Meetings of the Olympia Film Society Board of Directors are open to the public! Please join us in the OFS office at 416 Washington Street SE, #208, right around the corner from the Capitol Theater.
Are you interested in volunteering with OFS? Our volunteers do everything from distributing the printed program, selling tickets and popcorn to brainstorming what films we should show. Learn more about our volunteer opportunities and how you can get involved; join us on the last Sunday of each month for our volunteer orientation. Contact Alison, our Volunteer Coordinator at 360.754.6670x21 or volunteer@olympiafilmsociety.org to snag a spot.
Saturday, February 4 – The Royal Lounge and Spin Tee’s Presents…
Andre Nickatina, Xperience, Puget, Q-Storm
7:00pm doors/8:00pm show. $20.00 General Admission. Tickets available at Rainy Day Records, Spin Tees, The Royal Lounge, brownpapertickets.com, and at the box office night of show. All Ages with 21+beer/wine garden upstairs.
Born and raised in the Fillmore District of San Francisco, Andre Nickatina has been a Hip-Hop/Rap luminary since the release of his critically acclaimed debut, The New Jim Jones. Andre Nickatina continues to sustain a loyal fan-base, while engaging new supporters throughout North America.
Nickatina’s classic stage show, combined with his rare interviews, maintains his mystery and unique musicianship that has spanned two decades.
Nickatina’s vision as an artist has been admired by many of his peers as he is seen as one of the last Bay Area Legends who was not only present during the golden-era of Hip-Hop, but one of the few artists who has helped Hip-Hop grow and who has remained ultimately relevant with each successive album he has released.
Andre Nickatina, Xperience, Puget, Q-Storm
7:00pm doors/8:00pm show. $20.00 General Admission. Tickets available at Rainy Day Records, Spin Tees, The Royal Lounge, brownpapertickets.com, and at the box office night of show. All Ages with 21+beer/wine garden upstairs.
Born and raised in the Fillmore District of San Francisco, Andre Nickatina has been a Hip-Hop/Rap luminary since the release of his critically acclaimed debut, The New Jim Jones. Andre Nickatina continues to sustain a loyal fan-base, while engaging new supporters throughout North America.
Nickatina’s classic stage show, combined with his rare interviews, maintains his mystery and unique musicianship that has spanned two decades.
Nickatina’s vision as an artist has been admired by many of his peers as he is seen as one of the last Bay Area Legends who was not only present during the golden-era of Hip-Hop, but one of the few artists who has helped Hip-Hop grow and who has remained ultimately relevant with each successive album he has released.
Don Hertzfeldt Animation Screening
w/ Animator Q & A
Dir: Don Hertzfeldt / US / 87 min / 35mm film
Cult animator and Academy Award nominee Don Hertzfeldt (Rejected, Billy’s Balloon, the Meaning of Life) will be at the Capitol Theater for a rare one-night-only event! A selection of Don’s classic animated shorts will return to the big screen, culminating in the exclusive regional premiere of his newest film, It’s such a beautiful day: the third and final chapter in a trilogy about a mysterious man named Bill. Chapter One, Everything will be OK, won the Sundance Film Festival’s Jury Award in Short Filmmaking and was named by many critics as one of the “best films of 2007”. Chapter Two, I am so proud of you, received twenty-seven awards and was described by the San Francisco International Film Festival as “[his] best yet... even the Hertzfeldt faithful may be too stunned to laugh.” Nearly two years in the making, the 23-minute It’s such a beautiful day is Don’s longest, and most ambitious, piece to date: blending traditional animation, experimental optical effects, trick photography, and new digital hybrids printed out one frame at a time, the movie was captured entirely on an antique 35mm animation stand, one of the last operating cameras of its kind left in America. The entire animated trilogy will be screened together for the first time via new 35mm prints, immediately followed by a live on-stage interview and audience chat with Don Hertzfeldt.
w/ Animator Q & A
Dir: Don Hertzfeldt / US / 87 min / 35mm film
Cult animator and Academy Award nominee Don Hertzfeldt (Rejected, Billy’s Balloon, the Meaning of Life) will be at the Capitol Theater for a rare one-night-only event! A selection of Don’s classic animated shorts will return to the big screen, culminating in the exclusive regional premiere of his newest film, It’s such a beautiful day: the third and final chapter in a trilogy about a mysterious man named Bill. Chapter One, Everything will be OK, won the Sundance Film Festival’s Jury Award in Short Filmmaking and was named by many critics as one of the “best films of 2007”. Chapter Two, I am so proud of you, received twenty-seven awards and was described by the San Francisco International Film Festival as “[his] best yet... even the Hertzfeldt faithful may be too stunned to laugh.” Nearly two years in the making, the 23-minute It’s such a beautiful day is Don’s longest, and most ambitious, piece to date: blending traditional animation, experimental optical effects, trick photography, and new digital hybrids printed out one frame at a time, the movie was captured entirely on an antique 35mm animation stand, one of the last operating cameras of its kind left in America. The entire animated trilogy will be screened together for the first time via new 35mm prints, immediately followed by a live on-stage interview and audience chat with Don Hertzfeldt.
