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Greg Laemmle on summer 2022 word-of-mouth success stories: RRR, MRS. HARRIS GOES TO PARIS, HALLELUJAH, FIRE OF LOVE and more.

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From Greg Laemmle:
     After an amazing start to the summer box office season, things are going out with more of a whimper than a bang. And I’m OK with that. Ticket sales are only going to be as strong as the films that are in release at any given time. And to borrow the joke from the Catskills, the food isn’t so good …and such small portions. But that joke is only half right. Right now, there is a shortage of new films entering the marketplace. It’s largely another example of the supply chain being interrupted because of how the pandemic impacted the production schedule. Also, some of the films hitting the marketplace aren’t the most “commercial” titles. There are, however, some very worthy films that are currently in theatres. And I want to focus in on these films because they demonstrate one of the silver linings in the current marketplace, and that’s the power of WORD-OF-MOUTH.
     Word-of-mouth publicity is the thing that gets people to see a film that they might not otherwise see. Maybe the reviews aren’t through the roof. Or maybe the marketing didn’t make it seem like it was a film that they would enjoy.  Or maybe there wasn’t enough advertising support to bring a film to your attention. Whatever the case, we are talking about a film that you were initially not going to see. And then you hear something about the film.  Someone tells you how much they enjoyed it. Or perhaps you start seeing posts about the film on your social media feed.  Or maybe you talk to an employee at your local theatre and they tell you how much people are enjoying the film. However it gets started, enthusiasm and awareness begins to build. And in an environment (like now) where we theatre operators are searching for films that can draw ticket buyers, the ground is more fertile to allow a word-of-mouth success to grow.
     This phenomenon is not limited to arthouse films. This summer alone, we have three legit word-of-mouth winners. Number one in the bunch is TOP GUN: MAVERICK, which has been playing in theatres since Memorial Day weekend. Everyone knew about the film. Everyone knew it would be a hit. But in this day and age, it is amazing for a film to still be in theatres over Labor Day weekend after opening in May. Baz Luhrmann’s ELVIS has also outperformed based on the initial opening numbers. The film started off well enough, with about $30M over the opening weekend. Based on that opening, pundits figured the film would top out well under $100M in total. And yet, the film, now just shy of $150M, showing that word-of-mouth around Luhrmann’s fine direction and Austin Butler’s star-making performance overcame the early focus on Tom Hanks’ less-than-successful supporting turn. Not to be left out is the adaptation of WHERE THE CRAWDAD’S SING, which also looks like it will end up grossing five times its opening weekend, well in excess of the usual multiple.
     But this is Laemmle Theatres, and what we care about are the arthouse word-of-mouth successes. And we have several to mention. The most commercial of the bunch is MRS. HARRIS GOES TO PARIS, starring Lesley Manville in a fairy tale story. I’m not saying the film deserves to be part of the Oscar discussion, but it is an utterly charming film. And if you don’t want to take my word for that, consider that this semi-wide release is going to gross five to six times its opening weekend business. So clearly, I’m not the only one who had something nice to say about the film after seeing it.
     We also have a couple of long-running documentaries that have been hanging around in theatres for a while. FIRE OF LOVE is perhaps the higher profile film, given its acquisition at the Sundance Film Festival, which set the film up with some early Oscar buzz. But there is another doc which opened even before FIRE OF LOVE, and is now heading into its third month of release. That’s HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG. I’ll admit to being a huge fan of Leonard Cohen’s music. But this story about his most famous (and most covered) song is something more. It’s a film about the search for meaning in our lives, and how this song seems to capture that searching by Mr. Cohen, by the artists who recorded this song, and by extension, by all of us. HALLELUJAH is just playing one show a day at the Monicas this week, but it is absolutely worth seeking out. And, again, if you don’t want to take my word for that, consider the “votes” of random ticket buyers who keep coming out to see the film, now in its ninth week of consecutive release in L.A.!
     Last, but definitely not least, is the word-of-mouth surprise hit of the first half of 2022. This is a film that wasn’t even reviewed by the L.A. Times when it first came out (no surprise there), but ended up at the top of Justin Chang’s list of the best films of the first half of the year. And it absolutely deserved to be there. RRR is a Telegu-language film that has taken the entire film world by storm. It started out playing in theatres that cater to the Southeast Asian expatriate audience. But from there, word spread about the amazing special effects, the incredible stunt work, and the overall fun of the experience of seeing the film. That led to the film coming back into theatres on June 1 for a one-night event cinema #EncoRRRe screening. But that didn’t sate audience demand, so we extended our run for several weeks. And now, with students back from summer break, we want to give you one more chance to see this film in theatres. Yes, it is a bit of a commitment to see a three-hour film. But that’s only 20 minutes longer than ELVIS (which we already established as “worth it”), and I can assure that you’ll love every one of those extra minutes. Maybe you heard about this film, and you started watching a bit on some random streaming service. Sorry, but that’s just not the way to see RRR. This film demands to be seen with an audience so you can share in all the oohing, awwing, and laughter. Who knows, you may even need to get up and dance along during the big dance number.
     Yes, we are at the end of a long summer of movies. And there are plenty of stories about the box office being down, and the impact that this may have on certain exhibition companies. But don’t believe that there isn’t anything worth seeing at the movies. If you haven’t already seen these pictures, find a theatre that is playing MRS. HARRIS, FIRE OF LOVE, HALLELUJAH or RRR, and make plans to see them. And don’t just take my word for it. Trust the ticket buyers like you that have made them in word-of-mouth winners.
     See you at the movies!
~ GL

