was empathetic with the plights of these young outsiders. It's a rich and beautiful film that has influenced countless films in the decades since its release.

Even though They Live By Night was Ray's first film, he had complete creative control at RKO Pictures under the guidance of John Houseman (acclaimed actor, producer, and former collaborator with Orson Welles). The result is a film noir that is striking in its camera movement and cinematography. A true masterpiece.

Both of these films are both pioneers in their depiction of crime and the lives effected by it. And like a cascade of dominos, they directly influenced future stories of love gone bad and fugitive romance such as Badlands, True Romance and Natural Born Killers. Love may be a many splendored thing, but it also can also have quite the dark side. Cupid may have shot these love birds through the heart, but he had better take cover. For these kids may well shoot him back... in the face.

Oh, that young love. Kiss kiss. Bang bang.

Showtimes for the films:

Bonnie and Clyde
Thursday, Jun 16th
7:00
Friday, Jun 17th

9:00

They Live By Night
Thursday, Jun 16th
9:15

Friday, Jun 17th

7:00

Final Notes about the screening

Preview: Eccentric Westerns

2011-06-07T23:37:00.000-07:00

While I wouldn't imply that Westerns are inherently conservative by nature, there is a fairly rigid definition of what makes such a film. Obviously because they are set in a specific time period, the setting remains a constant. There is also an adherence to unspoken rules present. Typically in them, one can usually find clear-cut morality tales with clear dichotomies: Cowboys vs. Indians, Rustlers vs. Rangers, Lawmen vs. Outlaws or basically Good vs. Evil.

Although Westerns are a genre of its own, one can usually label them as either dramas or action movies. In fact, most examples over the past 20 years can be pigeonholed in these two subcategories. In short, you either get Wyatt Earp (1994) or Tombstone. And as a result, making Westerns can often be like a coloring book. Stay within the lines.

The best in the genre, however, do more than romanticize the Old West. In fact, those that excel have pushed boundaries and blurred lines. They go beyond the idealized mythos and say something more about ourselves and our society. Prime examples include: Unforgiven, True Grit (2010), Shane, The Wild Bunch, McCabe and Mrs. Miller and The Searchers. A common thread in these is that events and characters are a little less black & white, and dilemmas are much more ambiguous.

Sometimes to be better you have to break the mold. This week, the Paramount Theatre presents two films under the heading "Eccentric Westerns," featuring Old-West themed films that are, well... a little more maverick than their brethren.

Very few have ever rolled the dice on Westerns as comedies. For every Blazing Saddles there are dozens more like Wagons East! (ugh) or Lightning Jack (groan). Destry Rides Again is a 1939 Western that stars Jimmy Stewart and Marlene Dietrich, and is different for being comedic and lighter fare. A saloon owner and his sweetheart have a stranglehold over a cattle rancher town, and have the sheriff eliminated. A drunk is appointed as the new official, but this triggers the return of Tom Destry, legendary lawman and pacifist.

Destry has shown up in several incarnations over the years. Director George Marshall made a remake in 1954 starring Audie Murphy called, simply enough, Destry. A Broadway musical ran in 1959 featuring Andy Griffith. In addition, the 1939 Destry Rides Again is itself a remake of a more traditional Western, directed by Benjamin Stoloff and starring classic actor Tom Mix in 1933. Got it? Exhausting, I know.

Of course, a movie doesn't have to be a comedy to be an Eccentric Western. Sometimes, one need only look at the cast to make you say "whuuuuuuut?"

For instance take the other film in the Paramount double feature, Johnny Guitar. It's a story of a stubborn saloonkeeper who constantly clashes with the town of ranchers; so nothing seems overtly out of place for the genre. Well, the protagonist is a woman and for 1954, I guess that does raise an eyebrow. But wait, this lead character is played by... Joan Crawford?!? Yeah, that is what they call outside the box.