Sunset Boulevard w/ beer/wine in mezzanine
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Carnage w/ beer/wine in mezzanine
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Le Havre
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Le Havre
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Le Havre
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Le Havre
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Into the Abyss
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Dir: Werner Herzog/ 2011/ Germany / 107 minutes / 35mm film
Filmmaker Werner Herzog is known for his oddly compelling documentaries that shine empathetic light on fascinating subjects such as Grizzly Man and Cave of Forgotten Dreams. With Into the Abyss Herzog examines the controversial issue of capital punishment, as seen through the plight of two young men who committed a heinous crime in a small Texas town – all for a red Camaro. One man sits on death row, while the other is imprisoned for life. Through a series of penetrating interviews with the perpetrators and the people who were affected, Herzog delves into the true nature of crime, and the sad circumstances that can result when neglect and ignorance are allowed to coexist with heartfelt intention. A.O. Scott from The New York Times says, “what rescues Into the Abyss from its title is the stubborn individuality of the people it discovers, none of them entirely innocent or utterly evil, all of them vivid and memorable.”
Le Havre
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Dir: Aki Kaurismäki / 2011 / Finland/France/Germany / French w/ English subtitles / 93 min / 35mm film
With a heart as big and warm as summer sunshine, Le Havre charts a course for hope and optimism in even the most unlikely circumstances, and does so without being cloying or overly sentimental. Marcel Marx, a middle-aged man working his life away shining shoes in the French port city of Le Havre, crosses paths with Idrissa, a young Senegalese stowaway separated from his family. The French authorities are after Idrissa as an illegal alien. Marx, who also has an ailing wife to tend, wants to help the boy, but the odds against them are stacked high. When Marx decides Idrissa’s best hope lies in staging a charity concert to raise the money to get the boy out of there, he has to wonder if he can really rally the old fishermen of the quarter to his cause. Phil Coldiron at Slant magazine raves, “What can we say about a film that makes a miracle seem like the most common thing in the world?” J. Hoberman of the Village Voice calls Le Havre a “warmhearted comedy of underdog working-class solidarity,” adding that “[it’s] utopian precisely because it shows everything as it is not.”
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Carnage
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Dir: Roman Polanski / 2011 / France/Germany/Poland/Spain / 79 min / 35mm film
Acclaimed director Roman Polanski’s latest film is a darkly hilarious farce that devolves into chaos in one ill-conceived night. Adapted from an award-winning Broadway play, this black comedy of manners transports us to the confined quarters of an upscale New York apartment. The Longstreets (Jodie Foster and John C. Reilly) and the Cowans (Kate Winslet and Christoph Waltz) are successful, content, and living life as upstanding citizens lodged in the upper crust of society. When the two couples meet to discuss an altercation between their children, what should be a cursory meeting of the minds devolves into something more sinister as each finds the other repellent. As the night drags on, masks gradually wear away, revealing the ugly truth hidden behind the false civility worn by all involved. Daring in its forebodingly accurate sendup of societal hypocrisy, Carnage features bitterly funny, spot-on performances by a brilliant, multi-award winning cast. Kenneth Turan of the Los Angeles Times says, “Carnage is effective and hilarious.”
Sunset Boulevard
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Dir: Billy Wilder/ 1950/ US/ 110 minutes / 35mm film
Celebrated director Billy Wilder’s Sunset Boulevard is a bizarre tale of shattered dreams reflected through the harsh mirror of Hollywood. Set years after the silent era, faded film ingénue Norma Desmond (Gloria Swanson) is still a big star—in her head. Aged and resentful of the onslaught of scripted roles, the once popular actress stays holed up in her crumbling mansion while she waits to make her long-planned comeback. Meanwhile, Joe Gillis (William Holden), a down-on-his-luck writer, stumbles upon the scene and sees ample opportunity and money in the bank as he volunteers to create the role of Norma’s dreams for a plentiful fee. Escape may be futile when Joe enters the faded star’s world and becomes trapped in madness and decay. Considered one of the most sharply-written satires ever filmed, Sunset Boulevard is a timeless classic full of scathing humor and bitter wit.