DELICATESSEN 30th Anniversary screenings at three Laemmle locations August 31.

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Laemmle Theatres and the Anniversary Classics Series present the latest installment of the popular Anniversary Classics Abroad series, the 30th anniversary of the U.S. release of the international cult classic, DELICATESSEN. The surrealist black comedy about the inhabitants of a post-Apocalypse French city was the collaboration of tyro feature filmmakers Marc Caro and Jean-Pierre Jeunet, who co-directed and co-wrote, with a writing assist by Gilles Adrien.

The story centers on three characters, the owner of an apartment building with a ground floor delicatessen (Jean-Claude Dreyfus); his daughter (Marie-Laure Dougnac); and a former clown hired to be the dilapidated building’s maintenance man (Dominique Pinon). They inhabit a world in which food is scarce and lentils are used as currency. The landlord/butcher lures job seekers, murders them, and then prepares “delicacies” to sell to his odd tenants. His daughter falls in love with the latest victim and tries to foil her father’s scheme with the aid of the “lentil-men,” underground rebels.

The film’s hybrid mix of genres had critics and audiences somewhat bewildered and equally delighted amidst generally favorable reviews. Critic Emmanuel Levy provided appropriate praise: “Part macabre humor, part romantic drama, part childlike fable, this ingeniously original French farce defies categorization, but is successful on all these levels.” Janet Maslin of the New York Times cited its “fun-house atmosphere,” calling it “weirdly hilarious” and “lightweight but a sometimes subversively stylish farce.” Stephen Rea of the Philadelphia Inquirer found it “indescribably wild,” and Michael Wilmington in the Los Angeles Times noted “the whole movie has been conceived in grandiose, garishly witty comic book images,” along with the advisory, “out-shocks and outplays the American horror comedies at their own game…a nasty, childlike, murderously funny show.”

Jeunet handled directing the actors, while Caro was responsible for design and effects, and the two would tap into their fervid imaginations again for THE CITY OF LOST CHILDREN, another provocative fantasy, in 1995. Their talents were recognized by Hollywood when they were hired as the director (Jeunet) and design supervisor (Caro) for ALIEN: RESURRECTION in 1997. Jeunet went onto international acclaim for the more conventional romantic comedy AMELIE (2001), nominated for five Academy Awards, including best foreign language film and a screenplay nod for Jeunet. But all this success started with DELICATESSEN, which will be presented for one night only Wednesday, August 31 at 7:00 pm at three Laemmle locations: Glendale, Newhall, and the Royal in West Los Angeles.

A parable of power, the slickly entertaining Javier Bardem film THE GOOD BOSS opens August 26.

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One of the most magnetic movie stars in cinema, Javier Bardem’s new workplace comedy-drama The Good Boss starts August 26 at the Royal. We’ll expand it to our other theaters in the subsequent weeks. The film is about Básculas Blanco, a Spanish company producing industrial scales in a provincial Spanish town, as it awaits the imminent visit from a committee which holds the firm’s fate in their hands: will they honor Básculas with a local Business Excellence award? Everything has to be perfect for the visit. Working against the clock, the company’s proprietor, Blanco (Bardem) pulls out all the stops to address and resolve issues with his employees, crossing every imaginable line in the process.

“Reminiscent of the Coen brothers’ trademark cinematic sarcasm… slickly entertaining.” ~ Jordan Mintzer, Hollywood Reporter

“It’s Javier Bardem’s show as he reunites with Fernando Leon de Aranoa for this parable of power.” ~ Jonathan Holland, Screen International

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“Javier Bardem gives a powerhouse performance.” ~ David Stratton, The Australian

