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Home » Press » Page 3

The delicately crafted queer Hong Kong drama ALL SHALL BE WELL opens Friday at the Royal.

September 25, 2024 by Jordan Deglise Moore

This Friday we’re proud to open the terrific Hong Kong drama All Shall Be Well at the Royal. Written and directed by Ray Yeung, it’s about the aftermath of a death in a gay couple. It’s currently rated 100% on Rotten Tomatoes. A sampling of top critics’ reactions:
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“The indignity of being someone’s spouse while they are alive and merely a friend after their death is the theme of this moving film, which brims with compassion and uses a silky light touch.” ~ Natalia Winkelman, New York Times
*

“A picture of cruel realities. It’s a deliberate, nimble drama, one about major slights, class imbalance, and rampant homophobia.” ~ Robert Daniels, RogerEbert.com

“Anger is alien to Yeung’s style but it is sometimes justified, and without it, All Shall Be Well is a plea for understanding that should by now, by rights, be a demand.” ~ Jessica Kiang, Variety

“All Shall Be Well is undoubtedly an old-fashioned drama, but it is no less effective for that classic structure.” ~ Fionnuala Halligan, Screen International

“All Shall Be Well illustrates Yeung’s keen eye for the nuances of social dynamics, especially regarding matters of wealth and class that many may prefer to skirt around when it comes to family.” ~ Josh Slater-Williams indieWire

“Yeung’s latest feature is generous but never indulgent, taking the approachable genre of the family drama and placing it in the context of topical issues in today’s queer Hong Kong.” – Olivia Pope, Asian Movie Pulse

 

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Filed Under: Featured Films, Featured Post, Films, News, Press, Royal, Theater Buzz

New York Times Critic’s Pick: THE GOLDMAN CASE, “an electrifying courtroom drama based on a real 1976 case calls the very nature of equality and justice into question,” opens this Friday.

September 11, 2024 by Jordan Deglise Moore

Our local daily paper is, unfortunately, not reviewing The Goldman Case, which we’re opening this Friday at the Royal in West L.A. and the Town Center in Encino. So here is Alissa Wilkinson’s rave review from the New York Times:

“Few settings are as omnipresent in screen entertainment as the courtroom. The halls of justice, the argumentation of lawyers, dramatic backroom dealings, the telling facial expressions of the jury — all of it makes for very good drama. (And sometimes comedy, too.)

“Why? There are obvious hooks: salacious crimes, shocking lies, sudden gasps when a hidden revelation turns the case on its head. But there’s also something epic, almost mythic, about what goes on in a courtroom. Questions as old as Hammurabi or Moses, as ancient as civilization itself, are hashed out: good and evil, guilt and innocence, justice and fairness. Furthermore, modern presumptions of equality, democracy and objectivity face challenges. And that space, increasingly, is where the modern courtroom drama lives.

“American courtrooms are so familiar, thanks to Hollywood’s ubiquity, that it’s bracing to get plunked down into the minutiae of another legal system. The last few years have given moviegoers an unusually heady dose of French courtrooms. In 2022, Alice Diop’s searing “Saint Omer,” based on the real case of a woman accused of killing her infant, confronted the ways race, class and gender skew and degrade justice. Last year, Justine Triet’s “Anatomy of a Fall” electrified audiences with its courtroom scenes, which probed the knowability of the inner workings of a marriage.

“Now there’s Cédric Kahn’s The Goldman Case, nearly all of which takes place during the second trial of Pierre Goldman in 1976. It’s a true story: Goldman (played by an electrifying Arieh Worthalter) had been charged with four armed robberies years earlier, one of which resulted in the death of two pharmacists. Sentenced to life imprisonment, Goldman and his legal team appealed his case — some of it, anyhow. While he freely admitted to the robberies, he maintained that he was not involved in the killings. In 1975, he wrote a memoir entitled “Obscure Memories of a Polish Jew Born in France,” making him an icon among French leftists, and a month later the appeals court canceled the initial ruling.

“Set almost entirely within the courtroom, The Goldman Case is not a Hollywood-style heart-pumping work. But it’s plenty thrilling. Kahn, whose previous films include the 2004 thriller “Red Lights,” wrote the Goldman screenplay with Nathalie Hertzberg, who used newspaper articles and meticulous research to reconstruct what happened in the courtroom. The pair imbues the result with urgent, stirring drama even though it is, for the most part, just people standing at microphones, talking. And shouting. And looking outraged. Because of Goldman’s celebrity, his supporters crowd the room and punctuate proceedings with yelps of derision or support, whatever feels called for.

