Alamo Guide: Feb-Mar 2005

5/9/2018 Alamo Guide: Feb-Mar 2005 - slidepdf.com

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Thclu$tin lilm sociGu [lcsGnt$...........................P9 6 illidnium ilouies................,.., ......-.... pg ttAfrican Cinema and the Texas Documentary Tour Bufff Sing-A-Long, AStar is Porn, and more

Soutn lamar Gnnil 0noning ...... Pg t-9 Weiril Wednesday..---*- .... pg tO-20The new-Alamo opens this March Classic and forgotten exploitation movies from the past

lhe b_est of Uollywood is always at the Alamo Halo Havoc, Rocky Horro4 Videoke & more

Ihe Sinus Show.-...................-............-.-...................... Pg 11 Affitin's lir Eui6r Cnamliorsni[........-..............pg

2tA}stin s best_live_com_edy show Grand prize winner goes on to compete in the nationals

Everyone's favorite access show live, one last time Presented by The Harry Ransom Center

Gonzo film archivist live in person delivering insanity! The Initil Ggast [GtiUiSt$ [le36nt............,.....-... pU ZO

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Pg 1S Sarurday lllorninu lfids Glu[................................... pg 28The legend himself, live with his new film

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Presented bythe Austin ]ilm $ociety

]UIIOH

lVith this ouhageous fmily crime-

dran4 bad-boy Takashi Miike takes a

5rnple rr\entr stury and efiortles.l)

tra[J{ormb lL rnlo lhc one o[ dre mott

brnod); preposterous and dowruighi

entertaining action epics to hit the

screen in vears. The crime outlit

headed up'b1

lirr Fudob lmrll has

ruled solidly for years, but shit is about

to hit the fan. When Fudoh is forced to

decapitaie his own son as a sacri{icial

ge.ture lnsard a rrralgan5,

htyoungest son vows revenge. An armv

of children and trenage prosiihrtes,

through stringent orgmization under

ihe guidance of the revenge-driven

fuli. .tnre to bring about the famrly'.

downfall in a mmer be{itting a

bloody Shakespearian tragedy. This is a

fairly early ef{ort by Japan's most

prolific auieur; that said, it is still the

14th {ilm in his impressive md

con{ounding body of work. All the

Miike trademarla are here: the

exaggerated camerawork, gtls

shooting poisoned darts out of their

vaginas, spraying blood, flying brain

maiter - you know, all the good stuff.

Do not niss it. (Kier-La Janisse)

\ E:s q&rpb?{t

Aulllil0il "'.;::

Japmese director Takashi Miike's AUDITION will mess you up, and that's no lie..lt gnaws on your mind like a

iutnish.d lurua *d you cm fully expect to have a rough time of it later, whtn you close your eyes.and try to.sleep

That,s when the drems will likely arrive, md why not? AUDITION, a horror.film masquerading as a_deepl,v

disturbine meditation on the war between the sexes, is itsel{ more dream-like thm real. Like the best of David

Lynct, yJu're never quite sure if what you're seeing is really happening, oI if it's some aw{ul hallucinatory

episode, a sklpping reiord lodged in the protagonist's warped and stuttering mind. Miike was a Cames {avorite

mth AUDITIb\ ind h.'s o riajor mover in ihe lapmese tihn industry but he's virtually unknown stateside

AUDITION should help alleviate that sorry situation. Apart from the film's cming willfully surreal atmosphere,

it's also beautiful to look at (up mtil the scene wi@

THT HAPPIIITSS ll] IHT IfiTAKURIS

THE HAPpINESS OF THE KATAKURIS is a joyously demented musical-conedy built on a macabre ioundation,

like THE SOUND OF MUSIC with a kickline of corpies. On a remote country plot nestled mong rollinghiiis and

mountatn peals, the Katakuri Iamily pusues its sfared dream o{ opening a quaint€uesthouse for tourists. They

each haveieason to escape tleir {omer lives; but their bad fortme gets worse when_ their first guest commits

suicide, Iollowed shortly-by the death ol a Sumo wrestler looking for a good time with his underage girlfriend.

Rather than call the police and roin their new business, the Kataliuis decide to quietly dispose o{ the momting

pile of bodres. Against this grim backdrop, Mrike's hdomitable characters burst into {mtasy md song, swept

llnnn bv a sumi-side opti-riism that's cheerfully oblivious to a dire set of cirmmstmces. Miike isn't exactly

Stanl"evbonen, 6ut his simple md mrefined choreography has m element of spontaneity that's consistently

surprisilg md delightful. Even if the rcad to happinesiis-litt'ered

with msightly obstacles, he makes it one worth

GITY 0r 10sT souCITY OF LOST SOULS (AKA HMARD CITY) is another tour de force lrom Japm's premier visual stylist o{ the

moment, a turbo-charged piece of blood-drenched gmgster lunacy set against the backdrop of Rio, okinawa and

Tokyo's Shiniuku distrlct. Loosely adapted fron the novel by Seishu Hase, ClTY..plmges straiSht into the actionin lr4iiket om inimitable style: our hero Mario is mleashed from jail md sets out straight away on an airborne

mission bv hehcopter to retrieve his Chinese moll from a busload oI illegal aliens on their way to being dePorted.

Once back in Tokyo the hvo get caught in the crossfire between a cocaine smuggling Chlnese Triad md a sadistit

Yakuza boss and"his

henchmar in a brutal stmd-o{f that will ultimately leave the streets of Shinjulu strewn with

corpsesbefore the fiJm's grisly resolution. Therc'sno prctense as to whatthis filn's all about, afast-Paced actionel

wi$ its rongue Irrmly plilled in cheel. (\{idniSht Eyel

If David Lynch moved to Japan md started making yakua

gangster thriller:, the resull miBht be COZU. The latest film

6om T.pm r one-man fjlm factoru Tal.ashi Mirl<e could be

the {atherless offspring o{ some illicit midnight mion

Ozaki mistakes a Chihuahua for a "yakuza attack dog", md then neuhalises the tlueat with himilable

overkill, GOZU takes no prisoners. It focuses on the hadihonal yakua movie themes of loyalty,

camaraderie, and a blood-soaked code of honour, witl Miike taking Minami on a joumey into his gult-

ridden psyche as he's forced to kill the man he calls brother Trapped in a psychotic town where no one

is what they sem while semching for Ozalc's nissing corpse, Minami is pursued by a lactating woma&

a trmsvestite coffee shop owner, an American who reads the Japanese dialogue off gimt oe cards, md

a $ostly minotaur's head (the 'gozu' of the title). Miike's filrns have always been edgy affairs, blt none

between Lynch's BLUE VELVET and Muke's om DEAD

OR ALIVE triloev. Opemng witl a scene in which crazy

hive seimecl as rich or as perve"rse as this. A one-way iicket to Weirds'ille, GOZU Proves that Miike is

one of the most consistently imovative md unpredictable directors in the world. (Jamie &ss4!

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:i, :: ;iillfi[.p,ffiftE:il1;fl|Ilft]i,tr [,$]:+ i:;,;: ;.;-1998 118mir

THE BIRD PEOPLE OF CHINA is a shmge, lyrical comedy

drma that has much in common with the nagic realism of

Wemer Herzog. Masahiro Motoki plays Wada, a Japanese

businessmm who is sent to rural China to seek out some rare

jade for his compmy. As he and his guide Shen begin their

journey into the mourtains, they arejoined by a tough Yakuza

whose gang is owed money by Wada's bosses. His mission is

to make sure Wada delivers the jade into the hmds of the

gang, but finding themselves shanded in a remote village,

both men are slowly chmged by their surroundings. In mmy

ways the director's most accomplished work. (The Spinning

lmage)

i$lltlffiU.ililill $0lHt[{ ffn[',{.:ilf,ftilS. -,

1995 102 nin

Miiket lirst theahical release, the engrossing SHINJUKUTRIAD SOCIETY centers aromd corrupt police officers

cracking down on a thiwmese triad gmg called The Dragon's

Claw Society which operates a black mmket hade of children's

organs to affluent fmilies.

*St$iffi *.ilHDl$t;'ffi *.B.$,ilffi ili2000 114 min

Allegedly based on a number of true cases, THE GUYS FROM

PARADISE is a prison story rt in the Phillipines against a

backgromd of comptioo dng haffi&ing md paedophilia.

This being a Takashi Miike film however, the results re far

from conventional. It's es*ntialiy a fi1m of two parts: the first

set in a prison nmed "Paadise" where a srnall commmity of

Japanese prisoners led by veterm riminal Yoshida mjoy a life

of relative freedom and privilege, the second the story of their

exploits outside prison walls with police and a deranged

Yakuza on their hail. (Midni$t Eye)

ffi,*Slllf]*I l.ikt$fr,$Will!ffiS1997 95 min.

Bad circumstances back home {orce Yakuza loot soldier Yuji to

endure a miserable se)ftxile in Taipei. Desperate for casl1 Yuji

is reduced to perfoming hits {or local triad boss Ke. One day,

his life is merpectedly chmged by the arrival of a son he

didn't know he had. While he hitially ignores the boy (who is

mute), the teminally lonely Yuji eventuaily acknowledges his

existence md even brings him along when he travels across

country to perform mother conhact killing.

tUltilEflt .IlltltHtrS.':$0ffi*[*,=a'':i]r;-.-.102 nin 1997

FULL METAL YAKUZA is part ol Miike's extensive oeuvre of direcfto-video films.

To this day, as intemational critical acclaim for his work increases, the director

continues to make {iims for both cinema and the more exploitationai video market.

In Japan however, this market is on a notably higher level o{ quality thm the DTV

arena in the US or Europe. It is a market that allows gilted yourg filmakers a good

momt of {reedom to experiment. liltered through Japmese sensibilities, the

premise of Vcrhoeven's ROBOCOP is applied to the yakua genre md grven a shong

psycho-sexual mdercurrent. In addition, chmbara swordplay (in expertly directed

action sequences) replaces gunfire md situational comedy replaces ROBOCOP's

more dark and serious overtones. Highly recommended. (Midnight Eye)

ffi,t|ffi$'t$tff Hn}.fi il8-$081tff,ffi fl$}:.:ffiffi f,fl fi.ii*1999 105 min.