Friday, February 24 – BACKSTAGE!
Free Whiskey/Billy The Fridge/A.K.A/Night Fox/Lord Nock
8:00pm doors/8:30pm show
$5.00 General Admission at the door night of show
ALL AGES
Free Whiskey, made up of Nicatine, Monica Lewhiskey, Adam, Chonie Diego, and DJ Deadbeat will be blessing the backstage for their very first all-ages headlining performance! Joining Free Whiskey will be Seattle’s half dozen doughnut eating champ/pay per view Jell-O wrestler/rapper Billy The Fridge. Also included in this super not-tame evening will be Olympia hip-hop legend A.K.A, as well as the stage-seducing Night Fox.
Free Whiskey/Billy The Fridge/A.K.A/Night Fox/Lord Nock
8:00pm doors/8:30pm show
$5.00 General Admission at the door night of show
ALL AGES
Free Whiskey, made up of Nicatine, Monica Lewhiskey, Adam, Chonie Diego, and DJ Deadbeat will be blessing the backstage for their very first all-ages headlining performance! Joining Free Whiskey will be Seattle’s half dozen doughnut eating champ/pay per view Jell-O wrestler/rapper Billy The Fridge. Also included in this super not-tame evening will be Olympia hip-hop legend A.K.A, as well as the stage-seducing Night Fox.
Saturday, February 11 – OFS Presents…
Olympia’s own TUSH! Burlesque Mounts The Masters!
With very special guests: Seattle's own Paris Original, Olympia's Wednesday du Monde, and featuring the musical styling of AUTRY! (Portland)
8:00pm doors/9:00pm show
$10.00 OFS Members/$15 General Admission. Tickets available at Rainy Day Records, www.brownpapertickets.com, and at the box office night of show
Mature Audiences- 18+ Only Please! 21+ Beer/Wine upstairs
What is your definition of art? Is it a movement, a color, a theme, a style, a song, a painting, a photograph, a film, poetry, a nude body? Art and Inspiration come in so many forms. We want to expose you to what inspires us, in our own art form, the art of the tease! Come and see our great art-inspired show, as we pay tribute to the masters, to music, to form, light, color and most of all, the beauty of the human body!! Bring your Valentine for a night of "raunch with etiquette." TUSH! Burlesque is sure to entertain you, titillate you, tease you, and fill you with romantic inspiration. TUSH! wants to be your muse!
Olympia’s own TUSH! Burlesque Mounts The Masters!
With very special guests: Seattle's own Paris Original, Olympia's Wednesday du Monde, and featuring the musical styling of AUTRY! (Portland)
8:00pm doors/9:00pm show
$10.00 OFS Members/$15 General Admission. Tickets available at Rainy Day Records, www.brownpapertickets.com, and at the box office night of show
Mature Audiences- 18+ Only Please! 21+ Beer/Wine upstairs
What is your definition of art? Is it a movement, a color, a theme, a style, a song, a painting, a photograph, a film, poetry, a nude body? Art and Inspiration come in so many forms. We want to expose you to what inspires us, in our own art form, the art of the tease! Come and see our great art-inspired show, as we pay tribute to the masters, to music, to form, light, color and most of all, the beauty of the human body!! Bring your Valentine for a night of "raunch with etiquette." TUSH! Burlesque is sure to entertain you, titillate you, tease you, and fill you with romantic inspiration. TUSH! wants to be your muse!
Saturday, February 18 – POWER Presents…
Annie
Sing - Along Benefit!
2:00pm doors/2:30pm screening
$10.00 Suggested Donation – Pay what you can
The sun will come out when “Annie” comes to town as part of a fundraiser for the social justice organization Parents Organizing for Welfare and Economic Rights (POWER). Bring your kids, neighbors, and friends for this special sing-along showing of the classic film “Annie.” There will be a costume contest, music, and fun activities for kids. There is no one better than the beloved little orphan Annie to remind us that compassion and optimism help us get through tough times.
POWER also brings hope to good people caught in bad situations by educating low-income parents about their rights and empowering them to find their voices in standing up to protect the social services their families need. Suggested donation is $10. Pay what you can but remember this is a fundraiser! Learn more about POWER at mamapower.org.
Annie
Sing - Along Benefit!
2:00pm doors/2:30pm screening
$10.00 Suggested Donation – Pay what you can
The sun will come out when “Annie” comes to town as part of a fundraiser for the social justice organization Parents Organizing for Welfare and Economic Rights (POWER). Bring your kids, neighbors, and friends for this special sing-along showing of the classic film “Annie.” There will be a costume contest, music, and fun activities for kids. There is no one better than the beloved little orphan Annie to remind us that compassion and optimism help us get through tough times.