“But Goldman is at the center, and Worthalter gives a hypnotizing performance. By the time we meet Goldman, we know he’s a live wire; the first scene involves his lawyer reading a letter sent by Goldman to fire his representation a week before the trial, only to rescind the firing immediately. So once we’re in the courtroom, Goldman is the center of gravity. He decries the courtroom’s “pomp and theatricality.” He refuses to allow his defense to call character witnesses, insisting that because he is not guilty of the killings, it would be ridiculous to have people talking about how nice he is. Nice guys, he points out, can be murderers. The system ought to stand on evidence alone.

“That evidence, of course, is the tricky part. We are taught to think of courts of law as places where truths are spoken and discovered. But even people who aren’t lying, in the strictest sense of the word, can still make statements that are totally wrong. Memories can be compromised by time, mood, prejudice and much more.

“The shadow of antisemitism, for instance, hangs heavily over Goldman’s case; he’s the son of Polish Jewish refugees, and his Jewishness is clearly a factor in some of the witnesses’ recollection of the crime. It’s a topic that comes up again and again in the proceedings: Even those who claim no prejudice evince otherwise. At the same time, Goldman insists loudly on the racism of the French police, toward him as well as his Black friends. Equality may be an ideal, but ideals are aspirational, and they tend to be disposable.

“A movie like this can’t succeed without a keen visual sense. Otherwise it just comes off as Court TV or C-SPAN. Thankfully, the style of courtroom questioning in France differs from that of the United States — it’s less orderly, more freewheeling, with judge, prosecutors and defense all having a crack at witnesses in what can feel like a chaotic confrontation. That makes for great cinema, as does the visual design: There’s a kind of halo to the images that recalls the work of the mid-1970s. Furthermore, the camera keeps swinging back to Goldman’s furrowed brow as he listens with such intensity that you expect his brain might bust right out of his forehead.

“There’s a great deal of philosophical and ethical inquiry layered into The Goldman Case, much of which surfaces in testimony and in Goldman’s fiery insistence on his own innocence. What it comes down to, in the end, is a question of whether a legal system based on idealistic notions of freedom, justice, brotherhood and equality can ever live up to its own ideals. The problem with any such system is that it depends on humans, and humans are notoriously unreliable narrators. We’re suggestible. We’re prejudiced. We’re forgetful. We’re fearful. We’re certain of ourselves, and then we’re dead wrong. We judge — and those judgments judge us back.”

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Filed Under: Featured Films, Featured Post, Films, Press, Royal, Theater Buzz, Town Center 5

The “spiky, hilarious, and thoroughly unorthodox screwball comedy” BETWEEN THE TEMPLES is charming critics and audiences.

August 28, 2024 by Jordan Deglise Moore

The new comedy Between the Temples, starring Jason Schwartzman as a troubled cantor who finds his world turned upside down when his grade school music teacher (a never-better Carol Kane) re-enters his life as his adult Bat Mitzvah student, is living up to the hype and bringing audiences into theaters. Peruse this sampling of the catalyst for the film’s success, critics’ reviews:

“A spiky, hilarious, and thoroughly unorthodox screwball comedy about a grief-stricken cantor who loses his voice, only to find that he’s surrounded by a chorus of well-intentioned people who are happy to speak for him.” ~ David Ehrlich, indieWire

“We get the sense that Silver would be perfectly happy just sitting there and watching these people forever, story and conflict and resolution be damned. And it really is in these characters’ close exchanges that the movie comes to life.” ~ Bilge Ebiri, New York Magazine/Vulture

“Both stars — romantic leads with character actor cred — have the power to be funny and heartbreaking simultaneously, and their unique chemistry drives the film’s craziness and humanity.” ~ Thelma Adams, AARP Movies for Grownups

“Between the Temples emerges as a quirky and effective showcase for two actors known for playing oddball characters. Kane and Schwartzman bounce off each other so well that their work alone makes the film worth seeing.” ~ Odie Henderson, Boston Globe

“The relationship that unfolds, with shades of Harold and Maude, is honest and unsparing, as well as being blatantly Freudian.” ~ Kevin Maher, Times