Desperate to leave fapan but unable to get a passpoft, half Japmese/half Chinese

Ryuichi heads for'Iokyo with his buddies Shunrei md stuttering dimwit Chang.

Upon arriving in the Shinjuku red light dishict, they pick up the hooker Anita mdstari peddling toluene (m industrial solvent that gets the user high when snif{ed), ina desperate effori t0 raise enough cash to escape to Bruil. Miike uses random

bleeping of irnocuous dialogue to make it seem dirty, md censorship ol legally

forbidden sights is done in the most obnorious way possible by scraiching the

emulsion off of the film. Now, imagine all of this acconpanied by a lmgely accordion

score!

lt[IS ffi[,: trHil fl,t:+$[s'. fi,t*frffi : :: ::=; i i :]i:: 3 i : : -. :

1998 103 min.

Chuji is m avid music lover Playing his hamonica pari time at a blues night dub,

Chuji drems of becoming a big-time musicim. But his rvork doesrft quite pay the

bills andhe becomes a smalltime drug dealer to make ends meet. His life soon tums

upside dom when young Yakuza member Kenji collapses in the alley behind the

nightclub where Chuji works. Kerli and Chuji soon become friends and Chuji is

introduced to dre "true" world of the Yakua. Chuji's chaisma soon starts him

climbing up the ranks in the mderworld . . . a rise not without consequences as itbreeds jealousy and hatred, even among friends. (AZN Filng

Hf$t * fSh tl : :::ri : ; :'. r i ;: i]: :i

: :i;i :tt: :::;i1:ri..::;. :ilri ." = .

2003 100 min

The film follows the story of a Yakua gang that finds itself in houble when, upon

losing an argument, their boss Mr Muto gets into a serious amomt of debt to some

Yakuza bosses from rival gmgs in the area. On the eve of a plamed assassination,

Muto's life is saved when he's arrested on cirninal charges md shipped off to prison

for two yems, but while he's in the big houre, his hvo second-in-commd gmg

nembers, Seiji (Riki Takeuchi) and Yoshifumi, decide to take cae of business in his

absence by taking the war to the streets md into the hornes o{ the opposing Yakua

gangs who were targeting their boss. (D\D Maniacs)

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r-sunsrntr,at'i. cinemawaspoliticalfromthebegiming.Thecolonialauthorities,ban

;;;;;fil#.'kl"stuanu*Latn.*nti..ntfordecadJs.The.effeciwast:9*AfIi'T'i;*"1P,::n$l:ffTi"Tly"1t:*:iiti::':T:i*tril:"':;.:;ffiffiilrd:;; til;h";;i;J;f .h" culturat ghetto it was boxed into, and to heal its womds. with the "Posfcolonial Africm Chena" series, the Amtin

fit*io.l.ty on..^ore

piays m exemplary role by filling the cinematic vacuum of Alrican cinema in the U.S, It gives Austinites m outstanding opPortunity to expedence

its richness, complexities *d ,eurons *t/, ;;#;^lii Airt.; musr nor be lelt behind. Notwithstmding thetilt of the lineup of this fikn series towards west Africa, the

o{ Africa,"a iar crv from the stereotlpes, clich6s and oversimplifications of colonial cinema and the news'

NDEYSAAN (THE PRICE OF FORGIVENESS) - TUES 1 Feb 7:00pm - D. Mmour Sora Wade 2002 90min'

in a mvthical pre-colonial village fishurg village on the south coasiof Senegal, a shmge ocem mist hangs over the waters for

*.rt , uoa *'d 16*t tishemen liar to go"out to"sea. One son of a wise elder, after his {ather's death, decides to take his boat onio

th. *at.* ard ,etu*s when the mistilift with a fulI catch. He has become a hero, md has won the hemt of the prettiest gdin

the uila!., but hur ulso won the envy of his best friend, who covets the girl. Mren the friend murders the hero, md drags_ttre

l"iyi"!.",."*.*thevillageexplicitlyaccuseshim.Heimnediatelymarriesthegirlthey'dbothloved,butshetellshim

thuirn ir p*gnrnt, that she imts no se^ual relationship, and.that he will raise his victim's son as his own m the price of

{orgiveress. piinful as her pdce hms out to be, that is not enough for the ghost o{ the victin.

PIECES D'IDENTITES (PIECES OF IDENTITY) - TUES 8 Feb 7:00pm - D' Mweze Ngmguta 1998 97min'

.L-o.gol.re

hiUul ki"g havels to Brussels in search of his longJosffavorite.daughter,and.customs. officials, the police, md a

gr*Jy'*tiqu.r aeater"all try to strip him of his headdress md other regalia held sacred by his people. Arnong the film s mmy

Fnuinir i, iti u.tit. aepktioir of 6migr6 life h Europe; Ngangua lovingly shows the exuberance, hope, despair, md cultural

aisi*ction of tn etiim quarter, wiiere the ptoud fuog.i.coi*ters an aiiortment of eamest studmts, Petty thieves, racist club

owners, md African nationalists

CTANDO (CTANDESTINE) - TUES 15 leb 7:00pm - d Jean-Marie T6no, Cameroon, 1996,35m, color,95 min

Sobgui has relucantly become a glpsy cab driver (a clmdo) after losing hrs highly prized computer job. Althorgh apolitical

h. u"[o."d unti-gou.mment actiu]iti to use the copy machine in his office, for which inlraction he wm arrested by undercover

ug."tr 1.f*a*ti.. ttremselves) and thrown into pilson.'lAhen the govement changed he was apparendy set free, but in a

ffi.iy .f*J*tn. manner. With no ;ob, he repairs hs cur md beconc an unlicensed taxi driver, but the official tuis md

coos ionstmtlv tlueaten him. Veteran iamerooniil djre(t0r lem-Marie Teno masterfully hmdles a narrahve shucture full of

flalhback from Cermmy to Cameroon, so that Sobgui's fullstorybecomes increasingly cleuer with time.

KARMEN GEI - TUES 22 Feb 7:00pn - D Joseph Gai Ramaka 2001 86min'

liorp., fuf"ti-Aar novella and Bizet's celebrated opera sees its 53rd filrn adaptation with this musical from Senegal. Like every

Carnlen, KARMEN CEI is about the conflict between in{inite desire lor fieedorn and the laws, conventions, lmguages, t}re

h*^ ii*itutio*.hich constuain that desire. Since this is an Alricm Cmen, Ireedom necessarily has a political dimmion.ffr. op*ing

"anir set in a women's prison on Goree Island, site.of the notorious slave castle. Karmen and dte women in the

orjson usc dance md music ,, u r.upon of resistance agairot dehumanizing regimentation m has so often been the case

'tf,r""gh"", tt'. efti* Diaspora. Kariren literally hansfo-ms prison life into a musical production number celebrating the

triumph ol her sexuality md that of the other women

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tempered steel and (seemingly) diagnosably insane, she's certainly a figure you can't take your eyes otf'

(d. Ramona Diaz, 2003,103min, uroated) Fomer Philippine first lady Imelda Marcos has been pursuing filmaker

ifamona S. llu" ttrough the courts, hymg to halt screenings of Dial's hilarious and hagic documentary IMELDA.

i*uraul- rr,. or trr. 0,0"00 or 200 pairs of sh"oes, depending oin whom you b_elieve - shouldn't bother. Mmy Filipinos

mavneuerforqiveherforherroleinthecorruptandrap'-aciousre$reofherlatehusban4Ferdinmd'norshould

il;i'B;ifilr;|;";aywellseelmelda,inher'self-appointedquesltobringlovemdbeauStotheworld'asaself-delided hero"lne in the mode of Blmcie DuBois. Altemdtely Pathehc. charismalic, shikingly intelliSent hard as

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.i"-rt ilinLa lv *J*out"tofln Buzz Molan,.screens oddities oi loreiE cinela'

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i#itf#b;,ilil ,il;;.;*# d;ion, the nundrkins are all homv bastards

,eroine. the lin man md th. S.ar..ro* n .'l'io-iti t t"oto *a i*ttad of monkey' m

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sala wouli not be compt.t, *tt'oot **r?.lniiiii.. tf"p Jtrt. rtni. sinus nbaldrv We will be featuring their cunent muse: Cal'ifomia

Iovemor Amold Sch**r.gg., in tL. r.';i;ibo.'i""iy""l.t.a

iits a kid but ii it really beyond.ddi(ile? Amie's silmt disposition is

lirst itching {or a reduuuing una d,u un;iu-fiibiitot Lti" o r.tr"at' *a- ttiautign iootiast the intensely seriow tone of $e filn'

eivine it a veneer of ridiculousness. eni"tuiiil; ;tilt ,h.;dLshed T-800 Modeilot as a hansformer mecha-Skeleto4 a recuning

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This simply irresistibli first {iature from the Muppets has Kemit the fiog going from $e swamps

16 Hoffiqgd-, torb'e:a;$tr, Ad he kaneb ild g*+ up lus.wual +.*r, UoE eg. 4*is wual friends, Doc Hoppa (Chrts

'kesmanfor his fros.lee culsme; A loos€umingt is in pursuit }ooking for Kermit b be the spokesman for his frog.leg cuisine; A loose

rendltifftl0l{}ISiW,iZ:ARO,OFOZ.:fu filq incoroontes the same mmvhumiae bft*ontendldnri0l{}I$::1,=! 9FpZ; he: :ihcs nfufusa*ea$y:h1flioiassytrdie+te :TS setim,{-&e Map}otr$liow Wofih not4g iq Pal] Williarilck;o& tuli$ irdrdEsOscar-norninated "Th Rainbow Connection. Williamsb musiq much like Howard fuhmanswork or THI LryIlE MEBi44lq and odrc Di.sney films, provid* mme than

ahosphere; there's a degrc of ru gic hue. Words to all_

ot dre classic Mr:ppet Movie songs will be subbtled on t

the screen with the movie so tlut $e wlmie iudieace can

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b".kr, ftr;, Nlb;;k i; on. ol the good ones. A iormer prolectionist ard mystery bookshop orvner rvho pioneered-a whole new

school ol kamikaze hlm'exhibition with his iegendary micro-cinenras'lhe Pike Street Cinema (Seattle) and The Lighthouse Cinenra (NeW

york), Nyback has thrilled and beludclled audienc.s ihe r"orld over rvith his vast and obscure collection oi l6mm lllm, From educational

films'io tllevisiorr commercials, trash to bubblegu n, the de riguu'to tbe disposable - he s got it all. Nybackjoins us in person lor two niglts

of eclectic programming, which consists of his.-signature coirbled-together compilatiotts_rtrnnits]!: qllr1!litT Billy Holiday to Mickey

Mouse and beliond, and"- at our enthusiastic request a reprise of his legendary MAITCIA BRADY F'ETISH NIGHT!

featuresthe greateslassemblageof juz

talent ever assembled before a camera.