POWER also brings hope to good people caught in bad situations by educating low-income parents about their rights and empowering them to find their voices in standing up to protect the social services their families need. Suggested donation is $10. Pay what you can but remember this is a fundraiser! Learn more about POWER at mamapower.org.
Saturday, February 18 – Food Bank Benefit Screenings...
Young Frankenstein 6:00pm
Dr. Strangelove 9:00pm
Admission to each screening is a can of food (or more) or a cash donation
All Ages with 21+ beer/wine upstairs
Come one and all! It's OFS Volunteer Projectionist Alan King’s 50th anniversary and you, Olympia, are the guest of honor! Come together for the screening of Young Frankenstein and Dr. Strangelove in glorious black-and-white. For the miniscule cost of a can of food or two for the Olympia Food Bank, you can enjoy two classic films and support those in need!
Young Frankenstein is the 1974 comedy directed by Mel Brooks and starring Gene Wilder as the title character, a descendant of the infamous Dr. Victor Frankenstein. The supporting cast includes Teri Garr, Cloris Leachman, Marty Feldman, Peter Boyle, Madeline Kahn, and more. The film is an affectionate parody of the classical horror film genre, in particular the various film adaptations of Mary Shelley's novel Frankenstein produced by Universal in the 1930s. Most of the lab equipment used as props were created for the 1931 film Frankenstein. To further reflect the atmosphere of the earlier films, Brooks shot the picture entirely in black-and-white, a rarity in the 1970s, and employed 1930s-style opening credits and scene transitions such as iris outs, wipes, and fades to black. The film also features a notable period score by Brooks' longtime composer John Morris.
Young Frankenstein 6:00pm
Dr. Strangelove 9:00pm
Admission to each screening is a can of food (or more) or a cash donation
All Ages with 21+ beer/wine upstairs
Come one and all! It's OFS Volunteer Projectionist Alan King’s 50th anniversary and you, Olympia, are the guest of honor! Come together for the screening of Young Frankenstein and Dr. Strangelove in glorious black-and-white. For the miniscule cost of a can of food or two for the Olympia Food Bank, you can enjoy two classic films and support those in need!
Young Frankenstein is the 1974 comedy directed by Mel Brooks and starring Gene Wilder as the title character, a descendant of the infamous Dr. Victor Frankenstein. The supporting cast includes Teri Garr, Cloris Leachman, Marty Feldman, Peter Boyle, Madeline Kahn, and more. The film is an affectionate parody of the classical horror film genre, in particular the various film adaptations of Mary Shelley's novel Frankenstein produced by Universal in the 1930s. Most of the lab equipment used as props were created for the 1931 film Frankenstein. To further reflect the atmosphere of the earlier films, Brooks shot the picture entirely in black-and-white, a rarity in the 1970s, and employed 1930s-style opening credits and scene transitions such as iris outs, wipes, and fades to black. The film also features a notable period score by Brooks' longtime composer John Morris.
Saturday, February 18 – Food Bank Benefit Screenings...
Young Frankenstein 6:00pm
Dr. Strangelove 9:00pm
Admission to each screening is a can of food (or more) or a cash donation
All Ages with 21+ beer/wine upstairs
Come one and all! It's OFS Volunteer Projectionist Alan King’s 50th anniversary and you, Olympia, are the guest of honor! Come together for the screening of Young Frankenstein and Dr. Strangelove in glorious black-and-white. For the miniscule cost of a can of food or two for the Olympia Food Bank, you can enjoy two classic films and support those in need!
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, commonly known as Dr. Strangelove, is a 1964 black comedy that satirizes the nuclear scare. It was directed, produced, and co-written by Stanley Kubrick, starring Peter Sellers and George C. Scott, and featuring Sterling Hayden, Keenan Wynn, and Slim Pickens. The film is loosely based on Peter George's Cold War thriller novel Red Alert. The story concerns an unhinged United States Air Force general who orders a first strike nuclear attack on the Soviet Union. It follows the President of the United States, his advisors, the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse. It separately follows the crew of one B-52 as they try to deliver their payload.
In 1989, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. It was listed as number three on AFI's 100 Years...100 Laughs.