“The movie is consistently funny, but its humor tends to be fairly gentle because it’s rooted in human behavior rather than in condescending, judgmental ideas about such behavior.” ~ Manohla Dargis, New York Times

“Schwartzman is very affecting as a perplexed, tragicomic galoot and Kane is a marvel.” ~ Jonathan Romney, Financial Times

“Shot wanly on film in wintertime, Between the Temples takes a while to reveal its depths – its linguistic wit, its cockeyed humor and compassion, how it can modulate from deadpan-slapstick to achingly poignant and still feel authentic in both keys.” ~ Kimberley Jones, Austin Chronicle

“With both misery and comedy, director Nathan Silver satisfyingly captures the Jewish experience.” ~ Joey Shapiro, Chicago Reader

“The real attraction here is the interplay between the two leads, which makes Between the Temples sing.” ~ Randy Myers, San Jose Mercury News

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Filed Under: Claremont 5, Featured Films, Films, Glendale, Newhall, News, NoHo 7, Press, Royal, Santa Monica, Theater Buzz, Town Center 5

The story of the “gentlemen guerrilla filmmaking operation,” MERCHANT IVORY opens August 30 at the Royal and Town Center.

August 21, 2024 by Jordan Deglise Moore

Merchant Ivory is the first definitive feature documentary to lend new and compelling perspectives on the partnership, both professional and personal, of director James Ivory, producer Ismail Merchant and their primary associates, writer Ruth Prawer Jhabvala and composer Richard Robbins. Some of their many career highlights include A Room with a View, Howards End, and The Remains of the Day. Footage from more than fifty interviews, clips, and archival material gives voice to the family of actors and technicians who helped define Merchant Ivory’s Academy Award-winning work of consummate quality and intelligence. With six Oscar winners among the notable artists participating, these close and often long-term collaborators intimately detail the transformational cinematic creativity and personal and professional drama of the wandering company that left an indelible impact on film culture.

Merchant Ivory director Stephen Soucy will participate in Q&As following the 7 PM screenings at the Royal on August 30 and 31. Film critic David Ansen will moderate the Q&A on the 30th.

Mr. Soucy on his film:

“There’s no other story like Merchant Ivory in the history of cinema and what a gift to be given an inside view of the Merchant Ivory
World from James Ivory and the more than 50 collaborators I interviewed in New York, London, Paris, and Los Angeles, in making this documentary film.

“James Ivory is one of our greatest living directors and, at 95 years old, this Oscar-winner for the much-lauded Call Me by Your Name shows no sign of slowing down. He’s still working, having recently adapted a Ruth Jhabvala short story The Judge’s Will for director Alexander Payne and the French novel The End of Eddy slated to be a multi-episode miniseries.

“Once James Ivory, Ismail Merchant, and Ruth Jhabvala met, they were connected forever. Their work and personal lives entwined for over forty-five years, and they became the most famous collaborative troika in film history.

“Merchant Ivory released 43 films. Many were fraught productions, often budget-related, and their last film, The City of Your Final Destination, brought the company to bankruptcy. A look at the comprehensive list of films that Merchant Ivory made, and the roster of talent they worked with, reveals that theirs was a spectacular achievement.

“The Merchant Ivory story, with James Ivory and Ismail Merchant at its center, is about art, money, partnership, loyalty, dysfunction, love, jealousy, and, eventually for Jim, the necessity to move forward and embark on a new chapter after Ismail’s passing.”

“Anyone with a fondness for these movies and for tales of what might be described as a gentlemen guerrilla filmmaking operation will find immense pleasure here.” ~ David Rooney, Hollywood Reporter

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Filed Under: Featured Films, Filmmaker in Person, Filmmaker's Statement, Films, Press, Q&A's, Royal, Theater Buzz, Town Center 5

“A rare work of art that thrills the senses and the mind… Worthy of that overused superlative ‘masterpiece.’” — Manohla Dargis, The New York Times. Melville’s ARMY OF SHADOWS opens Friday at the Royal and Town Center.