. As an added bonus, the sholv starts

$ with the greatest jazz film ever made:

"Jmin the Blues" from 1944.

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The one and only Lady Day in all of her filnappearances. lncludes the compiete 'Sound-

bf Jazz" television show irom lg5T whicll

This could be called "lVhat did you do in ihe war,

uncle?" For mosl of his long career Ted Geisel (Dr

Seuss) rvrote hugely popular dildren's books. Early

in his career he wrote for humor magazines and made

money in advertising. For a brief time jn the 1940s he

was in the US Army making gung ho propaganda and

army haining fiims. Is there a correlation behveen

attracting young readers and influencing the minds of

adults? With this program you cm examine Dr Seuss'

adrrlt oriented work and make your own decision.

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ls it hue? Is there a segnent of the population that believes Walt Disney hvented

animation? This piogram exmines how the .other I Hollywood

animahon studios reacted lo the Disney iuSSemaut in iie,rlirt1930's md 1940's. I focus on three tactics by his .'.f''.';$

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The invention of motion picturcs at the turn of the

hventieth century made it possible for us to view the

tlventieth century like no previous time. With {ilm

we can obverse so much, and what can be more fun

than looking al women in their udies! How

educational and entertainjng it is to seeiust what was

wornbeneath coats and dresses o{previous eras. Men

can be men and women cm look lor fashion tips.

Snappy {ilms, snappy musig and a lot oi fun for the curious one

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I lli IF :{ li 1l{t I u{tIThe Reagm years were the Golden Age of_teen movies. Wjth a massive disposable income, adolescent spending power dictated that Hollywood direct all its energies to

fleshing out tle fantasies of aater-faced, homy fourteen-year-olds, since tley were the gumanteed demographic for my given multiplex. T|e goal of these filrns: to

overcome class shatificatio4 get populm and get laid. The most superior efforts inevitably suffered from lower box-office. Only Iohn Hughes managed to ride that wave

between goofy md pro{ound rsith anv commercial success. But rather than deconstruct tle era's artistic pretensions (or lack thereof) lett take a few weeks to wallow irsentimental excess. As an added bonus, we'll have hundreds of VHS videos to Eive away FREE from the I Luv Video archives at every screening in this series!

ffiRIVER'S EDGE - Monday, February 21, 7 pm - $1 tix!(d. Tim Hunter,1986,99mi4 R) TimHunterhad already written the mostnihilishc teenmovie inexistence with OVERTHE

EDGE (1980), but mmaged to one-up even himself with this one. We're taken to the river's edge at the begiming of the

fihn, where a big slab of a guy named Samson sits beside the naked dead body of the grrlfriend he hm just decided to

strargle. His impetuous act has a galvmizing effect on his coterie of desensitized wastoids. ln the mind of the group's

speed-freak leader LaJne (Crispin Glover, firing on all si-r), the murder is a good thing a test of the kids' mettle to which

he will rise by hiding the body md protecting Smson. Matt (Keanu Reeves) is initially mbivalent, but later confides in pal

Clarissa (lone Skye of SAY ANYTHING) that he's being shuck by the unfamiliar pmgs of something that could be called a

conscience, md sets about trying to make things right. (Jonathar Bemstein)

FOOTLOOSE - Monday, February 28, 7 pm - $1 tix!(d. Herbert Ross, 1984, 197nin, PG) FOOTLOOSE m one of those films that's both appallingly bad and completely

watchable at the sme time the story of a city kid (Kevin Bacon) who moves to a midwestem Bible Belt town with his

parents - a tolvn where pretty mudr everything is outlawed" especially dmcing md rock music. Bacon's Ren imediately

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hies to chmge their backward ways by launching a campaign lor bmds like Men at Work (smple dialogue: "Wlere do

they work?") and The Police. Despite a love affair with the grotesquely unathactive Lori Singer, Bacon carries this movie

with an unending series o{ dance moves that have never be{ore or since been perfomed by a heterosexual man. (Film

Critic.com)

VAttEY GIRI - Monday, March 7,7 pm - $1 tix!(d. Martha Coolidge, 1983, 89min, R) Roneo md JuJiet is upgraded for the 80s in this time-wom taie of two kids in love

from opposite sides of lhe tracks. Collms me up, bikinis ae flamted, best friends m fickle and bad music abomds. Butwhat set VALLEY GIRL apilt from tle rest were its linguistic liberties: not since A CLOCKWORK ORANGE has the screen

hosted such a shameless bastardization of the English lmguage. Your eyes may su{fer from the glaring fashion faux-pas(compared to the Vals even the quincy punks look cool), but you can be certain the film is brimming with inspired dialogue

like: "Fuckyou Julie! Iuck you, for sure, Iike totallyl" As short-iived as it was, the Valiey girl phenom has an enduring place

in pop culture; my 50-year oid mother still says "grody to the max" with regularity. (Kier-La Jmisse)

THE WIID IIFE - Mon, Mar 21,7 pm fof $1 & FRI,3/25 WITH IIAN MITCHELT-SMITH!(d. Art Linson, 1984, 96min, R) Cmeron Crowe's follow-up to FAST TIMES AT RIDCEMONT HIGH is an ofloverlooked

slice of 80s post-graduation melodrama. Nice guy Eric Stolz (who's made every effort to cbange that typecasting with

recent roles) stars as Bi[ a slacker who can't decide what to do after graduathg, dnd is disillusioned byboth ]ife inhis new

badrelor pad and his ex-girlfriend's affair with a cheesy married cop. Beer-guzzling dolt Chris Pem constmtly humiliates

his nerv wave girlfriend (the underused, mderpaid, md underappreciated Jenny Wright) while her geeky boss Rick

Mormis tries to woo her to no avail. But the enduring star of TIIE WILD LIFE is undoubtedly IIm Mitchell-Smith, who

plays Stoltz' Vietnam-obsessed 15-yea old brother Jim. Jim glides tluough the fi1rn like nobody's business, untouched by

the angst that is crippling all his graceless md embmrassing co-chmacters. His idol is a neruous junkie Vet played by Rmdy

Quaid, who is ironically nmed "Charlie". Ever the stickiers for realisnr, Linson and Crowe even went so far as to hire

Eddie Van Halen to score the film, citing that "Vm Halen already creates the soundtrack to mmy kids' Iives." (Kier-La

janisse)

WEIRD SCIENCE - Mon, Mar 28,7 pm for $1 & FRI,3/25 WITH ILAN MITCHEII-SMITH!(d. Johr Hughes, 1985, 94miq PG-13) WEIRD SCIENCE has everything that an eighties comedy ieeds: At least one hot girl, a

{ew actors who are no longer acting or who do anything that will come along plenty of dashing threads, a comy-as-hell eighties

somdhack (and Oingo Boingo is as comy md eighties as they get), and plenty of cheap fumy jokes. (imdb user coment)

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two nerds who leam about life and love from the big-breasted womm they created on their computer, he needed to find

a costar for his ubemerd. Enter llan Mitchell-Smith, the dark-haired member of the geeky duo who is still remembered

as "the other one" nexi to his better knom costar from the filn. Hall went on to be a geek in other teen movies before

finally making his big comeback by plafng the biggest geek of all, Bill Gates, in PIRATES OF SILICON VALLEY But

what happened to Mitchell-Snith? Tums out that he left acting in 1988 so he could foliow his true passions in

academia, and today he teaches medieval studies in a nearby college. But he's agreed to relive his teenage glory years

with us one more time as rve present his two best-loved per{omances in one mazing double bill. Join us at 7 pm for

THE WILD LIFE, and stick around for the 9:45 WEIRD SCIENCE, witl Ilm Mitchell-Smith live in person {orboth!

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u't<amon€ s doc ls ilere at

mo to blow ourmd our speakers

qual vigor. Theiffiffisff,&J

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with eBIICK SIBB[I||: Hn$ l$tll

ililmuflil - Iilloilhv lllffin 2lA{ter Black Sabbathwhy dm anybody ryenbother with

the mtanic metal sfitick anlmore? Who cm possibly top

this? Seriously, take acordian lesmns imtead. When

youre looking for the real deal you need Black,Sabbadu

semnal punK Darlu s zufyear carcer is documentedin exhaustive detail, withrare archival footage and

interviews. Gabba Gabba

Hey!. * *.*.*ongmat bneup. l\oDooy 6 m reaKng neavy Jue yuu

co.,ld dtlok a bottle of ough slmrp and listen to youSlayer mords at lh rpm but why go thrcugh all *ut-^l.rt^ ^-r ^. ^-"^ ,^,L- rh. fid :n,1 rlp

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OK we've all got that one friend who

party. But even that friend has to tipli

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t97,9.*.

best {or only one dolla? This is Ozzy Gboume, Tony

Iomi, Bill Wad and Gerer Butler at their dizzying

peuk Se you there. We'll be the ones wering bla&fi an) Smial Thanks to Tohmv Mack

rl.i;REALL)

s pointy i.r; ;::la:11#:;ffi'.r " ;:l:Iffi

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hat to thr

Nelsory whose 4th ur July plcnlcs navc Dcert ULE utultalt LL

itrfo*ut 1* t"t"ion clotlting-optlonal hoedom md testing gromd for the

most poient strairo of .uoiubit known to mankind And when Willie

Nelsor?s rowdy friends pop in for a few drinks, a few tokes md a few trmet

things start getti.g pt"tty U"ely. These aren't yoru standud-issue pmty

uni;uis. Th;s is *aylon-Jemings, Leon Russe[ Ray Wylie Hubbard, and

more. These good oid boys knw as much about Pdtying as Marie Curie

knew about radium. Very rare 35mm print.