Young Frankenstein 6:00pm
Dr. Strangelove 9:00pm
Admission to each screening is a can of food (or more) or a cash donation
All Ages with 21+ beer/wine upstairs
Come one and all! It's OFS Volunteer Projectionist Alan King’s 50th anniversary and you, Olympia, are the guest of honor! Come together for the screening of Young Frankenstein and Dr. Strangelove in glorious black-and-white. For the miniscule cost of a can of food or two for the Olympia Food Bank, you can enjoy two classic films and support those in need!
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, commonly known as Dr. Strangelove, is a 1964 black comedy that satirizes the nuclear scare. It was directed, produced, and co-written by Stanley Kubrick, starring Peter Sellers and George C. Scott, and featuring Sterling Hayden, Keenan Wynn, and Slim Pickens. The film is loosely based on Peter George's Cold War thriller novel Red Alert. The story concerns an unhinged United States Air Force general who orders a first strike nuclear attack on the Soviet Union. It follows the President of the United States, his advisors, the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse. It separately follows the crew of one B-52 as they try to deliver their payload.
In 1989, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. It was listed as number three on AFI's 100 Years...100 Laughs.
Sunday, February 26 – OFS Presents…
84th Annual Academy Awards Oscar Party!
4:30pm walk the red carpet/5:00pm show
$8.00 General Admission ticket includes a chance to win a “night on the town”, hors d'oeuvres, and your picture taken with a REAL OSCAR STATUE!
Tickets available at Rainy Day Records, www.brownpapertickets.com, or at the door night of show
All ages with 21+ beer/wine upstairs
This year’s Oscar host is Billy Crystal, but better yet, Saul Tannenbaum, vaudevillian extraordinaire and Mona Von Horne, the Belle of Berlin, are thrilled to be back at OFS with tunes and jokes and tunes and trivia - this time on the prestigious occasion of the 84th Annual Academy Awards. Over the years, Saul and Mona have mingled and tingled with best and the brightest of Hollywood glamour and are thrilled to bring their dear friends a bit of the magic.
RED CARPET PARTY!
Two competing pop news channels, Hot Toddy Capitol News and Yolli Channel 4th Ave, will be vying for your attention on the red carpet. They're very curious about you. Who designed your outfit? Who does your hair? Who has your vote for best actress? Which duo of glamorous reporters will get to you first? Be the first on the red carpet on Oscars day to dole out your information, but choose carefully... both teams are fantastic, fashionable, and ruthless!
Please join us for the 84th Annual Academy Awards Show on the big screen!
Many movies being nominated this year you will see in the current program: Tinker Tailor Soldier Spy, The Artist, Chico & Rita, My Week With Marilyn, The Iron Lady, and many more. Keep your eyes peeled on the OFS website calendar as future winning titles come in!
84th Annual Academy Awards Oscar Party!
4:30pm walk the red carpet/5:00pm show
$8.00 General Admission ticket includes a chance to win a “night on the town”, hors d'oeuvres, and your picture taken with a REAL OSCAR STATUE!
Tickets available at Rainy Day Records, www.brownpapertickets.com, or at the door night of show
All ages with 21+ beer/wine upstairs
This year’s Oscar host is Billy Crystal, but better yet, Saul Tannenbaum, vaudevillian extraordinaire and Mona Von Horne, the Belle of Berlin, are thrilled to be back at OFS with tunes and jokes and tunes and trivia - this time on the prestigious occasion of the 84th Annual Academy Awards. Over the years, Saul and Mona have mingled and tingled with best and the brightest of Hollywood glamour and are thrilled to bring their dear friends a bit of the magic.
RED CARPET PARTY!
Two competing pop news channels, Hot Toddy Capitol News and Yolli Channel 4th Ave, will be vying for your attention on the red carpet. They're very curious about you. Who designed your outfit? Who does your hair? Who has your vote for best actress? Which duo of glamorous reporters will get to you first? Be the first on the red carpet on Oscars day to dole out your information, but choose carefully... both teams are fantastic, fashionable, and ruthless!
Please join us for the 84th Annual Academy Awards Show on the big screen!
Many movies being nominated this year you will see in the current program: Tinker Tailor Soldier Spy, The Artist, Chico & Rita, My Week With Marilyn, The Iron Lady, and many more. Keep your eyes peeled on the OFS website calendar as future winning titles come in!