August 14, 2024 by Jordan Deglise Moore

ARMY OF SHADOWS, Jean-Pierre Melville’s 1969 epic of the French Resistance unseen in the U.S. until its acclaimed 2006 release by Rialto Pictures, returns in a stunning new 4K Studiocanal restoration, having its L.A. premiere starting this Friday at at the Royal in West L.A. at the Town Center 5 in Encino. Winner of the New York Critics Circle Award for Best Foreign Language Film of 2006 — 36 years after it was made — ARMY OF SHADOWS stars Lino Ventura, Paul Meurisse, Jean-Pierre Cassel, and Simone Signoret.

Occupied France: an escape from the Gestapo, so sudden and hairsbreadth as to leave Ventura, the toughest of tough guys, gasping with the icy sweat of terror and relief; two brothers remain unaware, to the end, of each other’s clandestine activities; patriots, who, in relentless pursuit of traitors, must steel themselves to the most brutal of face-to-face violence. But heroism can come at a truly high price.

 

French gangster movie legend Melville (Bob Le Flambeur, Le Samouraï, etc.) realized the dream of a quarter century when he adapted “the book of the Resistance,” written in 1943 by Joseph Kessel (Belle de Jour). Melville turned the detached, unblinking gaze of his film noir classics on these memories of his youth — he himself served for years underground — adding a finale so stoically uncompromising as to reduce Kessel himself to sobs.

Rialto’s 2006 release was the arthouse movie event of the year, getting awards from both the New York and Los Angeles Film Critics Circles, but also appearing on over 20 major Top Ten lists of the year, including the number one pick for Manohla Dargis of The New York Times.

PRAISE FOR ARMY OF SHADOWS

“A rare work of art that thrills the senses and the mind…Worthy of that overused superlative MASTERPIECE!” — Manohla Dargis, The New York Times

“THE TIGHTEST THRILLER IN TOWN! Lovers of cinema should reach for their fedoras, turn up the collars of their coats, and sneak to this picture through a mist of rain.” — Anthony Lane, The New Yorker

“A LOST MASTERPIECE…NOT JUST ONE OF THE GREAT FILMS OF THE ’60s BUT ONE OF THE GREAT FILMS — PERIOD.” — Stephanie Zacharek, Salon

Restored in 4K from the original 35mm negative. Scanned by Image Retrouvée, with the project carried out by Sophie Boyer and Jean-Pierre Boiget of StudioCanal. Digitization and restoration with the support of the CNC.

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Filed Under: Cinematic Classics, Featured Films, Films, Press, Royal, Theater Buzz, Town Center 5

“I just wanted to look at that moment of girlhood where you are shifting away from being ostensibly under the protection of your parents, but also realizing like, ‘Oh, I’m actually not protected by the world. I have to figure out my own, my own way forward.’” India Donaldson on her new film GOOD ONE.

August 14, 2024 by Jordan Deglise Moore

In India Donaldson’s fantastic debut film Good One, 17-year-old Sam (Lily Collias) embarks on a three-day backpacking trip in the Catskills with her dad, Chris (James Le Gros) and his oldest friend, Matt (Danny McCarthy). As the two men quickly settle into a gently quarrelsome, brotherly dynamic, airing long-held grievances, Sam, wise beyond her years, tries to mediate. But when lines are crossed and Sam’s trust is betrayed, tensions reach a fever pitch, as Sam struggles with her dad’s emotional limitations and experiences the universal moment when the parental bond is tested. Selected for both Sundance and Cannes’ Directors’ Fortnight, Good One is an emotionally expansive work that probes the limits of familial trust, understanding, and ultimately, forgiveness.

We open Good One this Friday in Santa Monica and a week from Friday in North Hollywood.

The nation’s film critics are not holding back. A small sample:

“Collias captures something gossamer here, a quiet shift into adult womanhood that happens, literally, overnight. She’s the new moon, ready to emerge. But unlike the moon, she makes her own light.” ~ Stephanie Zacharek, TIME Magazine

“In its lived-in quality and gathering churn, Good One is a dream of an indie, from the craft in every frame to the humor, epiphanies and mysteries that gird its portraiture.” ~ Robert Abele, Los Angeles Times

“Its most distinctive quality is how much Donaldson and her trio of actors … trust the subterranean, and allow it to do its work far beneath the surface, between the words.” ~ Sheila O’Malley, RogerEbert.com

“So much of the grace and, ultimately, the emotional resonance of Good One lies in Collias’ performance, and how she turns a symphony of reaction shots into a portrait of a woman caught in a crossfire of middle-aged male malaise.” ~ David Fear, Rolling Stone