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DIIIISS ilKIIAQUINOY PUNI( AND ITIN AQUINff BUITON!

If you're old enough to remember punk rock, thm you certainly remember

Ouincv. And if yori cae to remember purk rock, then you've never forgotten

ti" Qir-"y punk Rock episode. IA/ithout exaggerating its oltural or

histoical rilevmce it can b^e said that "Next Stop Nowhere" has remained a

kind of inside ioke or seffet hmdshake; the tem "Quinry Pmr"' became

oart of the vemarulr almost ovemight. Tonight we celebrate the bastardiza-

ton of punk rock bv clueless TV exeruiives, with a dazzling array of clips

includiig the CHiPS punk episode, the Afterschool special-'.Thg Oay Uy IWent Puik" md the legendary Quincy episode that started it aII CIIRAIED

BYZACKCARLSON.

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D0ulilI0wl - il0llllAY ]illncH 28Born into both an economic miracle md a cultural

wasteland, postwar German kids set about

alchemising the 50 s revolutionary spirit into

somd and" vision. Wildly radical then, highly

inJluential now, Kraut Rock generally r€fers to

C,eman prog./art rock of the '70s, and indudes

bands like Can" Neu!, Faust md s;mth-pop pioneers

Kraftwerk.. Kraut Rock was more experimental thm

other Prog foms; it was deconstructionist

sometimes minimalis! and employed innovative

electronic/synthesizer somds and techniques. This

in-house compilation looks at the bands, the trends

md - most importantly - the music whose iilluence

is ubiquitous today.

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silrtwAYsSTIRTS 1/28 ar AlAito UtlltGIEarly on in the wonderful new movie SIDEWAY$ the hero, Miles (PauI Giamatti), does the Times mossword puzle while driving hisSaab on the San Dreg9 Fr.eeway. Sharp details are not enough in themselves to make a movie greaf sti[ when Miles props his pape"r upon the steering wheel, it's clear that the filrnmakers know what they ae rp to. Miles, a wme--loving failed novelist in tiir earty tortiei,is, we quickly.discover, the.kind_of guy who seizes everyopportunity foi trivial brarua (he doei the crossword in ink). Iwo yearsearlier, his wife, who shared hjs love of wine ("the best palate of any woman I've known " he say$, le{t hirn flaq at the moment, hisseven-hundred-md-fiIg_-page experimental novells forlomly making its way aromd the New York publishing houes. He has nochoice but to kill time. When his old college

buddyJack(Thomas

Haden Church), a washed-up TV actor in Los Anieles, armomces thathe is finally gettng manied, ihe two set off for seven days of prenuptial wine-tasting and gof in the gold-and-grein Santa ynez ValleyAs the week goes on, the adventures of the two men become more md more absurd and dangeroui, and by ihe end of the movie weknowwhat holds them together At the end of the joumey, redemption awaits each mm; eaclr, in his own way, will drink the ChevalBlanc before it begms to fade. (David Denby, The New Yorker) ffiilDtlrG lrrulRlAltlt

D||WITOWX tarchl-3(2004, d Marc Forster,35m, 106min, PG) FINDING.NEVERIAND is glorious entertakunent. It shimers with the promise ofmchantment that lost boy Peter Pm brought to_the earthbomd Darling children (Wendy, Michael and John) when he spririkled themwith Iairy dust and flerv them off to N-ewland. B-ul its the lost boy in James Barrie, conveyed by Depp without sugircoating, thatcomts. Directed by Marc Forster (MONSTER'S-Iap)

$s fdwardian p,eriod piece picks up in 1903, wh;n Bilrie's pla:y "Litth t4ary,,flops in London. His producer (a solid Dwtin Hoffmm) isn't worried. But Bairie is. At horne, he takes little comfort in his childlessnmiage to Mary, plaved by the beaufrful.Radha Mikhell with a gathering frost, The plot kicks in when Banie meets yomg widowSylvia Llewelyn Davies (Kate Winslet, a radimt force o{ nature). Her vitality attracts him, But the magnet is her four sons, in{ichiel (LukeSpill), George (ltlickRoud) Jack{m Prespero) md Peter (Freddie Highmore). Soon Barie is indulgLgir rheir gmes. The {ihn sparkswith comic life, md Peter Pan is bom. Barie's.cwersations with Sylvia's son Peter - the solem liitle"boy whoian't accept his faiher,sdeath- are wonderfully.touching thanlrs to the interplay betrr€en Depp md Highmore, a child actor oi exhaordinary gifu. ',1'm not

Peter Pm - he is, says the boy as Depp's face becomes a window into Barrie's soul. It's too early to speculate on how depp, 41, willSrow as an actor Based on FINDINC NE\ERLAND, it's not too eilly to call him a great one. (Peter Trivers, Rolling Stonei

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(2004, d. iean-Pierue Jemet, 35mm, Subtitled, 134min, R) From the director md star of AMELIE (Jean-Piere Jemet and Audrey Tauiou)comes a very different love story based on the acclaimed novel by Sebastien Japrisot. The film is set in Frmce near the end of World War iin the deadly trenches of the Some, inthe gilded Parisim halls of poweg md in the modest home oJ m indomitable provincial girl. It tellsthe story of this yomg woman's relentless, moving md sometimes comic search for her fiancde, who has disappeaied. He is 6ne of fiveFrcnch soldiers believed to have been court-martialed under mysterious circumstances md pushed out of an allied trench into aralmost-certain death h nomm's land. What follows is m investigation into the arbitrary nature"of secrecy, the absurdity of war, ard themduing passioq intuition md tenacity o{ the human heart.

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BUI(0WSlfl : 80[-11 lllT0 IHISD0llllilltll lues lilalsn 8, 0*5[m & Wo[s ilarcn g, t:00nm' An engrossing, cotnprelansiae doarcnlnry thil nmer turns nblind eyt to Bukowski's t'aults." - Mnitlnnd McDonagh,Time Oul New York

'MORE TH,{N WORTHY OF IIS SUBIECT. Excellmt,benutfuIly ncconplished. Aelebrntion of a dedicated atist'sexuedingly rough nad to redenption." - KninThomas,IATimes(2003, d John Duiligaa 130min) Author Charles Bukowski was one of those rare wdters whose work created a

myth of epic proportioro around its creator over the years, the name "Bukowski" has become rynonymow withrwng, drinling md fighting seedy banooms md foul-rnouthed prostitutes,low-paying lobs and roicl-infestedhotel rooms. For readers, Bukowski has come to personi{y the lower depths ol hurnaln-existence; in a direc!powerful and very personal style, he wites about an unthinl<able but very real degradation-degradation based onhis-om li{e experiences. BIJKOWSKI: BORN INTO is the first comprehensive dorumentary of-Charles Bukowski(T920-1994) and while longtime fans will find conJirmation of the Bukowski they'd always imagined, there meplenty of surprises in store. The film haces his extraordinary life, from an abusivi childhobd thrdugh decades ofpoverty and alcoholism; nmerous menial jobs and turbulent relationships; through 14 years as a pojtal employee;and his eventual intemtional celebrity as a poet, novelist and mdergromd cult icon. In his li{etime, nuior.i'skibecane most widely known as the screenwits md real-life model lor B"arfly, the featuie Iiln based on his earlv life.Feafuring interviews with sean Pem, Hrry Dean stmton, Barbet schroedel, Tom waits and Taylor HacKord-

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\r'vhen we first decided io bring everyone's favorite vampire slayer to the big saeen back in December, we knew

that there would be a lot of fais excited about the idea. But we didn't realize how incredibly popular the show

would be, or how fun ii would be for people to corre back md experience it over and over again. A{ter the first

nrght of silting in a sold out theateiwiih 200 other Buffy im"ipg;ng md blowing bubbles and tluowing

un"d.*.r, ariund, though, we knew that we had to do it again-

And again md again md again.fhis

Februry, the BLFFY THE"VAMPIRE SING-A-LONG is bach so everyone whomissed it the first time can have

a chance to come out and see how great it is, and everyone who already experienced the show once cm come

back {or another dose. There'}I be ail new hivia, more bubbles, and a couple of other surprises as well, so don't

niss this chmce to be a part of our interactive screening of "once More with Feeling." Be(ore_the sing-a-long.

we,ll start each night wiih a dif(erent episode from the Buffy ardrives, because we understmd that a bunch of

you might wmt td come out for all three nights, md while "Hxsh".is certainly a great episode, we want to try

io get sime scenes with Angel md Oz up on the screen, too. (Hemi)

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We love cartoons. We always have, ever since we were little kids, waking up early or Sarur. day moming to check

out all the old-school mimation on dnmel99. But we're grown-ups now md we need tlat exha spice that we

cm only get from cartoons that are totally, ludicrously mong. Our depraved tastes have led us dom the dmkest

allevs of'Hollvwood to find the most eiheme,tasteless cartoons ever made. We're talking about all the sexual

suggestion, ali the racial and ethric stereotypes, all the gomy stuff the studios would love to puge from thenaf,inal comciousness forever. We've worked very hmd md spared no expense to create a Program of animated

skeletons from Holllvood's closet that will make all previous tasteless cartoon festivals look like "Strawberry

Shortcake" in compmison.