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Steve McQueen / 2011 / US / 101 min / 35mm film
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Shame is a provocative film that reveals an unflinching portrait of one man’s addiction in engrossing detail. Brandon (Michael Fassbender) is a damaged man. He is handsome and successful, and lives a life of intense desperation, based entirely on his addiction to sex. Day and night he seeks out partners to satisfy the insatiable need that seems to define his life, engulfing everything else in its path, as he sacrifices any normalcy or happiness to feed his carnal desire. He is reckless and lonely, trapped in a world of sensation that contains no tenderness, only a driving desire to satisfy his lust. With the surprise arrival of his younger sister Sissy (Carey Mulligan), Brandon is forced to confront his demons. But Sissy may be just as messed up as her older brother, if in a profoundly different way. Audacious in its undaunted portrayal of a taboo subject, Shame features a remarkably daring performance by Fassbender. Roger Ebert of the Chicago Sun-Times says, “Shame is an example of great filmmaking and acting, which is so effective you can’t look away.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Tomas Alfredson / 2011 / France/UK/Germany / 127 min / 35mm film
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Director Tomas Alfredson may seem an odd choice for the daunting task of adapting a John le Carre spy novel—has any novelist ever been served so well by the filmmaking industry?—because Alfredson’s chief credit until now has been 2008’s Let the Right One In, a vampire movie. In fact, someone who made his bones getting under a viewer’s skin, and making it crawl, couldn’t be a better choice. Gary Oldman (who has been known to play a few creepy characters himself, including Sid Vicious and Count Dracula himself) takes on the well-known le Carre role of master spy George Smiley, here responsible for uncovering a Soviet mole operating in the upper echelons of the British secret service. Ultimately, perhaps nothing works better for an effective depiction of the spy business than vampires. “We are miles away from Bond glamour,” writes Peter Bradshaw of The Guardian. “This is an arena of shabby compromises enacted by anxious middle-aged men.... It is a tatty, nasty, shabby and stiflingly male world of beige and grey, seen through a dreary particulate haze.... [It’s] more gripping and involving than any crash-bang action picture.”
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: Rob Reiner / 1984 / US / 82 min / High Definition digital
“The children born at Woodstock are preparing for the junior prom, and rock n’ roll is still here to stay. Rock musicians never die, they just fade away. This Is Spinal Tap is a movie about a fictitious British rock group that is rocketing to the bottom of the charts. It also is one of the funniest, most intelligent, most original films. The movie looks like a documentary filmed during the death throes of a British rock band named Spinal Tap. It is, in fact, a satire. The rock group does not really exist, but the best thing about this film is that it could. The music, the staging, the special effects, the backstage feuding, and the pseudo-profound philosophizing are right out of a hundred other rock groups and a dozen other documentaries about rock.” – Roger Ebert, Chicago Sun-Times
“The children born at Woodstock are preparing for the junior prom, and rock n’ roll is still here to stay. Rock musicians never die, they just fade away. This Is Spinal Tap is a movie about a fictitious British rock group that is rocketing to the bottom of the charts. It also is one of the funniest, most intelligent, most original films. The movie looks like a documentary filmed during the death throes of a British rock band named Spinal Tap. It is, in fact, a satire. The rock group does not really exist, but the best thing about this film is that it could. The music, the staging, the special effects, the backstage feuding, and the pseudo-profound philosophizing are right out of a hundred other rock groups and a dozen other documentaries about rock.” – Roger Ebert, Chicago Sun-Times
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Dee Rees / 2011 / US / 86 min / 35mm film
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
The first feature film from director Dee Rees (with Spike Lee as an executive producer) tells a sensitive yet harrowing coming-of-age story about Alike (played by Adepero Oduye), who is grappling with her sexuality and other facts of life. Her father is a policeman and Kim Wayans (of In Living Color), who plays her mother, is desperate to put Alike on the straight and narrow—not surprisingly, she finds a hundred ways to go about that exactly the wrong way. Rees attacks her gritty, naturalistic material with a high sense of style, pouring on allusive camera angles and movements and strange overlays of color—Ed Gonzales of Slant magazine compared the result to those of the estimable Dardenne brothers (The Kid with a Bike, Lorna’s Silence, The Son). But Rees’s greatest strength here may be her penetrating understanding of unruly family dynamics and all its interplay as Alike comes to an understanding of herself. “Rees gets how a child’s closeted life can lead to contentiousness in the home, wrecking relations between children and their parents, husbands and their wives,” writes Gonzalez.