“Subtly dark, humorous, and wise, Good One leans into its wilderness backdrop in all of its liberating (and, sometimes, paradoxically claustrophobic) properties.” ~ Tomris Laffly, Harper’s Bazaar

Donaldson has sat for several recent interviews to talk about her film. Here’s an excerpt from one with Jordan Raup of The Film Stage:

The best directorial debut of the year, India Donaldson’s Good One, is a carefully-observed portrait of both womanhood and fatherhood, capturing the 17-year-old Sam (Lily Collias, in a revelatory breakthrough performance) who embarks on a camping trip in the Catskills with her father (James Le Gros) and his best friend (Danny McCarthy). As the men are in the middle of a midlife crisis of sorts, Sam is witness to their mindless banter and subtle indecencies, culminating in a piercing point of no return.

Ahead of the film’s limited release beginning this Friday, I spoke with Donaldson about the character dynamics, the film’s subtle accumulation of details, the Hou Hsiao-Hsien and Kelly Reichardt films she watched as inspiration, and the journey from Sundance to New Directors/New Films to the Cannes Film Festival.

The Film Stage: Can you talk about how you initially formed the dynamic between these three characters? In some ways, it feels like an update on Old Joy but with an entirely new perspective.

India Donaldson: When I wrote the script, it was like deep COVID, and I was living back at home for the first time since high school, basically. And I have two half-siblings who at the time were in high school and I was kind of reflecting. I never thought about, before this moment, exploring that moment in film or writing. But through them this triangulation happened where I was reflecting on my own teen years and memories, of the ways that I dealt with conflict, the ways that I was avoidant of conflict, just my qualities of being in the world as a teenager. And how I felt like I had spent my 20s kind of trying to beat back certain instincts I had––to please or this kind of thing that had worked for me as a teenage girl, I feel like it wasn’t working for me in my professional life. I felt like I didn’t have the confidence to really pursue what I wanted to pursue, all these things. I just wanted to look at that moment of girlhood where you are shifting away from being ostensibly under the protection of your parents, but also realizing like, “Oh, I’m actually not protected by the world. I have to figure out my own, my own way forward.”

If you just look at the logline you could think it’s like a coming-of-age movie, but I feel like throughout the movie you learn she’s actually more mature in some ways, and level of maturity is not defined by age. She’s picking up on different social cues. What was it like writing her character and after you met Lily, did her character expand? 

The character was on the page for sure, but the moment I met Lily and saw her audition, she just had added this edge to the character. I was always kind of nervous about the character that she would come across as too much of a doormat. That it would be sort of unsatisfying to watch somebody repeatedly act kind of in service of these men and their needs and struggle with that. Lily just had this quality where even when the character’s at her most obedient, I could always feel her pushing against it. Because I think Lily herself has a natural kind of rebellious [spirit]. She’s a real freethinker and has this incredible confidence that the character doesn’t have. But I think it bleeds into the performance and so it evolved in that sense. As soon as it was sort of in her hands, the character became more powerful to me. Which was a cool thing to discover.

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Filed Under: Featured Films, Featured Post, Films, News, NoHo 7, Press, Santa Monica, Theater Buzz

“A puzzle-like homage to the noir genre itself, with echoes of Jean-Pierre Melville and CHINATOWN,” ONLY THE RIVER FLOWS opens Friday at the Royal.

July 31, 2024 by Jordan Deglise Moore

Nineteen nineties small-town China. A woman’s body washes up in the local river. The chief of police, Ma Zhe, is tasked with heading up the investigation. An obvious perp leads to a hasty arrest, though the mystery lingers in Ma Zhe’s mind. What kind of darkness is truly at play here? Director Wei Shujun’s murky throwback film noir, gritty, textured film grain captures the pulpy proceedings. Torrents of rain envelop the characters as they descend into madness in pursuit of the truth. Equal parts atmospheric tour-de-force and beguiling puzzler, Only the River Flows is a masterfully styled ode to a bygone cinematic era and a sharp-edged portrait of provincial paranoia. The film, starring Zhu Yilong, is based on Yu Hua’s popular short novel Mistakes by the River. We open the film this Friday at the Royal.