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We,renot legally pemifted to show actual pom with the sex scenes intact, but let's face if the sex scenes are only

hatf the fun"o{ a porno movie. When you take out the actual sex you're left with some of the most entertainingly

bad acting, direction ard dialogue imaginable. So we've asked writer and pop-culture mchivist Ken Lieckto

compile Jprogram o{ the best ion-sex iroments from the porno knockofls of big Hollywood !!:ryYftt:-Sinsteua oiiOitp Op THE RINGS we'll bring you tihllating swordplay from WHORE OF THE RINGS. THE

BLAIR WITCH pROJECI becomes THE BARE WENCH PROJECT Instead o{ WALKING TALL_you'll see

midgets cavorting lewdly in WALKING SMALL. And you cm probably figme out what those fiends have doneto EIWARD SCISSOTfAXOS. Ifls a very fmny clronological joumey through filrn history that also featutes

the skin-flick'ersions

of MEN IN BLACK A CLOCKWORK ORANGE, SNOW WHIIE, CINDERELLA

M-A-STI,GONEWITHTHEWINDmdmanymanymore. onewordofwamingeventhoughwe'veexcised

the actual sex scenes this is still pretty shong stuff and not for the easily o{lended (Lars)

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hostG[ by llennis llYbaclt

ENTER THE MARCIABRADY LOOKALIKE CONTEST!

WIN MAUREEN MCCORMICK,S COUNTRY ALBUM!

JOIN THE MARSHA BRADY SING-ALONG!PLAY THE BRADY BUNCH DRINKING GAME!

MORE INFO ON PG.12I



Since 2001 the Alamo Drafthouse has been hosting a unique series of exploitation classics culled from private collections, abandonedwatehouses, even dumpsters. We present a peerless selection of horror, sexploitation, action and more, mostly from the golden era of the'60s and '70s. Many of the films are so obscure that little or nothing has ever been written about them. Some of them a.."bud, ull of th.rnareenjoyable,andararefervare_mind-blowinglyamazing. Bestofall,it'sabsolutelyfree. Wethinkofitasacommunityservicelorjadedfilm fans, a heaven-sent escape from the crushing lameness of the real

world.

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FIB[UlffY 2: S01l 0t B10B (1e72 d. Larry Hasman)ln the years before."DalJas", Lany Hagman was best known as the button-down astronaut who dreamed ofJeannie.ButtecretlyhehadawildstreakhighandwideenoughtolandaT4Ton, I4rhenhewasn'ttoastinganorheisunrisewith,his next-door neighbor Keith Moon or dropping orange sunshine with David Crosby he waiworking hard toget this, his dream project, made. It's a very stiange, very loose sequel to the 1958 teen holor classic THE BLOB.Tle free-wheeling.performances and absurdist humor are unlike any other movie we've ever seen. Hagman wasobsessed withmaking this movie, often going without sleep for diys on end, deeply worrying his frlends andassociates. Unfortunately ihe lilm was critically ignored upon release and Hagman retreated t"o tlie forest where helived like an animal for several years before accepting the role of j.R. Ewing and returning to the forefront ofAmerican consciousness as the man you love to hale. More popular than ever] he was nonetfieless a scorned andbroken man whose one-of-a-knd film-making genius has never been fully appreciated. Until now. Join us for thisveryrare screerung of Larry Hagman's one and only film as a director, starring Robert WalkerJr., Burgess Meredith,Godfrey Cambridge, Marlene Clar( Genit Graham, and Bud Cort. (Lars)

EBIUIBY 9: $IGREIS

ff SWIIr l0(rszs a. Ernst Hofbauer)

Cerman sex films have their own.sperial_appeal - a certarn air of goofiness where the ooh la la meets the oom pahpah. Imst Ho{bauer was the D. W. Griffith-of German sex films,-tlie pioneer whose "schoolgirl Report" films gotthe whole ball rolling. Made in docudrama fashion with a priest or sociologist commenting grively 6n the sad stiteof morals in the world today, the_films.were in fact merely excuses foi wall-io-wall skin. Fa"sipaced and very funny,the "report" films have garnered a cult {ollowmg. This is a late entry in the series. By this hne both film-makersand audiences had become numb to the usuaf situations (i.e. schoolgrrl tums tricfts for lunch money etc.) soHofbauer_and company cooked up.this nasty dose o{ cinematic sca& griaranteed to pacify even the mosihopelesssleaze junkie. Get ready for a hard-hitting (complete with wacky musii and sound ef?ects)look at rape, pedophili4devil-wophip, and -1ou u*g{Iot^if

:- ggs.n showers. Whai's next - necrobestiality? Featuring the tove'iy Uuideadly Cluistina Lindberg (THEY CALL HER ONE EYE). (Lars)

tIBIUAIY l0: PnIAGllIBitAll (1e71 d. Albert T. viola)Last calendar we snuck in a lasfminute substitution called PREACHERMAN MEETS MDDERWOMAN, sequel toPREACHERMAN, and it got a very good response but I iound m.yself in the lobby afterwards telling everybodyhowmuchbeftertheoriginal is. Nowit's.timetoproveit. Here'stheoriginalPREACHERMAN,oneoitheb'iggeJtdrive-in hits ever, a movie that played the Carolinas and Georgia sumirer after summer for the better pari[f a

decade. It's a hicksploitaiion classic that deserves to be better known outside the stock-car circuit. Writer/DirectorAlbertlioiaplays Amos Huxley, a travelingpreacher whose hankering for womenfo( moonshine, and gambling(hereafter re{erred to as "the finer things Ln life") keeps him on the move from one tiny dogwater hamlet to"another]usually at the point of a double-baneled shotgun. fhis is pretty old-school stuff - Viola'knows his Boccaccio andChaucer - but it works. It's a very funny, very well made filnr, loaded with sex, sacrilege and good-natureddepravity. (Lars)

ffBRUAnY m: milililY flnEGtr0Ull (rszs a. william Castleman)

Johnny Firedoud is Billy Jack minus thelTilgT._Ixploitation movie pioneer David Friedman shrewdly

recognized that a whole segment of the vast BILLY JACK audience walked out of the theater a little disappointeithat Billy Jack hadn't sliced off the bad guy's scrotum and crushed it under his boot heel. So the master sliwmanunveiled Johnny Firecloud, a semi-supematural angel of revenge who's still just a wee bit sore about the systematicdestruction of his people by the white man

_

Witl gallons oI !e put.nted Friedman blood and ample nudity.Featuiing Sacheen Iittlefeather (she accepted Marlon Brando's Oscir for THE GODFATHER), who reilly shouidhave waited for medical science to perfect the whole breast enlargement thing - it looks like ihe used about fourcans of Fix-A-Flat. (Lars)

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Immoml Talesstarring [hloma Picasso

illlllll 2: ll0U$t il B[nI il0ullillll (ts6z d. tee proso

If we ever build a Weird Wednesday Hall of Fame the first thing visitors will see when they walk through the door

is a golden viewlinder and pen to commemorate the great writer/director team of Lee Frost and Wes Bishop who

made the world a better place with such classics as BLACK GESTAPQ DIXIE DYNAMITE, THING WITH TWO

HEADS, and (as co+cripters) RACE WITH THE DEVIL. Here, on the big screen for the first time in many years, istheir first collaboration, a movie that combrnes nudity, monsters and much more. Well O( mainly nudity and

monsters. That's what we call one+top shopping. Screw that running from theater to theater to get both monsters

and nudity. We'lI give you both on the same screen. And for free! And while the monsters may be some of the

cheapesf least convincing monsters you'll ever see, the naked women are unbelievably bodacious in that full-

bodied, pre-Atkins diet, swinging '60s way that rve all know and love. Is it awesome in here or is it just us? (Lars)

illll}ll 0: UP Y0URS - [ n00Kil' C0tml! (tszs a. lohn Hayes)

We'd love to provide you with a complete dossier on this lilm with sidebars on the historical importance o{ LrP

YOURS -- A ROCKIN' COMEDY and its place in film history rvith essays and frame-byJrame analysis by Americas

most respected movie critics but we can't. We do know that it's directed by John Hayes, who brought you the family

favorites JAILBAIT BABYSITTE& MAMA'S DIRTY CIRLS, and HAYSTACK HOOKER. Plus we know it stars

Dyanne Thorne, who gave you that tingly feeling all over as ILSA, SHE-WOLF OF THE SS, and Cindy Morgary who

produced similar physiological reactions in her greatest performance, as Lacey Underall in CADDYSHACK. Hmm.

I'm rockin' already. (Lars)

]ill$Gll 23: lilil0m] IAlt$ lrsTq a. walerian Borowcyck)An amazing thing happened in the early '70s. Art films and sexploitation mated. The similarities were there

already: the low budgets, the often brutalist technique, the dank, subterranean venues haunted by the ineffable

smells ol urine and marijuana smoke. It's hard to say who made the first move - sex or art. Most of the adult

theaters had started out as arthouses, then when Brigitte Bardot hit inthe mid'60s exhibitors found themselves with

lines around the block. Within a few years WILD STRAT{EERRIES had been usurped by the likes of CHERRY

HARRY AND RAQUEL. But the art-mongers were taking notes too. Emboldened by the more liberal social climate,

their films began to reflect more fiankly erotib themes. And unlike American sex-films with their "all-scar" casts of

scabrous teenlage runaways, the new Euro-sex movies featured some of the most beautiful actresses on the plane!

free of puritanical American mores and, hey look - free of clothing as well. Thus the stage was set for award

winning Polish film-maker Walerian Borowcyck to create his masterpiece IMMOML TALES. This film is classical

smut. The openurg montage armounces its place in the secret history of ideas, with a dizzying assortment of erotic

art and ephemera from throughout history And then on with the show, an anthology of four tales designed to

shock, offend and arouse. Incesf erotic bloodshed, unsanctioned use of fruits and vegetables, and serious papal

misconduct are all served up on a beautifully embossed silver platter Starring Paloma Picasso and a few dozen

other naked Euro-lovelies. (Lars)

ill8Cll 30: lflllllAPPtD C0t0 ftsTo d. Frederick Friedel)In the '70s, Times Square was a seedy open-air sex and drugs marketplace. And the real hofspots were the 24-hour

"grindhouse" movie theaters where double features of kung fu, horro4 and sex films unreeled 24 hours a day ior

audiences composed primarily of bitter, sociopathic males. Think Travis Bickle from TAXI DRI\ER and you're on

the right track. It was an audience for which no extreme was too extreme. The audience of "popeyes" would sit

through showing after showing of gory horror, amputee pom and worse, sniffing glue and smoking dirt weed.

