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“A genre work of superior, silken craftsmanship, so sinister, serpentine and sexy as to be downright swoon-worthy,” DECISION TO LEAVE opens Friday.

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What happens when an object of suspicion becomes a case of obsession? Winner of the Best Director prize earlier this year at Cannes, Park Chan-wook (Oldboy, The Handmaiden) returns with Decision to Leave, a seductive romantic thriller that takes his renowned stylistic flair to dizzying new heights. As of this writing the film’s Rotten Tomatoes’ score is 93%, with the most sophisticated critics kvelling about the film’s artistry and suggesting repeat viewings. We open the film Friday at the NoHo and Glendale with additional engagements planned in the subsequent weeks around town.

“Even the most expositional passages of this elegant, tricky murder mystery brim with quietly stunning craft.” ~ A.A. Dowd, Chron
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“The film is a box of secret compartments; just when you think you’ve got it all figured out, one more panel springs open.” ~
Stephanie Zacharek, TIME Magazine
“A genre work of superior, silken craftsmanship, so sinister, serpentine and sexy as to be downright swoon-worthy.” ~ Nick Schager, The Daily Beast
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“[Park Chan-wook’s] perspective is unmistakable in exploring the dark and twisted ways in which people relate to each other… So sumptuous, wrong, and fun.” ~ Christy Lemire, FilmWeek (KPCC – NPR Los Angeles)
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“The ambiguity of what is really going on is what makes the film so tantalizing…. Decision to Leave is a stunning achievement that ends by deliberately raising more questions than it answers.” ~ Gary M. Kramer, Salon.com
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“If the erotic thrillers of the past explored the dangers of lust, Park Chan-wook explores the risks of longing. His take on the genre isn’t just sexy; it’s playful and mordant and convoluted — and it begs to be rewatched.” ~ Shirley Li, The Atlantic

“In a world fraught with corporate values and shareholders, this was a family business that…understood the importance of planting a tree for the next generation.” Director Raphael Sbarge on his documentary ONLY IN THEATERS.

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Only in Theaters filmmaker Raphael Sbarge kindly penned a director’s statement to share with you:

“I grew up in New York City, which at the time felt like a city filled with artists and colorful, intellectual, people. My father was an artist and a filmmaker, my mother, a Broadway costume designer. When I met the Laemmle family, they felt very familiar to me—their caring for one another, their openness and curiosity, their shared passion for art, music and culture, and their recognition that those things make life richer. 

“It was always the Laemmle family that drew me to this story. 

Greg & Tish Laemmle

“Our plan was to highlight the Laemmle family’s unbelievable legacy and impact on the motion picture industry and set it against the slowly changing landscape. What we didn’t realize was the extent to which we were poised to witness history unfold. Not long after we started, we realized the story was much bigger than we had imagined. 

“We ended up following the family for over two-and-a-half years, during which the Laemmle story became a microcosm of the macrocosm. The question was, where was it all headed? 

Greg Laemmle

“Multiple generations of a family had built a business on the core principle of celebrating artists. There was something so innate, so essential about the Laemmle family mission, which was ever more remarkable in a world that often undervalues artists, even though artists help us see the world, interpret it, and give it meaning. 

“In a world fraught with corporate values and shareholders, this was a family business that wasn’t driven only by money, but by people who understood the importance of planting a tree for the next generation. 

Greg & Tish Laemmle

“We feel quite privileged to have been there, during what was the most tumultuous 24-month period in the theater’s history. We found ourselves quite suddenly in the “hot part of the flame,” witnessing the Laemmle’s’ challenges, which were echoed over and over by theaters around the country and around the world.” ~ Raphael Sbarge

Mr. Sbarge and cast member Greg Laemmle will participate in a Q&A following the 7 o’clock screening of Only in Theaters at the Monica Film Center on November 14 as part of the Reel Talk with Stephen Farber series. The regular engagements begin November 18 at the Royal and other Laemmle venues.

https://www.youtube.com/watch?v=er1BIUWv3MA

REEL TALK WITH STEPHEN FARBER moves to Laemmle’s Monica Film Center.

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Laemmle Theatres is pleased to announce that veteran film critic Stephen Farber’s popular REEL TALK WITH STEPHEN FARBER screening series is moving to Laemmle’s Monica Film Center this fall! See a variety of outstanding films from the U.S. and around the world, including many top awards contenders. Then meet the filmmakers for provocative and revealing discussions led by Stephen.  The first screening — CALL JANE — will be October 17 and special guests will be announced soon. Visit laemmle.com/reeltalk for updates.

