Showing 26 - 50 of 669 comments found
The theatre was recently renovated with new seats (all are recliners), added concessions and a bar and it looks great. I saw The Oranges today and it was like being in a studio screening room. It also helped that the audience enjoyed the film.
I went to see Arbitrage here today. Though hidden above a number of office buildings, it’s a place with a lot of charm once you take the stairway up to the theatre. Though the auditoriums are obviously of the split variety (you can tell as the seating arrangements were never redone) and the seats are old, they are very comfortable.
Another nice touch is the old posters that adorn the lobby (mostly Godard and Truffaut) and even the projection booth (I noticed an original one-sheet for The Gauntlet when I went in and peeked at the projection window).
Strange triple bill.
I see someone stole the R.
The Day of the Dead one would bring in some money. Not so sure about Wizards of the Lost Kingdom.
So who Knocked Up Chuck and Larry?
No matter the aspect ratio, The Master looks stunning.
I am nowhere near a location running it in 70mm but in standard digital (also in 1.85) has surround sound (this was a Dolby Digital house I saw it in) and the mix is excellent. I find it weird that a 70mm print with DTS would not have surrounds. I’m guessing that the theatre made a mistake that aspect of the presentation.
I’m guessing scope titles were letterboxed here.
If you look very closely, you can spot the marquee in the 1996 film “Joe’s Apartment”. I couldn’t make out either title on the marquee but one side was red and the other was black and blue (it could have been Bad Boys and Casper, but I don’t know).
Must have been a slow week to run this one.
I wonder what Jacob’s Ladder was paired with (I’m guessing Avalon).
Actually, I would say the Drafthouse company taking over is the best thing to happen to this theatre. This is a theatre that should be getting exclusives and indie fare (instead of playing the same movies as everyone else) and this company does just that. Also, you never read a bad thing about the Drafthouse chain and they know everything that is right about filmgoing.
I forget which two (I did recognize that The Evil Dead and Xtro were on one of the marquees). So whichever grindhouse was playing The Evil Dead in April 1983 was the marquee shown in the film.
I was watching Splash today and you can see the marquee in the background during one scene (the movies on the marquee included The Outsiders, Max Dugan Returns and 10 To Midnight). Marquees from the Lowes State, a pair of grindhouses and the Paris appear in the film.
I see they were playing The Texas Chainsaw Massacre.
14 killed at a midnight screening of The Dark Knight Rises.
The film being previewed was The Man, starring James Earl Jones.
Landmark would be an ideal fit for the Ziegfeld. Some of their houses plays mainstream product and the revivals would be a strong incentive for them. The other two Clearview houses in Manhattan (the Chelsea and the First and 62nd) also play similar product to Landmark’s Los Angeles theatres (a mix of mainstream and arthouse) which would make it a great fit for them.
If not Landmark, I see Cinemark picking the chain up.
When the Cape West 14 opened, this theatre briefly became a second-run house before closing.
I don’t know about you, but a good steak paired with a good movie sounds like a great night.
This was the movie that both screens reopened with after a short renovation.
It looks like the theatre closed with Over Her Dead Body, a 2008 flop that failed to make Eva Longoria a film star.
Porky’s opened as a test engagement in two cities in November 1981 before going wide on March 19th, 1982. Porky’s was also one of the opening engagements of the National Twin when that theatre was redone.
The picture looks to have been taken in 1996. Executive Decision and Strange Days are the posters shown.
This would have normally opened at one of Cineplex Odeon’s theatres (most likely the National Twin) but due to a booking dispute, the Criterion ended up getting it.
By the mid 1990’s, Columbia would end up splitting most product between the Embassy and the Criterion on Broadway.