I must admit, the snarky side of me at first wondered if Crawford would have a wire hanger in her holster rather than a six-shooter. I just can't imagine a woman with such scary eyebrows in a Western. But then one thing quickly intrigued me when I glanced at the remaining cast and crew. That was the involvement of director Nicholas Ray (They Live by Night, In A Lonely Place and Rebel Without A Cause). Although often categorized as a "moody" filmmaker here in America, European viewers hold Ray in much higher esteem. One could say that he was an inspiration to the French New Wave of the late 1950s and 60s, since both Jean-Luc Godard and François Truffaut are huge fans. In fact, of Johnny Guitar, Truffaut has said "It is dreamed, a fairy tale, a hallucinatory Western... Johnny Guitar is the Beauty and the Beast of Westerns, a Western dream."

Inclined to not take the word of highly influential filmmakers just because they're French? Well, then, let American auteur Martin Scorsese explain Johnny Guitar's significance.

Thanks, Marty. I'm sold now.

So this week, come and see two earlier Westerns that dared to break the mold. They colored outside the lines, and maybe even ran with scissors. You may consider them eccentric, refreshing, or just a little different, but at least you'll find more depth than you would in crap like Wild Wild West (easily the WORST WESTERN EVER). Heck, you even have some fun with the whiskey specials going on at the Theatre. Giddy up!

Showtimes for the films:

Destry Rides Again
Tuesday, Jun 14th
7:00
Wednesday, Jun 15th

9:15

Johnny Guitar
Tuesday, Jun 14th
9:00

Wednesday, jun 15th
7:00

Final Notes about the screening

Preview: Chaplin!

2011-06-06T14:58:00.000-07:00

You know, they say comedy is subjective. Why is there now consensus on what's funny? In my humble opinion, I tend to believe that's true because so little of it is genuinely "good" nowadays. I hate to sound like an old fuddy-duddy, but most current comedies display no sense of skill (or subtlety) anymore. Whether it's Todd Philips remaking his own gross-out movies or Judd Apatow letting his actors improv lines for 2 1/2 hours, so much of the "funny" just feels so damned labored.

The silent era would probably get my vote as the golden age of comedic cinema. What a great time it must have been to delight in the big three: Buster Keaton, Harold Lloyd and Charlie Chaplin. Which of them was "best" can never be agreed upon, but without a doubt that most widely known remains Charlie Chaplin. Few have ever approached his mix of charm, wit, intelligence and heart. Certainly no one in the past 80 years or so. His character of "The Tramp," is one of the most beloved characters in all of film history.

Although made during the dawn of the "talkies," City Lights was deliberately made by Chaplin to utilize sound but not dialogue. It became one of his most successful films, and the ending is widely loved and regarded as one of the most touching scenes ever captured on camera.

The Gold Rush is another of Chaplin's best, and features The Tramp heading to the Yukon in search of gold, but finding a girl. It is remarkable for being a silent film that was re-released in the 1940s with new content, namely a score and voiceover narration. Yes, it seems Chaplin is the first offender of the "constant tweaking" we now associate with George Lucas and his Star Wars movies.

The film, however, also features one of the most iconic scenes of Chaplain's career. For many, this sequence is just as identifiable with Charlie Chaplin as the derby hat, cane and moustache.

That reminds me... Going back to my argument against modern comedic talent for a second, I once heard someone contend that Johnny Depp is the closest to a modern universally loved comedic actor we have today. I always assumed they based their case on Captain Jack Sparrow (back when there was only one of those movies), but now that I think about it...

Ahhhh, now I get it. I agree, Depp is very good, but he's no Charlie.

Modern Times is often referred to as Chaplain's greatest achievement, a wonderful commentary on the industrialized (yet impoverished) world of the 1930s. Another mostly silent film infused with sounds and music rather than dialogue, it is famous for its romantic theme. This piece of music was later given lyrics and became the song, "Smile." Originally recorded in the 1950s by Nat King Cole, it has since been recorded hundreds of times by numerous artists, including the likes of Michael Jackson, Diana Ross, Judy Garland, Josh Groban, and many American Idol flunkies.