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: Jason Reitman / 2011 / US / 94 min / 35mm film
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
From the writing/directing team that created Juno comes Young Adult, a smart and bitter black comedy that explores the fate of that super popular girl in high school when she’s confronted with real life. Charlize Theron (Monster) plays Mavis, a one-time prom queen, now 37 year-old author of cranked-out serial novels for teenagers. Mavis was once the shining hope of her class, especially when she left her hometown for the bright lights of Minneapolis. But her less than successful quest to follow her dreams, and nagging insecurity, has made the once bright star into a vindictive, immature monster. Jobless and searching for purpose, Mavis returns to her hometown to pursue her ex-boyfriend, who is now happily married and starting a family. This is crazy, but a determined Mavis will not be stopped. Only Matt (Patton Oswalt), an unpopular classmate she runs into by chance, understands her world, and tries to sway her from her deranged motives. A.O. Scott of The New York Times says, “In Young Adult, the established codes of modern movie comedy are scrambled and subverted in ways that are puzzling, amusing, horrifying and ultimately astonishing.”
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Kids/Family Film
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Rob Reiner / 1984 / US / 82 min / High Definition digital
“The children born at Woodstock are preparing for the junior prom, and rock n’ roll is still here to stay. Rock musicians never die, they just fade away. This Is Spinal Tap is a movie about a fictitious British rock group that is rocketing to the bottom of the charts. It also is one of the funniest, most intelligent, most original films. The movie looks like a documentary filmed during the death throes of a British rock band named Spinal Tap. It is, in fact, a satire. The rock group does not really exist, but the best thing about this film is that it could. The music, the staging, the special effects, the backstage feuding, and the pseudo-profound philosophizing are right out of a hundred other rock groups and a dozen other documentaries about rock.” – Roger Ebert, Chicago Sun-Times
“The children born at Woodstock are preparing for the junior prom, and rock n’ roll is still here to stay. Rock musicians never die, they just fade away. This Is Spinal Tap is a movie about a fictitious British rock group that is rocketing to the bottom of the charts. It also is one of the funniest, most intelligent, most original films. The movie looks like a documentary filmed during the death throes of a British rock band named Spinal Tap. It is, in fact, a satire. The rock group does not really exist, but the best thing about this film is that it could. The music, the staging, the special effects, the backstage feuding, and the pseudo-profound philosophizing are right out of a hundred other rock groups and a dozen other documentaries about rock.” – Roger Ebert, Chicago Sun-Times
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: Steven Spielberg / 2011 / US & New Zealand / 107 min / 35mm film
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
The Adventures of Tintin series was created in 1929 by a Belgian artist who called himself Hergé. Clever and ever-curious, Tintin is a reporter-turned-detective whose pursuit of villains, criminals, treasure, and the occasional artifact takes him all over the world, along with a colorful cast of friends. Hergé based his stories on real-world events and cultures that had caught the Belgian national attention — from space exploration to Arab oil wars — and brought them to life for his readers in inspiring and exciting ways. “The Adventures of Tintin comes at you in a whoosh, like a volcano full of creative ideas in full eruption... It hits home for the kid in all of us who wants to bust out and run free.” Peter Travers, Rolling Stone
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Dir: David Cronenberg / 2011 / UK/Germany/Canada/Switzerland / 99 min / 35mm film
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
The names Sigmund Freud and Carl Jung are universally linked to the early creation of the practice of psychoanalysis. In director David Cronenberg’s A Dangerous Method, the complicated relationship between these two stalwart figures in the study of the inner mind is explored in intricate detail. Freud (Viggo Mortensen) and Jung (Michael Fassbender) are colleagues with differing viewpoints, but similar goals. When confronted with Sabina Spielrein (Keira Knightley), a demented woman in need of care, both doctors see an opportunity to treat this frenzied new patient with their experimental treatments. But the caustic presence of this frantic entity may be the key factor that drives a wedge between the two colleagues and their important contributions to the medical world. Provocative and fascinating, A Dangerous Method features acclaimed performances by Mortensen, Fassbender, and most notably Keira Knightly. A.O. Scott of The New York Times calls A Dangerous Method “A subtle and intellectually thrilling true story.”
Dir: Phyllida Lloyd / 2011 / UK/France / 105 min / 35mm film
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Dir: Simon Curtis / 2011 / UK & US / 99 min / 35mm film
When legends collide, all bets are off. My Week with Marilyn is based on a memoir by Colin Clark, a behind-the-scenes crew member who tells the story of his unlikely friendship with Marilyn Monroe during the making of the 1957 romantic comedy The Prince and the Showgirl. It’s perhaps most successfully concerned with the ill-fated crossing of paths between Monroe and Laurence Olivier, who directed that picture and starred opposite Monroe. As My Week with Marilyn takes a good bit of glee in showing, that production turned out to be a certifiable fiasco on many different levels. Michelle Williams (Meek’s Cutoff, Blue Valentine) takes full advantage of her opportunity here to play Marilyn Monroe, the great screen icon and troubled mid-20th-century actress who was always smarter and more gifted than anyone ever seemed willing to let her demonstrate. For his part, the formidably multitalented Kenneth Branagh enjoys his own opportunity to play the legendary Olivier. Julia Ormond is on hand to play Olivier’s wife Vivien Leigh, and the formidable Judi Dench shows up as Dame Sybil Thorndike.