Recent films and speakers at Reel Talk have included:

MRS. HARRIS GOES TO PARIS, with director Anthony Fabian;

THE PHANTOM OF THE OPEN, with actors Christian Lees and Jonah Lees;

HAPPENING, with director Audrey Diwan and actress Anamaria Vartolomei;

THE UNBEARABLE WEIGHT OF MASSIVE TALENT, with director/co-writer Tom Gormican and co-writer Kevin Etten;

OPERATION MINCEMEAT, with screenwriter Michelle Ashford;

FIDDLER’S JOURNEY TO THE BIG SCREEN, with producer Sasha Berman and co-writer Michael Sragow;

AS THEY MADE US, with writer-director Mayim Bialik.

Watch Laemmle Theatres’ Isaac Wade on Spectrum News 1 for National Cinema Day + a Cinema Day poll!

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     Saturday’s National Cinema Day was such a success, drawing more than eight million moviegoers for the best moviegoing weekend of 2022, that it might become an annual event. Laemmle Royal and Monica Film Center General Manager Isaac Wade and a theater customer even got interviewed by journalist Nathalie Basha of local station Spectrum News 1. Isaac spoke about the experience of welcoming big crowds back to his theater: “To see people back and in line and excited to be here and wanting to support the industry, I think…that’s incredible. It’s exciting, it’s moving.”
     We are so pleased about the day’s results that we want to learn more, so here’s a poll. Did you take advantage of National Cinema Day? What movie did you see? Was Saturday your first return to the movies since before the pandemic? Inquiring minds want to know! Thank you and see you at the movies!

Celebrate moviegoing this Saturday, National Cinema Day: $3 tickets for all films, all day.

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Celebrate moviegoing and enjoy some monetary time travel this Saturday, September 3 by participating in National Cinema Day when movie theaters across the nation will charge prices circa 1980 — three bucks per ticket! This applies to any film at any time on Saturday, from François Ozon’s latest, Peter Von Kant, to Sam Raimi’s Spider-Man: No Way Home – The More Fun Stuff Version, from the new A24 comedy about the underground comics scene, Funny Pages, to Javier Bardem’s Goya-winning The Good Boss. Catch the summer sleepers Mrs. Harris Goes to Paris, Fire of Love, RRR or Hallelujah: Leonard Cohen, A Journey, A Song while they’re still on big screens.

They say you can’t get something for nothing, but National Cinema Day is close! Super cheap movie tickets and, oh, did we mention the air conditioning?

 

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

“This movie is great on whatever-sized screen you watch, but it’s next-level in a full theater with a rabid audience.” The spectacular RRR, back in theaters by popular demand.

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If you haven’t experienced the Indian blockbuster RRR in a theater, good news, we are bringing it back! The movie is an exhilarating, action-packed spectacular mythologizing two real-life freedom fighters who helped lead India’s fight for independence from the British Raj, Komaram Bheem (N.T Rama Rao Jr., aka Jr NTR) and Alluri Sitarama Raju (Ram Charan). Set in the 1920s, before their fight for India’s independence began, RRR imagines a fictional meeting between the two, set into motion when a young Gond girl is stolen from her village by British soldiers. With a powerful message, staggeringly choreographed action sequences, and an all-timer of a musical number, RRR is sheer big-screen joy from start to finish, and it is something best experienced with an audience to fully appreciate big and loud, as intended.

Catch RRR starting August 26 at the Monica Film Center and Town Center and a week or two after that at the Claremont and Newhall. All are venues where we have not previously screened the film.

The New York Times recently published a story about the RRR phenomenon headlined “How the Indian Action Spectacular RRR Became a Smash in America.” Among the U.S. exhibitors quoted about helping making the film a cross-over hit is Laemmle Theatres president Greg Laemmle:
“Gregory Laemmle, the president of the West Coast theater chain that bears his name, attended the Seattle screening after booking RRR at three of the Laemmle Theaters’ California locations. (RRR has since gone on to play at five Laemmle theaters.) Laemmle was already a believer, sight unseen, thanks partly to Marchetti’s recommendation and partly to enthusiastic social media responses from the initial release. Ticket sales at Laemmle theaters were high enough to warrant a weeklong engagement, which began June 3. “But after seeing the movie, I knew that I would need to clear space for that run to play” longer, Laemmle said.

“Cristina Cacioppo programmed RRR at the Nitehawk Prospect Park in Brooklyn, where it drew enthusiastic moviegoers in the 20-to-30 age range, most from outside the Indian diaspora. “There was an overall wave of joy throughout,” Cacioppo said by email, adding later. “You could feel the room smiling, the jaws dropping.”