“In a seamy offbeat world englobing the gleaming surfaces of Park Chan-wook’s terrific Decision to Leave, all scuzzed-up and grimy and the Diao Yinan’s Black Coal, Thin Ice with seams of absurdist dark comedy, Wei Shujun’s inventive riff on Asian-noir gives the expanding subgenre something its Chinese contributions often lack: a pitch-black sense of humor. Like the greatest genre exponent, Raymond Chandler, Wei cares less about logistics than about mood in this rainy, grainy movie (DP Chengma shoots on film in low light, giving the images a lovely dirty texture), lending the film in a cool retro vibe and a schlocky Brian De Palma-style opening. Humanizing quirks and flourishes abound, providing profundity to this touchingly melancholic portrait of small-town desperation.” -Variety.

  

“An enigmatic, progressively more engrossing noir directed by Wei Shujun, structurally inventive, if not downright format-twisting. The cinematography is genuinely star-making.” ~ Screen International

“A film noir that’s so vintage it comes wrapped in crackling celluloid and old cassette tapes. Written and directed by Wei Shujun, the movie is a puzzle-like homage to the noir genre itself, with echoes of Jean-Pierre Melville, Chinatown, and Memories of Murder.” ~ Hollywood Reporter

Wei Shujun was born in 1991 in Beijing, China. He started his career as an actor at age 14. He completed his master’s degree at the Communication University of China. His films include On the Border (short, 2018, Special Jury Award at Cannes Film Festival), Striding into the Wind (2020, Official Selection Cannes Film Festival) and Ripples of Life (2021, Directors’ Fortnight, Cannes). 

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Filed Under: Featured Films, Films, Press, Royal, Theater Buzz

“Guess what? Movies aren’t dead. So let’s stop with the prophecies of doom for a minute.” ~ Mary McNamara in the L.A. Times

July 10, 2024 by Jordan Deglise Moore

We’ve posted quite a bit about the importance of theatrical movie exhibition — most recently here, here, and here. Now the L.A. Times’ Pulitzer Prize-winning Culture Columnist and Critic Mary McNamara has weighed with her typically trenchant observations. If only her paper’s film department would return to its decades of glory when it treated the vibrant L.A. cinema scene with the respect it deserves by giving it robust coverage!) But we digress. Here’s an excerpt from McNamara’s piece:

When I became a television critic for the Los Angeles Times, way back in early 2007, many people told me it was a Very Bad Idea. Why would I give up a job as a film writer to review TV? Didn’t I know “The Sopranos” was ending? And that, with a few notable exceptions, original scripted television was dead, murdered by reality TV and endless internet content?

Mercifully, I listened to none of it; instead I was able to watch and write about one of the most stunning artistic revolutions of our time. The pendulum (and Hollywood’s penchant for excess) being what it is, television is now facing a financial crisis due, in large part, to that marvelous period of growth. But though the industry is in a belt-tightening phase, no one is predicting the demise of the art form altogether.

I think of television in 2007 every time a consortium of pundits calls time of death on anything. I certainly thought about it a month ago when so many people were announcing the demise of moviegoing.

In May, “The Fall Guy,” “Furiosa: A Mad Max Saga” and “The Garfield Movie” failed to live up to prerelease expectations. Instead of questioning the wisdom of the expectations themselves,especially given crippling writers’ and actors’ strikes, the industry, and many of those who cover it, preferred to announce that the sky was falling.

“People just don’t want to go to the movies anymore,” is something more than one person said out loud and in public.

Then “Bad Boys: Ride or Die,” “A Quiet Place: Day One” and especially “Inside Out 2” premiered and suddenly everyone was, and is, going to the movies again. The box office has roared to life and “Deadpool & Wolverine” isn’t even out yet.

As it turns out, people do still want to go to the movies.

(Read the full piece here.)

 

 

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DESPERATELY SEEKING SUSAN 40th Anniversary Screening July 30 at the Royal.

Join us July 24 for the sixth annual Art House Theater Day at the Monicas, Glendale, NoHo and Claremont.

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Laemmle Theatres is pleased to celebrate the sixth Laemmle Theatres is pleased to celebrate the sixth annual Art House Theater Day this July 24 by screening four fabulous films curated by this year’s ambassadors, filmmakers Sean Baker and Samantha Quan.