When legends collide, all bets are off. My Week with Marilyn is based on a memoir by Colin Clark, a behind-the-scenes crew member who tells the story of his unlikely friendship with Marilyn Monroe during the making of the 1957 romantic comedy The Prince and the Showgirl. It’s perhaps most successfully concerned with the ill-fated crossing of paths between Monroe and Laurence Olivier, who directed that picture and starred opposite Monroe. As My Week with Marilyn takes a good bit of glee in showing, that production turned out to be a certifiable fiasco on many different levels. Michelle Williams (Meek’s Cutoff, Blue Valentine) takes full advantage of her opportunity here to play Marilyn Monroe, the great screen icon and troubled mid-20th-century actress who was always smarter and more gifted than anyone ever seemed willing to let her demonstrate. For his part, the formidably multitalented Kenneth Branagh enjoys his own opportunity to play the legendary Olivier. Julia Ormond is on hand to play Olivier’s wife Vivien Leigh, and the formidable Judi Dench shows up as Dame Sybil Thorndike.
Dir: Phyllida Lloyd / 2011 / UK/France / 105 min / 35mm film
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Dir: Phyllida Lloyd / 2011 / UK/France / 105 min / 35mm film
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Former British Prime Minister Margaret Thatcher was a polarizing force during the period of her rule. In the dramatic biopic The Iron Lady, the great actress Meryl Streep embodies this once powerful woman in a brilliantly realistic performance. Set more than a decade after Thatcher’s ousting from office, we join her in her later years, as she copes with the loss of her spouse and fading glory. Through dramatic time shifts and vivid memories, we are transported through her life and her eventual rise to power, showcasing the icy candor and shrewd detachment Thatcher was forced to exhibit to elevate through the ranks. From the past to the present, this fact-based film ties in current affairs that trigger relevant recollections in the woman who ruled Britain in one of its most turbulent periods, all while showing the impact of her questionable policies on the country she helmed for over 11 years. David Rooney of The Hollywood Reporter says, “With Meryl Streep delivering one of the year’s finest performances, The Iron Lady is essential viewing regardless of political persuasion or the lack thereof.”
Dir: Simon Curtis / 2011 / UK & US / 99 min / 35mm film
When legends collide, all bets are off. My Week with Marilyn is based on a memoir by Colin Clark, a behind-the-scenes crew member who tells the story of his unlikely friendship with Marilyn Monroe during the making of the 1957 romantic comedy The Prince and the Showgirl. It’s perhaps most successfully concerned with the ill-fated crossing of paths between Monroe and Laurence Olivier, who directed that picture and starred opposite Monroe. As My Week with Marilyn takes a good bit of glee in showing, that production turned out to be a certifiable fiasco on many different levels. Michelle Williams (Meek’s Cutoff, Blue Valentine) takes full advantage of her opportunity here to play Marilyn Monroe, the great screen icon and troubled mid-20th-century actress who was always smarter and more gifted than anyone ever seemed willing to let her demonstrate. For his part, the formidably multitalented Kenneth Branagh enjoys his own opportunity to play the legendary Olivier. Julia Ormond is on hand to play Olivier’s wife Vivien Leigh, and the formidable Judi Dench shows up as Dame Sybil Thorndike.
When legends collide, all bets are off. My Week with Marilyn is based on a memoir by Colin Clark, a behind-the-scenes crew member who tells the story of his unlikely friendship with Marilyn Monroe during the making of the 1957 romantic comedy The Prince and the Showgirl. It’s perhaps most successfully concerned with the ill-fated crossing of paths between Monroe and Laurence Olivier, who directed that picture and starred opposite Monroe. As My Week with Marilyn takes a good bit of glee in showing, that production turned out to be a certifiable fiasco on many different levels. Michelle Williams (Meek’s Cutoff, Blue Valentine) takes full advantage of her opportunity here to play Marilyn Monroe, the great screen icon and troubled mid-20th-century actress who was always smarter and more gifted than anyone ever seemed willing to let her demonstrate. For his part, the formidably multitalented Kenneth Branagh enjoys his own opportunity to play the legendary Olivier. Julia Ormond is on hand to play Olivier’s wife Vivien Leigh, and the formidable Judi Dench shows up as Dame Sybil Thorndike.