“Jake Isgar at the Alamo Drafthouse chain said there were at least 10 rounds of spontaneous applause from a packed screening in San Francisco. “This movie is great on whatever-sized screen you watch, but it’s next-level in a full theater with a rabid audience,” he added.”
L.A. Times lead film critic Justin Chang included RRR on his list of 10 best films for the first half of 2022:

“The longest feature on my list runs more than three hours and earns every supercharged minute. Already the second-highest-grossing Indian film of all time in America (it’s grossed more than $140 million worldwide), S.S. Rajamouli’s Telugu-language sensation is a hellaciously entertaining mash-up of history and legend, politics and romance, hyperviolent action and song-and-dance musical, venomous snakes and throat-mauling tigers. As the two mighty warriors whose tender bromance becomes a truly infernal affair, N.T. Rama Rao Jr. and Ram Charan are forces of nature.”

(Side note: even though Justin included the film in his Top 10, the film still hasn’t actually had a full review in the Times. Yet another example of good films not getting reviewed by the tragically thin Times film section.)

Finally, Variety just published a story headlined “How India’s Action Epic RRR Could Bring the Country’s First Oscar Nom in 21 Years.”

“A movie with the action sensibilities of James Cameron and the ambitious scope of George Miller has to be considered a definitive Oscar contender, right? Not without the proper backing by a studio or, in this case, a country that will submit your film for the Academy’s best international feature award.

“Enter RRR, a film directed by S. S. Rajamouli, who wrote the script with V. Vijayendra Prasad. The three-hour action epic follows two patriotic but philosophically opposed men (Ram Charan and N.T. Rama Rao Jr.), who team up to rescue a girl from British colonial officials in 1920s Delhi.

“When the 94th Oscar nominations were announced back in January 2022, India’s official submission “Pebbles” was not among the films recognized for international feature. It marked exactly 20 years since India’s last nom in the category.

“In fact, only three Indian films in total —Mother India (1957), Salaam Bombay! (1988) and Lagaan (2001) — have been nominated for the award. The last of which lost to No Man’s Land from Bosnia and Herzegovina.

“The skyrocketing success of RRR has been the undercover Cinderella story of the year. A global smash with huge box office receipts, the film found a pathway to the American cultural zeitgeist with consumers discovering it on Netflix. It was distributed theatrically by Variance Films in the U.S., and a current trend by the Academy to embrace non-English language features in the last few years offers an alternative pathway to awards recognition if India decides to look elsewhere. But why would they?”

Read the rest of the piece here.

https://vimeo.com/709590385/a79303822a

A LOVE STORY: Veteran character actor Dale Dickey shines in the role of her career.

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     One of the finest screen performances last year was delivered by Ann Dowd in the drama Mass. Though she did not make it into the Oscar race, she was nominated for Critic’s Choice and BAFTA awards. Most moviegoers would be forgiven, however, if they didn’t know about the film or Ms. Dowd’s performance. The film did not do well when it opened in October and it was in and out of theatres before it could develop crucial word-of-mouth publicity.
     We bring this up because we fear that history is repeating itself with the film A Love Song and the amazing performance by the veteran character actress, Dale Dickey.
     She has been a very busy working actor for more than 25 years, racking up 131 credits on IMDB (which does not include her theater work). Like Dowd, Stephen Root and M. Emmet Walsh, she is one of those gifted character actors whose face any movie or TV fan immediately recognizes, though most people don’t know her name. She is usually cast in supporting roles but has the lead role in A Love Song, and she is brilliant. Her performance is easily one of the best of 2022, beautifully complemented by Wes Studi, but will people see it? The film is being released by a small independent distributor without a large publicity and advertising budget. What’s more, it’s a low-key love story about working class people, the kind of subject matter that doesn’t get much attention.

“Like a coy, concise short story you might remember having read years ago, A Love Song is the simplest of tales, but there’s a complex universe of longing contained within it.” ~ Bilge Ebiri, New York Magazine/Vulture

“It’s well-photographed, unobtrusively edited, full of wondrous sights, and acted by a couple of masters of warm underplaying.” ~ Glenn Kenny, RogerEbert.com

     “A Love Song has the narrative economy and the sneaky emotional power of a well-crafted short story, plus a feel for isolation and rootlessness that harks back to some of the great drifter portraits of American independent cinema.” ~ Justin Chang, Los Angeles Times
     So, people. Cinephiles! Please come out, enjoy and support A Love Song in a theater while you still can. We open it this Friday at the Royal, and we will add theatres on August 19. We will keep it playing as long as possible. If moviegoers show even a little support, that will go a long way toward keeping it in theatres, and help create greater awareness for the film and the two wonderful actors featured in the film.
https://www.youtube.com/watch?v=NysYn89m5y4&t=3s