Best of all, Modern Times will be presented in a brand new and restored 35mm print. It promises to look AMAZING.

Oh, and get this. Before the 4 pm screening of Times on Saturday there will be a fun event with a Charlie Chaplin photo booth by Annie Ray at The Paramount, complete with their very own Chaplin and moustaches!

Also screening this weekend are assorted short films with Chaplin, made between 1918 and 1921: A Dog’s Life, A Day’s Pleasure and The Idle Class.

Come this weekend and partake of one of the purest comedic geniuses ever to grace the screen. Chaplin's works are timeless, and are sure to prove that this storyteller's heart and humanity can move you more than words can ever say.

Showtimes for the films:

City Lights
Thursday, Jun 9th
7:00

The Gold Rush
Thursday, Jun 9th
9:00

Modern Times

Saturday, Jun 11th

4:00 7:50

Sunday, Jun 12th

2:00 6:15

Chaplin Shorts

Saturday, Jun 11th

6:00

Sunday, Jun 12th

4:00

Final Notes about the screening

Preview: Brando on Film

2011-06-04T00:22:00.000-07:00

Is there anyone who had a more dynamic film career than Marlon Brando? Often regarded as the most talented and prolific actor of his generation, he stamped himself on the cinematic landscape with a number of high profile roles. The raw power displayed in A Streetcar Named Desire, Viva Zapata! and On The Waterfront established him as an electric performer, practically igniting the screen.

Although I can never deny the awesome display in his younger days, I often find myself fascinated by the Brando of the 1970s. Although not as incendiary in the middle of his career, he still burned on with intensity as seen in One-Eyed Jacks, Sayonara and Mutiny on the Bounty. His later work is more smoldering than blazing, but it reflects how he was able to adapt to older characters he presented to audiences. In many ways, Brando was like a boxer who learned the art of guile to counter a decline in brute strength, or like an aging basketball player who relies on intelligence rather than athleticism.

This week, The Paramount presents two films by the more mature Brando; presented by two special guests from The Alamo Drafthouse: Daniel Metz and Lars Nilsson.

In Burn!, Marlon plays Sir William Walker, a cynical mercenary who is hired to incite a slave revolt for economic reasons. Years later, he is hired again, this time to quash the political movement he helped create. Directed by Italian director Gillo Pontecorvo, it contains what Brando himself claims is some of his best acting work.

While The Last Tango in Paris is notoriously remembered for its erotic content, it does feature a vulnerability in Brando that harkens back to the tortured characters he portrayed in his youth. Here, he plays a middle-aged widower who begins an anonymous tryst with a young Parisian lady (Maria Schneider). Its controversy is far too lengthy to discuss here, but to this day it's a film that continues to polarize audiences nearly thirty years after its release.

Although Marlon would continue to take sporadic high-profile roles in later years such as Superman: The Movie, Apocalypse Now and A Dry White Season, he often was overshadowed by off-camera stories of his eccentric behavior. Nevertheless, Brando remains arguably the greatest actor to ever grace the silver screen. His power scorched every film he was in (with the possible exception of that Island of Dr. Moreau remake), and his passionate performances blazed a path for all actors to follow in his wake.

Showtimes for the films:

Burn!
Wednesday, Jun 8th
7:00

Last Tango in Paris
Wednesday, Jun 8th
9:40

Final Notes about the screening

Preview: John Hughes' Love Triangles

2011-05-30T01:58:00.000-07:00

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

Preview: Late Orson Welles

2011-05-24T09:20:00.000-07:00

"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
7:00

F For Fake
Wednesday, Jun 1st
9:00

Preview: Texas Film Commission 40th Anniversary

2011-05-17T22:00:00.000-07:00

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:

Silkwood

Tuesday, May 24th