Here’s a clip from the film:

https://www.youtube.com/watch?v=qmdsIHGhiL8&feature=youtu.be

#BringBackMovieReviews: Marketplace on Nashville’s Belcourt Theatre

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The journalists at the American Public Media business and economic news radio program Marketplace do in-depth reporting by repeatedly profiling and interviewing people, establishing long-term relationships they return their listeners to. One such person is Stephanie Silverman, executive director of the Belcourt Theatre, a non-profit movie theater in Nashville. Kai Ryssdal, the host and senior editor of Marketplace, recently spoke with Silverman again about adjusting to the pandemic and streaming. She is an extremely articulate advocate for the theatrical experience and what she said in the interview —  “studios are understanding that the long tail for their movie happens when it starts in exhibition…it needs the word-of-mouth energy that only exhibition spaces can give it” — relates directly to what we’ve been advocating for recently in regards to the L.A. Times film section. Traditionally, talented, knowledgeable film critics guide moviegoers to culturally and artistically important films they might have otherwise missed. Filmmakers and film lovers alike rely on the critics for this and the film critics rely on big platforms like the Times. It is a crucial step in the process that makes unique, fine films and their L.A. theatrical exhibition possible. If the paper of record in the movie capital of the world abdicates its role, film culture suffers. We run the risk of a monoculture consisting of superheroes and sequels. #BringBackMovieReviews

 

 

“An exotic and brilliant hothouse flower of a film,” Buñuel’s ‘The Discreet Charm of the Bourgeoisie’ is back in theaters this Friday.

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We are thrilled to open the new 50th anniversary 4K restoration of Luis Buñuel’s The Discreet Charm of the Bourgeoisie (1972) this Friday at our Royal, Claremont, Glendale and Town Center theaters. The 1973 Academy Award winner for Best Foreign Film and 1974 BAFTA Award winner for Best Actress and Best Screenplay, Discreet Charm is one of surrealist master Buñuel’s late career triumphs, now fully restored and ready to meet a new audience craving the director’s particular flair for the anarchic skewering of ruling elites.

An ambassador and his bourgeois pals try to dine together again and again as circumstances, carnal and otherwise, intervene. Starring major French actors and Buñuel stalwarts Fernando Rey, Jean-Pierre Cassel, Stéphane Audran, Paul Frankeur, and Delphine Seyrig, with a screenplay written by Buñuel and long-time collaborator Jean-Claude Carrière (Diary of a Chambermaid, La Piscine), Discreet Charm brims with humorous satire and incisive criticism expressed in ways that can only be described as “Buñuelian.”

“Frightening, funny, profound, and mysterious…Luis Buñuel’s 1972 comic masterpiece, about three well-to-do couples who try and fail to have a meal together, is perhaps the most perfectly achieved and executed of all his late French films.” ~ Jonathan Rosenbaum, Chicago Reader

   

“Extraordinarily funny and perfectly acted.” ~ Vincent Canby, The New York Times

“Buñuel’s art is as insolent as ever. The Discreet Charm of the Bourgeoisie is a deeply funny movie, as a viewing experience it’s like walking across a perilous, sway little bridge whose guide rails periodically snatched away.” ~ David Denby, The Atlantic

“I had forgotten just how spooky the dream scenes are; Buñuel could have been a master of horror, or a great farceur. As it was, he was simply Bunuel, which is cause enough for celebration.” ~ Anthony Lane, The Independent

“Dreams nest within other dreams like so many Chinese puzzle boxes, while no dream belongs exclusively to a single dreamer, as though Bunuel were toying with the Jungian notion of the collective unconscious.” ~ Budd Wilkins, Slant Magazine

“An exotic and brilliant hothouse flower of a film.” ~ Peter Bradshaw, The Guardian

“Manages to be totally surreal yet totally approachable. Quite amazing.” ~ David Jenkins, Little White Lies

“Take a look again at its dream sequences, especially the nocturnal one involving the young man in the side street, and you will see a master disturber still at work.” ~ Peter Rainer, New York Magazine/Vulture

“An absurdly comic assault on the meaningless social rituals and polite hypocrisies of the upper middle class.” ~ Gary Dowell, Dallas Morning News

“This has to be one of the most completely realized comedies ever made, and, in its odd way, one of the most civilized.” ~ Charles Taylor, Salon.com

“Strange, wacky, funny, and tragic — and, on an incidental personal note, Discreet Charm is the movie that made me realize I was in love with movies.” ~ Marjorie Baumgarten, Austin Chronicle

“It combines a masterful command of the medium with a mischievous, anarchic sense of imaginative freedom.” ~ A.O. Scott,  New York Times

“Boasts one of the best titles in movie history and a cast to match.” ~ J. Hoberman, Village Voice

https://www.youtube.com/watch?v=4A3bnal75aY

Promote the general welfare: mask against COVID.