There-was enough existentiai nausea in any given foot of Times Square to make jean Paul Sarhe toss his crepes in

the nearest clogged and overflowing urinal. So KIDNAPPED COED must have hit Times Square like an artillery

shell. You can imagine the smell of record cleaner in the theater; you can almost hear the sound oI the butterfly

kniues clackng shu? as the crowd watches in rapt admiration. Not'since the films of Jean-Pierre Melville had there

been an antihero quite like Jack Cannon, a self-loathing kidnapper whose victim is stolen arvay from him by the

mob, leading to a bloody showdown. This is powerful stuff rough around the edges but pnmal. If it had been

made in France it probably would have been acclaimed a masterpiece of postwar alienation. Thank God it wasn't

made in France. (Lars)

KIDNAPPED COED is screening asthe secondhtlf of aTimes Square doublebillzaithT$EDEUCE: NEARLY1OO

YEARS OI TIMES SQUAKE, see page 23 for more details.

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Sometimeskckingbaclandwatchingamoviejustisn'tenoughtomakeyoureallyfeellikeyou'veaccomplishedanything. ttyou,r.goingtotuk.tl*tiretoleavethe

l3jjl:Illljlljl il::T:1fl:-.:i.f rylilljiPllIllil ll qlurnighl you wmtto be,a partof something. Yealr. weleel like thatiometimes, too, That,s why we,verruusq ] uu wdl t tu u(' soneuung acuve, you wanr to ParflclPate ln your nlght you w mt to be a Part 0f someth ing. Yeah, we leel like that sometimes, too. That,s why we,vebeen workirg hard to develop thow s md erents a t ou r the

jterothd i.let y; d; mure thm

"itin ou r ertremell co'mforta ble :eats, hc

"erved by ou r incredibly a ttracfive and

yetefficientreruers,trdwatchourbreathtaking:ilverrcreen. Withtheihonsonthi\page,yoube(omeaniniegralpnttofrheaar".,rfr.rf,.ir*,r..",itliinnu.horr.r",er emclent seruers/ and watch ou breathtaklngsilver screen With the shows on this page,you becme an integral part of the actioq whethei you,re conhoiling a characteron the sueen in Halo Havoc or putting your high school drma skills to work on stage lir videot<e. We invite y"ou ti stop watching ihe moviei ,na ,triilid"g t1r.r.

IHT ROGIff H||RRORPICIUBT $IIllW

Iuery $atuflay at itidnigfi at me uiltagctAll-American couple Brad Majors (Barry Bostwick) and fiance6Janet Weiss (Susan

Sarandon) decide to visit their old professor Unforturately, their car breaks downoutside a-sinister house, and they are forced to stay the night, Inside the houseBrad andJanet fincl a world filled with subversive sexuality. ihe film itselfis filledu,ith great tunm and a slightly loopy plot. So it's just like y-our common-or-gardenmusical in that way. Where the 6lm really takes off is inits subversion of iexualmores as Brad md Janet break free fron their normality. And if you,ve seen it so

many ti me" that you re tired ot singing slsng you can gain new tluill< by seeing itat the^cnema and entering the world of audience participation. Dress up! Throwricel Squirt water pistolsl Shout at the screen and ents conversations with thecharacters in ihe filml After alf the audience participation is the true essence of theRocky Horor experience, and the film itself merely ar excuse for the mayhem.

Gamelellas UiilG0gams txchange [tosents

ltil0 HAU00wil [ iltp mn IWo I0 t3 n 10$ lltcIlr$!Ull,llGft $atuldays, ]e[ 5 a 12, t[idnignF

HALO 2 just may be the $eaiest video game ever invented. When we try to playfor a couple of hous online at home we end up bleary eyed and rvelcoming thidawn without noticing thai nore than fifteen bliislul ninutes have passed. fhenrve take the gme and link two trlbores rogether {or an 8 player free-{or-alltoumament on one ofour movie screens at the Village, we stand $ere hypnotizeclsucked into just WATCHING the game, even if rve don't get to play in every match.

Itt magical. IIALO HAVOC is the first video game toumment we,ve ever hostedat the Alarno, md iI you haven't made it oui yet, there's still time - barely. OnSaturday. Februan 12$ we re hosiing the FINALS. where all the top playeri fromthe past 1 I weels wrlJ lace ofI against each other lor their chance at the grard prize- a hip for two to E3 in Los Angeles. The frags should be fast and fudoua that night,md you will believe that videogames can be a truly athletic endeavor (Henri)

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IuGry ffiday ar iltidnism ar rhG uiilasc - mEI fltilil$sloil!'Ihe premise: we play a clip from one of your favorite movies on the screen behind vou, and vou act alons to itrvith the subtitles provided on the moniior ir lront ol you. what you do from there is up to you. some p?opteget on stage md chamel the proiessional actor within or do a spoi on impre.sion of $e chrjcter on the icreln.( )t hers take I he m ir rophone ard wri te thei r ow n original d ia logue to the icerre, rvhjch ran ejther be reallv furnvorrcallypanful Andsometimes_peoplejuslreplacetherealroicesofthecharacterswiththeiromrillygmtJ.j he tr'ey is to jump jnfo ycur performance 110/,,

andas

long as you don't hold bac( the auclience wili h"appilygo.rlongfortheridervilhyou. WerunourVideokelikeaba.tay65lsp-ch114of AMERICANIDOL,tm,'riitirjudges and a final round, md a wimer every nighr who goes home with fabulous prizes. Admission is freg socheckit out, Trust me, it's ablast. (Henri)

Ine luslin tlusic lletworl nresents

IHT AU$TIII IIR GUITIRGHAltlPl0llSHlP$: B0Ullll 2

ll0lll[T0Wll: Iuesday, 21 22 *luesday, B/2S

The Alamo is proud to offer you your ctrance to compete in (orjust sit back and revel in) the OFFICIAL AustinAir Guitar champijnship. contestants choose a track with hot licks, crank on the fog machine, grab their air-aes and.RocK ourl Fabulous prizes, a tophy with m actual air guitar on the top and the gien )ight withflod<s of air-guitar groupies are yours if you win. Details on the contest-cm be fJund oriline atwwwaustinairguita.com. check it out and start practicirg your skills today, Lick it up, baby. Lick it up.

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THI Tlllnlt lrtAlt00tTllI0Wt llrursday lo[ruary ll: lm(1949 d. Carol Red 93 nin.) This magical, flawless film is the result of many iop flight talents working at the peak of their powers. Whenever the

subject of TIIE ITIIRD MAN aises among fiLm buffs the word "perfect" is never far behind. Written by Gmham Greene, directed by Carcl Reed mdstauinS Joseph Cotte& Orson Welleg Alida Valli and Trevor Howarcl it also boasts one of the mosi evocative scores (played entirely upon the zither)

in movie hisiory Cotten Plays Holly Mariint a writer of pulp weste.ns who arrives in poshvar Viema to meet his school chum Hary Line {delles)about a job oniy io be informed that Lime has died under mysterious cimstances. Suspicious, Martins navigatei his way tluough the moral

twilight of the devastated, divided city to find out the truth about his friend. With tle help of Lime's lover (Va1li) md a British Major (Howmd!

Martiro finds out that the buth was {ar worse ilan he could have suspected. A shattering excoriation of moral ambigui$ Visually astonishing the

looming facades ad rain-washed cobblestones possess a shadowy grandeur that can only truiy be appreciated on the big scren. This nay be your

only drmce to see this rare 35mm print. (Lars)

BRIGHTO]I RllGKD0t{llilWil Tlrul$dor lGlruary 2f r llm(1947 d. John Boulting 92 min) A superb new print of the film voted the greatest British Noir of all tme by The Guordianl Loaded with gloomy menace,

BRICHTON ROCK is one o{ Britain s most powedul fiim noirs. slashing away the seaside's boozy bon}romie to reveal a sleazy criminal underbelly. 24"year

old Richard Attenborough gives the performance of his life as vicious teenaSe gmgster, Pinkie, a razo!-wielding sociopath who can't abicie smokhg and

drinking but has no qualms about cold-blooded murder Whilst ming a prottrhon racket on the racecourseg htimidation becomes murder and the only

wihrcss is Rose, a naive waitress who loves sadistic Pinkie. Krowing a wife cm't give evidence against her husbmd he maries her, but murder is sti11 on his

nind. Made with a raw energl by the Boultint brothers, BRIGHTON ROCK enbodies the blea( seedy Englishness of pubs, bank holidays and B&Bs. They

nade a film shocking in its bntality, the fore]mer of hard-boiled gangster classic CET CARTER and morc than a match for LOCK STOCK AND TWO

SMOKINC BARRELS. Adapted by Graham Greene from his classic novel, the corrosive soeenplay was co-written by Tenence Rattigm md doesn't flinch

Irom the book s themes of Catholicism, sin and redemption. Like a failen angel, psychopathic Pinkie believes in damation and his icy gaze never wavers

from the rcad to hell. Phkie's cruelty won't end with the final credits; the lasi scre has i ru thlesly cynical sting in the tail. (Brihsh Film lnstitute)

]IIGIIT A]III THT CITYilillll0tlll Tltundry llarclr 3: Inm{1950 d. fules Dassin, 96 mi+ 35mm) "You've goi it alL Hary Fabian- bui you're a dead man.' Richard Mdmark gives an excepiionally fine, ridrly textured

perfomance in this faustim tale of a h{o-bit American hustler in London who devises a scheme to control the wrestlingracket. This does noi ended him to tlelocal mob, conholled by Kisto (the always reliable Herbert Lom). The hvo cone to blows by proxy in a match between Kdsto's father Gregoriou, managed by

Widnark, as Harry Fabia& and Kristo's star wrestler The Strangier, played tenifyingly well by familiar Hollywood tough py Mike Mazurki. When the brutal

match ends in tragedy Fabian has to ru for his life. Director Dassin qeates a nightmarish labyrinth of shadows and grime as Fabim flees tluough the suddenly

very ufriendly streets of London. Featuring the beautiful Cene Tiemey. Dassiry director of the influential heist film RIFIFI, had fled Holllvood to escape

Senator joseph McCothy's HUAC witch tnals. (Ldt

GTI GARITR!0IIilT0Slll llrunday ilalclr 10: l[m(1971 d. Mike Hodges, 112 min & 35m) With the recent resurgence in British crime movies it seems like a $eat time to revisit the first really importmt

UK gmgsts movie, md in our opinion, still &e best, Prior to Hodges' groudbreaking work the idea oi British gangsters just seemed ludicious.