⭐ Sean Baker’s "Tangerine (2015)" at the @laemmlenoHo
⭐ Lily Tomlin’s "The Search for Signs of Intelligent Life in the Universe (1991)" at the @laemmlemonicafilmcenter
⭐ Céline Sciamma’s "Tomboy (2011)" at the @laemmleglendale
⭐ Studio Ghibli’s Whisper of the Heart (2006) at the @laemmleclaremont

Taken together, the four beautifully represent the breadth, depth, humor, profundity and diversity that art house moviegoers seek out and embrace.

📣 The Tangerine screening will include exclusive content with ambassadors Sean Baker and Samantha Quan. The Search for Signs screening will feature a special audience salute from star Lily Tomlin.
part of the #WorldwideWednesdays Series! 🎟️ l part of the #WorldwideWednesdays Series! 🎟️ laem.ly/3RplztZ
#ThePolishWomen
Escaping famine in Poland, Rebeca (Valentina Herszage), together with her son Joseph, arrives in Brazil to meet her husband, who immigrated first hoping for a better life for the three of them. However, she finds a completely different reality in Rio de Janeiro.
Part of the #WorldwideWednesdays Series! 🎟️ l Part of the #WorldwideWednesdays Series! 🎟️ laem.ly/3RpbZY5
#TheSurvivalOfKindness
Battling privilege and pestilence while not knowing if she's alive or dead, Black Woman finds skeletons and has her boots stolen. "First-time actress Mwajemi Hussein is riveting as an escapee trekking across a plague-ravaged wilderness in a magnificently parched, wordless parable." ~ Variety
⭐ Don't miss your chance to experience the mocku ⭐ Don't miss your chance to experience the mockumentary masterpiece THIS IS SPINAL TAP on the Laemmle big screen! Remixed, remastered, and re-releasing! it's going to be 11/10!

📅 THIS WEEKEND ONLY!
🍿Elevated food and drink options that go beyond the screen!
🎟️TICKETS: laem.ly/4khU16n

@spinaltap #spinaltap @bleeckerstfilms @FathomEntertainment #ThisIsSpinalTap
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Laemmle Theatres

Laemmle Theatres
Tickets: http://laemmle.com/film/israel-palestine-swedish-tv-1958-1989 | Subscribe: http://bit.ly/3b8JTym | Israel Palestine on Swedish TV 1958-1989 by archival film maestro Göran Hugo Olsson (The Black Power Mixtape) is assembled from a vast stockpile of striking footage catalogued in the vaults of Sweden’s national television service, SVT, where accounts of the Israeli-Palestinian conflict are witnessed and represented by Swedish journalists. Stories of the beginning of the Israeli state are interwoven with the Palestinian struggle for independence.

Tickets: http://laemmle.com/film/israel-palestine-swedish-tv-1958-1989

RELEASE DATE: 10/17/2025
Director: Göran Hugo Olsson

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

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Tickets:  | Subscribe: http://bit.ly/3b8JTym | Featuring The Search for Signs of Intelligent Life in the Universe (Monica Film Center), Tangerine (NoHo), Tomboy (Glendale) and Whispers of the Heart (Claremont

Tickets: 

RELEASE DATE: 

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

Subscribe to Laemmle's E-NEWSLETTER: http://bit.ly/3y1YSTM
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Tickets: http://laemmle.com/film/kerouacs-road-beat-nation | Subscribe: http://bit.ly/3b8JTym | KEROUAC’S ROAD: THE BEAT OF A NATION explores how the legacy of Jack Kerouac’s iconic novel On the Road reflects in today’s America. The film interweaves stories of modern-day “on-the-roaders” who share connections to Kerouac’s life, alongside those influenced by him or knew and loved him.

Featured participants include Josh Brolin, W. Kamau Bell, Natalie Merchant, Matt Dillon, David Amram and Joyce Johnson. On the Road remains as relevant today as it was in the 1950s, but both the book and Kerouac himself have never been explored in this way before.

The film reveals a rarely seen

Tickets: http://laemmle.com/film/kerouacs-road-beat-nation

RELEASE DATE: 8/1/2025
Director: Ebs Burnough
Cast: Michael Imperioli (voice), David Amran (voice), W. Kamau Bell (voice), Josh Brolin (voice)

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

Subscribe to Laemmle's E-NEWSLETTER: http://bit.ly/3y1YSTM
Visit Laemmle.com: http://laemmle.com
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