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From Laemmle Theatres President Greg Laemmle:

     As we are going to press with this week’s eNews, we don’t know what, if anything, will be mandated by the L.A. County Department of Public Health.  But we believe in the rule of law. And if the agency that is charged with protecting and promoting health in this county determines that indoor masking is required under the current circumstances, we hope that you will join us in respecting their knowledge and experience in the field of epidemiology, and comply with the regulations. Scientists aren’t infallible. But they know more about the subject at hand than some clown with a podcast.
     But beyond the question of mandates and their effectiveness as implemented in this country, let’s just consider some basic science about the spread of airborne viruses.
     We believe that wearing a proper-fitting mask does provide protection. Protection for the wearer. And ,perhaps more importantly, protection for others in the auditorium if the wearer is unknowingly infected.
     When I’m in a crowded theatre, I wear one. Ditto for when I’m on a plane or a bus. It’s really not a big deal.
     For most people, and especially those who are vaccinated and boosted, getting infected does not seem to lead to great risk of hospitalization or death. This is especially true given the availability of treatment options like Paxlovid. But the new variant is highly contagious, and there are still people who are getting ill and dying from this virus.
     Leaving aside the question of government intrusion on issues of personal health and safety (which necessitates opening up a huge can of worms these days), can’t we all just see that it would benefit the common good to help slow the spread of this disease?
     It’s right there in the Preamble. “…promote the general Welfare…” Yes, that’s a power that we entrust to the government that we are (deliberate use of present tense) establishing. But it’s also one of the prime reasons why we are agreeing to this communal endeavor that is the United States. Because we care about each other, and we can accomplish more and greater things as a country if we show that care and compassion.
     So mandated, not mandated, vaccinated, not vaccinated, whatever. If you’re in a theatre, and there are others close by, please mask up. Every little bit helps.

More on movie reviews: Ira Deutchman on “Seven Ways The New York Times Could Help Save Theatrical Moviegoing and Its Own Bottom Line.”

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     Last month we pleaded with the L.A. Times to restore its film section to greatness by again reviewing all theatrical releases instead of just the latest Hollywood blockbuster and occasionally one foreign, indie or documentary feature. The Times is, after all, our city’s paper of record. To earn and hold that title means thorough coverage of arts and culture, and the Times cannot claim to be a serious major daily if it gives short shrift to Los Angeles’ main artistic and cultural export.
     Since we spoke out, the Times has published some reviews of under-the-radar titles (like She Will and Murana) but ignored others that were just as worthy of serious critical attention (Olga and A Man of Integrity, for example). Film reviews are an essential aspect of film marketing to bring attention to movies released by distributors that don’t have the money to compete with major studio releases for people’s attention. The end result will be indie movie theaters like Laemmle going the way of small record shops and bookstores, diminishing cities’ cultural vibrancy. The Times has a major role to play here.
     Unfortunately, it looks like the problem is spreading to an even higher profile outlet, the New York Times. Ira Deutchman just posted a piece on his blog that’s worth a read. It’s headlined Seven Ways The New York Times Could Help Save Theatrical Moviegoing and Its Own Bottom Line. Ira is a long-time indie film executive who is also a filmmaker (Searching for Mr. Rugoff) and an associate professor of film at Columbia University so he has a unique and authoritative perspective on this topic and goes into much more detail with ideas beyond just maintaining the role of film criticism. We hope you’ll read Ira’s piece and share it with the L.A Times editors. It’s good food for thought and perhaps will instill in them a sense of civic responsibility.

Claire Denis, Juliette Binoche and Vincent Lindon’s BOTH SIDES OF THE BLADE opens July 8.

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The new erotic thriller by Claire Denis Both Sides of the Blade follows Sara (Juliette Binoche), who finds herself caught between two men: her longtime partner and an old flame (Vincent Lindon and Grégoire Colin). Before long, everything is in danger of spiraling out of control as the three find their lives intertwined years after meeting. We open the film at the Royal on July 8, the Glendale and Town Center July 15, and Newhall, Claremont and NoHo on July 22. (We also have Denis’ Stars at Noon to look forward to later this year.)
Praise for the Both Sides of the Blade:
“The silences that overwhelm the movie’s confrontational rages and the suppression of backstory details, underplaying motives and emphasizing action, thrust [the film] out of the realm of psychological drama and into shocking emotional immediacy.” ~ Richard Brody, New Yorker
“The studied ambiguity of what’s going on in Both Sides of the Blade doesn’t keep it from often achieving the suspense of an accomplished erotic thriller.” ~ Pat Brown, Slant Magazine

“As is often the case with Denis’ films, Fire grows more illuminating as it gets hotter; what starts like a constrained and unusually jagged French drama is eventually forged into an incendiary portrait of three people.” ~ David Ehrlich, indieWire

“Binoche, typically, is on commanding form, working once more with a film-maker who seems intuitively aware of how to harness her every glance or grimace. ~ Kevin Maher, Times [UK)]
“Denis is a masterful director who always knows exactly what she’s doing.” ~ David Rooney, Hollywood Reporter

“In this simultaneously small and cavernous love story, even a whisper echoes for days.” ~ Guy Lodge, Variety