Americms - sure. Italim - of couse. But the British seemed too rcserved to make effective criminals. Hodges' solution was to ignote all the previous

models md foos on the lower-class slms of Newcastle and a stratum of society that was rarely depicted in British popular entertainment wiihoui

Picturesque Dickensid trappings. It's a bleak settin& md Jack Carter, as played by Michael Caine, is umistakably a product of his surroundings. Carter

is a big mm in the London mderyorld who retums home to Newcastle to find out the huth aboui his brother's death. Cahe is brillian! playing the

character with such resemes of strcntth md emotion that when he finally breals it's devastating. Featuring Im Hendry and Britt Ekland. (Lars)

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ilfi YIS iltt - D0mbm: Itfi$day, Io[ruary 2f gil5mD, Dm Ollman, Smah Price & Chris Smith 2003 35m 83min. RM{: B:"luq,lq,tuly Bidrlbam_are the yes Men. They're a couple of prankter activists who, as seen in this firmprorue, Deoeured the world hade organization, even though the wro wasn't listening. Armed with a fake 111oWeb site, they have been invited around the world to provid"e comments md present leciures on behatf of the ll.fO.Dresred in thrift-store suits - and at one lecture, a seveial-feetlong inJlatable p;nislike tentacle that houses u Gl .u*li:[$l q:r]ryd

lol T-lg*r ro keep an eye on their disrint workfoice _ rhe pair bring a,*.itn.rmiabsudsm t0the task o.f debunking cultual monoliths md corporate gimts. Thefu lectures - hk! the one in FidanJ atwtuch they showcased that ultimate "leisure.suit"_- cm.almost pass for the real thing, and often do. It becomesfascinating to see what people will put up with, md how fm they will go as the yes Menl r"ctur., beco." mo* aodmore absurd. The filn also showcases i university lecture in whichiheir

fake WTo ,.pr.*ntu6u., Hunt Hrrauunruh (Bidrlbam), tgams1p_wi*r

a bogm McDonaldt representative to amomce *i-iil.i.riut Jir""rgl ritecycling (with PowelPoint slides md everythhg). reconstituimg humm buger waste into several more generftionsof Big Macs. Before they teamed up as the yes Meru Bonmo ind Bichlbalim individually worked

"p:;p;;;ri;;sum6s as media hicksters: Bonarmo fouded the Barbie Liberation organization, which switcted ttre dolts,voiceboxes with those of G.r, Joes, md also mmaged the take George w Bu;h web site rhat car*d ,r;h ;-u;;;;during the last election; BidrJbam maaaged to_sirbshrute swishy ilen hugging i", tr,. uig-ui.'Jjil;;r;;,;backgromd of a major video gme. Dirmtor clns smith (the hilarious io'.*.nt*y aMrrucAN Mo!,lE) here

!:TT iprrth a coupie of his reguJar collaborators, sarah price md Dm ollmm, io firrn the y., u.n,r *ticr.(Marjorie tsamgarten, Austin Chronicle)

TllI iltl - llffi|tom: HGdncsday il0tcll 30 & I[ulsd0y, ilarcl 31, tmD. Avi Lewis & Naomi Klein 2004 87min. Beta Sp UroatedIn suburbm Buenos Aires, thirty memploled auto-parts workers wall into their idle factory rolJ out sleepine mats

To I.yTt9.l.ru:.Ax they want is to re-start the silent machines. But this sinple act - ' the iake' - tlueatens io tum

the globallzatlon debate on its head ln the wake of Argentina's spectacular econonnic collapse lrr 2001, Latin America'smost prosperous niddle dass finds itself in a ghost town of abandoned factories and mass memoloment. The ForiaSm Martin auto ?lmt had bem dormmt until its former employees take action. TLJ; ;i;i;;;;;movement of workers who re ocrupying bmkrupt businesses ild ireahng job: in the ruii, *'*. r"ii.a i"it.R il"

:ll.ty^,.{S.

*:t.f.r: struggte is rr.agansr the diamatic_ backdrcp of a criiiar prcsia."r.i .r".ti"" r effitr"r,',wtuch the archltect ot the econonic collapse, Carlos Menem, is the Front-rumen His aonies. the forrier factoruomos, re circling; rf he wiro, they lJ take back the compmies that the mor ement has worked so hard t; ;;r;..

- 'Amed only with slingshots ild il abidmg.faith. m shop-floor democrary, the workers face off against the bosses.bankem, md a legaj sptem that sees their beloved factories as nothing moie thm scrap metaj lor s;je. h THE TAKE,drector Avi Lewis md writer Naomi Klein (author ofthe intemational bestseller, No Logo) combine the stories oftheworkers and theh families, stories of their shuggle for jobs and digniry with comments from factorv omers,politiciansmdiudges,andmexaninationof themicro+conomicpolio"esof g)obalizat. nr"t r"riirr.i*p.1i-rgpoliticalthrillerthatpitsordinaryworkusagainstthelocalruling'.rit -atri"p"*.rr,,rlg;;;il;;i;pdi#:

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$r$wSilSW ]llt ESIflil 2008 tilarcn fl . tg8 years ago, the Alamo Downtown opened its doors forthe rery first time for the SXSW filrn festjval. We reproud to once again open a new Almo Drafthouselocahon wit} Ausiin's piemiere film festival. Now in its12th year, the South by Southwest Film Festival mdConference is m mual celebration of fiIm - a weeklongopportunify to view, disrus, md erplore all aspects o1

llm 1reqtionand production, frbm screnwritlng

thrcugh dishibution. Check sxsw.com for the scheduliand showtirnes of SXSW movies playing at domtomAND south Lamar!

ll0wltT0tllt [ted. ltarctr 30: 0{5nmA proynm of hislorir and arthiual short films aboul flu former qleaze cnuilal of the

world, New \ork'sTines Square. Guesl'curated b! kte'pnlin.It can be agre€d that Times Square is not what it us€d to be, but when has itever beenl lvlost attenhon is paid from the hansformatjon from the mttvDeuce o[ the 70 s to the Guilani/Disney version that exists todav. bit the

history of 42nd Street has always been one of change. h her esiay TinesCnp:rle, Maitlmd McDonough writes "ln the 193-0s, the wet bianletsmoumed the legitimate theaters, degraded into movie houses. In the '40s,

tfey yeamed for the burlesque venues Mayor Fiorello La Gumdia shutdown. In the '50g_they remembered the honJcy-tonk vibrancy of the waryears; in the'60s, they lamented the creeping crud gradually replacing thesheet's friendly seediness. In the '70s it was a 24hour camival of uice"tt utmade tle 'o0s look quaintly gritty. ln the '80s, the bygone era of freewheelinesleaze took on a nosl.algic glow And by the oOs, the real rain had comiTheater after theater sat empty...".

$1 n.g*..""tr r..ritiry"f

'limes Squae (ne Longacre) on film.Begimhg with a Mutoscope/Biograph docment fronl 1905, theseexperinertal md docmentary worlc conjure ghosts of the pasl residentpoet/vikingJr4oondog, peepshows, the impmmptu V-E Day ceiebration md"the iirst radical arts show of the 80's". Finally, erquisite static imgery ofthe empty lheater marquees in the late-eighles md closing of v'arioulmdmarks.tsti$r to whit we have lost. Mike it a Times Sq"ure doubleIeature with Deuce classic KIDNAPpED COED, saeming lree it Midnight.

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llPHI $GRTTII ]IIGIITll0Wlll0Wl* Satuday,2/26 & Satulilay,3/26 - iliilnignts

No submission process. No censorship. Anything goes. Two Note Solo's OPEN SCREEN NIGHT

is quickly becoming the siuff of legend. What began as a way of sharing dreesy movies we made

in high school has grown into a springboard for up-and-coming filmmakers and a place where

experienced video producers can experiment with new projects with the benefit of an eager

audience. One group of regular OSN contributors has gone on to find fame and maybe some

eventual fortune at Atom Films, anoiher was recently hired io produce video content for MTV,

another team landed the animated short they debuted here in this year's Spike & Mike festival,

and the show has also helped groups of filmmakers eam their very own showcase nights at ihe

Alamo. Of course, if you don't take yourself that seriously, you can still show us your high school

video projects. Either way, if the audience likes what you bring to show us, they'll reward you

with $100 in cash, and iI they're bored by it, they'Il probably gong your movie off the screen. The

crowd demands constant entertainment, and we've fomd that most OPEN SCREEN NIGHTs

deliver thai in spades.

For more in-formation on how the show works, or to check out some of the movies that have

shown there in the pas! check out wwwopenscreennight.conr, and start planning out what

movie you're going to show

BlllW UP;$HORI SIUIIIES ll] GT1TBRITY llBSTSSIll]I

ll0lffill0wlft luesdays, 2/1 & Ifiilay, 2/8 - 9:45lcatufing the lollowing mouies, and much morc!

GET THE SCRIPT TO WOODY ALTEN (D. Keith Black, 17min.) Based on a real incident in

which Bmokly'n math teacher Keith Black tracked down his idol to a Marhattm jzz club md

slipped hin the script of "l Wtll Suruive," a fikn that chronicles Mr Black's houbles with

women. The famed director took the script, smiled meekly and trotted off. That was three

years ago. Mr Allen has yet to call.

KRISTY (D. Stephmie Gray, 7min.)- It's 1980 and you're a kid with a hagic cruh on Kristy McNichol md parents who know befter thm to let you mywhere nem LITTLE

DARLINGS. Cut to just a couple years later, when cablevision md that chain-smoking Toni Basil-crmkhg babysitter who always disappears with her boyfriend join

forces to make the long-fmtasized screening a reality. The plot confuses, the R-raturg disappoints, md Tatum O'Neal brays, but the True Icon delivers. (Spencer Parsons)

PAUI SCHRADER'S BAG (D. Jmon Simon, 1Onin.l After finding esteemed screenwriter & dilector Paul (TAX DRIVER) Schrader's bag in the sheet, {ilmaker Jason

Simon wavers between good citizen and obsessive {m by trying t0 retum it - while at the smb time mcrupulously filming its entre contents.

THE LAST DAYS OF SID VICIOUS - probably the shangest and most disturbing lilm in this program, German undergrourd classic THE LAST DAYS.,.porhays the

muder of Nmcy Spungen and Sid's subsequent overdose - with both chmacters played by babies!

MY BROTHER IS IAMES CHANCE fmie Levinson, 25min.) Milwaukee native, David Siegfried, is the brother of late 70s No-Wave music pioneer Jmes Chmce. Whjle

James went on to an influeniial career in New Yor( David stayed behind in the Midwest opthg for a degree in microbiology. Nearly 20 yems later Chance, experiencing

resurgence in populariiy,was

invitedback to

perform inthe

Midwest.He

enlistedChicago-based Watchers to be his

backing bard Iora

brie{ tour Giventhe

gmgraphicdivide, Chance enlisted his brother to rehearse in his place. Interot with {mtage from the tour md rehearsal process David reminisces about his days h mmic to his

cument occupation as a vending machine salesman. As David sayt "Everyone wants to be like their brother" (Chicago Underground)

flIGIftRlt0wllloltl* rnursday, 2/11, 945 nm

Flicker is a bi-monthly fihn festivat that features short films by loml filmnakers and all other enthusiasts who

dare submit via mail. Everythhg sceened at Flicker must origmate on fiLn md be mder 15 minutes in len$h.

Flicker guarmtees m may of prcjects md intriguing juxtapositiom at every show, with linem nanatives

butting up against radical experiments, polished productions followed by emest fust efforts. Come lot your

chmce to win your own free roll of Super 8 md see which local filrnmaker wins the next Flicker Film Grmt!

For more in{omatioq pleme go to m.flickeraustin.com

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'7N.ABSORBING DOCIIMENTARY.The smimlpunkband'shistory is traced inexhaustiae detait,Theclninthat theRnmones ssoed rock and roll nay finally notbe t'ar of the wk." - StEin HoIdm,Ny Times

"AMAZING! A visnic snnpshot of the ently days of punk." - Own Gteibman, Entefiainnent Wukly

(2003 d Michael Granaglia and Jim rields, 110nin, NR) In 1974, the New york City music scene was shocked into1g'1 consciousnessby the violentlynew and raw sound ofabard ofmrsfits from Queens called The Ramones. plavine

T 1t".ly,ryrp bar to a small group bf fellow shugglng

rysicians,the bmd shuck a chord of disha#on|

that rocked the fomdation of the mid-ieventies musiJicaie. This quuit.tof unlik.ly ro.t rt*r ttuu.f.J u*or"the comtry md aromdthe world comecting with the disenlrmchired everywhere, while sparking a movement

that wou-ld resonale with two genemtions of outcasts across the globe. Although the band riever re"ached the topof the Brllboard,charts. they mmaged toendure by.mmtaining a rigorous tourirg schedule for twenty-two yeari.After a long uphill battle {or the filrnmakers, md the death of t}ueeof their subjeits, the ultimate Ramones ioc ishere at the Alamo to blow our minds and our speakers with equal vigor The seminal punk bmd,s 20+ year careeris docmented in exhaustive detail, with rre archival footage md interuiews.

TIIT BTSI OT IHT AUSTI]I ]IIUSIG IIHWllNilD0UIIOHI Hednesday ilarc[ 2: 0:45tmlhe future of the Austh Mmic Nehvork may still.be cloudy, but one thing is certain: over the years this mique cable channel has helpedshape and forge the local music scene and been a true force to reckon with. This March we're turning over the theater to them for asprcial showcase of the very best that has come out.oI AMN in the past year They'll be grving awardito musicians, video producers,and more, and il you've never even watched a sngle hou of progrming on AMN, thii is tle perfec introduction. No one caa saywhat the rest of the yea holds for ou local chamel that carries way more music than MTV does these day+ so come out md show somesupporf now, while you still can.

2nd fflllUflt llllff illu$lG Uiltt0 ]ESItmt - lU$ililllowilf0ffi lhulsdaU illarc[ t0:gilbnmIndependent music videos have come a lonq_*uy.I the past 35 yeam md finally there is the IMW (lndie Music Video Festival) tocelebrate them. Far_from.beng just disposable calling-cards andmarketing tools, the music video is probably the most accessibleexmple of purely formalist filmaking in dre world, There is a syrcluonous beauty in the matching bf rnusic md vision, and theresultmt music videos are labor-intensive experimental 61ru that should be treated'as high art rathei than as a roften symptom oframpant comrnercialism. There is currently no other Iestival in the world dedicated excluively to music videos. Festivi direcorsMarcus Rogers, Nicole Steen and Frank Yalu{based in Vmcouver Cmada) started the IMW in 2002 as a mears of hooking up music-based visual artists with m-aPpreciative. aydjence,.m! n9w ihey've erpanded to Austin (they also have events in foroito,Calgary,Seattle, New York md even Malta!) to help bolster the local scene. See thi most stunning music videos the world has to offer, aionfsdea healthy roster of Austin offerings. For further program and submission info, see: wwlimvf.com

ltut mrsrclllGG0ilpAiltilHil [y nuBilGiltKs ytD0tsil HsiltBlElltR G0lIltI: SAIURIIIY tlllfiGll20,l:00 & 9nbTilIHlilA.clay statue is brouglrt to life in order to save the Jewish ghetto of Prague, but soon tums against his master in this Germansilent classic. A man brings an inmirnate object to life, m moral monster whom he hopei to use as a slave. The monster

ff.1.S*:g"rylhqhaster,nearlydeshoyinghimintheprocess.Thisisanmchegpalitorytoldmanytimesinliterature jand.filn. One of its first cinematic expressions was n THE GOLEIM, made in Gemmy in i920. The film ir bused rrpon a $medieval Jewrsh legend

tS:t:^.Iry !g*" Satis brought to life to.serue as a protectoi of the Jews who live in the piague i]

ghetto in_the year 1580. THE GOLEM is a film o{ great powel as hypnotic ai a Germm Expressionist vision of life as a Jwaking drem. the dim light ard looming shadow were photographed by Karl Fremd, who also shot two GermarExPressionist masterPieces: Fritz Lmg's METROPOLIS and F.W N{umau's THE LAST LAUGH. Fremd later emigrated toAmerica and evenfually becme the head cmeraman {or I LO\G LUCY

Itt Blill"Somehow it's hard to take the Ten Commmdnenh too seriously when they ue tattooed, in Hebrew, on ihe meaty left armoI a 240,h Texan tuba player. Especially ifhe then offers you a slug of slvovirz from his hip-flask and persuades fou - witha cheerful blast of bras - to forget all you ever thought you knew about the Jews md music. ' - (sophie Soloron, London I tDaiiy Telegraph) 4 years ago, Mark Rubin and his stellar bard, the Rubinchikt Yiddish Eroemble, electrfied audimces at -.10.]

the Almo with their score for DER GOLEM. At long last, we welcome back the retum of this perfect blend of film mdmusic to the Alamo Drafthouse for a long overdue encore performance. . ll

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GORIll[ AT 1ARGT IlI 3II!$atuilay lelruary 26 ]loon

(1954 d. Harnon Jones, 83 min, 35mm) How would you like it if a gimt rampaging

gorilla jurnped oui of the movie screen and into vour lap? That's exactly what

happens in COIIILLA AT LARCE through the miracle o{ 3Dl Most of us studiously

try to avoid being pursued by marauding apes in our daily lives but GORILLA AT

LARGE gives us the oppotmity to experience this pulse potmding thrill without the

danger And all you need to do is shorv up at you friendly downtown Alamo

Drafthouse and put on the speclal magic 3D glasses. Then sit back in you cozy

theater seat and watch Coliath, a 900 pound gorilla as he terrorizes a camival

sideshow We'll provide the glasses md the gorilla repellent. All you have to

provide is youself. See you therel

ilft3W||RlIISffGUII,IUTRSatunlay illarch 26 lloon

(1960 d. Jack Sher, 100mi4 35mm) Jonathan Swift's allegorical classic is brouglit to

M

ffiffi ""qsffiw:. ffi:.*";;vffi

lfe here by l{alr tlrrrtnu,,rar,', groilndbreaklng spectal-etlects. Harryhausen s

techdqoes reprcsented a huge step forward in visual effects. Builcling on the earlier

work of Wllis O'Brien, Harryhausen developed entirelv new ways kr matte, animate

md photogaph his eliects shots. His classics, THE SEVENTH VOYAGE OIr

SINBAD, MYSTERIOUS lSt,AND, CLASH OF THI TITANS and others have opened

new horizons of imagination to generations. While iodayt CGI effects may looksmoother and more fully iniegrated, something has been lost. Harryhausen's rnodel

shots had a warmth and depth o{ character that has yet io be replicated digitaliv.

These films have a storybook look and feel that makes them a classic part oi our

shared childhood. THE TIIREE WORLDS O! GULLIVER is an unforgettable mor ie

and one that must be experienced on the big screen.

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of Previous Oscar

Recognizable, and I

the Oscar Acceptanr

to lead the Oscar So

Prizes hclude mov:

certificates. One luc

moviesl So come pr

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BARA$SilrG GUPS rn0il 0SGr

lsr PR0ttGr$! Dnrffi sPrGtnltr0nt! il0nHng up the fm this year Come prepared to compe

! Costune contest categories iriclude: Best Repli

Fashion Catastrophe, Most Glamorous, Mtiest Fashion Plate. Practice up for participation

e Speech Lnpersonation and tobe the one (or teilng Singalong.

e memorabilia, movie posters of all sizes, and g

<y wirurer will receive one year of mlimited Alm

pared to participate in the fun and IMNII

it wirr, go for glm- the papaazzi will be snappi:

providing the photos for your memory albm. Tiash is always a sellout, so book your tickets earl

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Alamo Guide: Feb-Mar 2005

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Transcript of Alamo Guide: Feb-Mar 2005