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I was at the first show on what was (I think) the final day of the engagement at the Cinema One. The presentation was spectacular and the film was very good (contrary to the critics' opinions). The audience applauded at the end. The next day, Rex Reed’s column said that he was at that same showing and that the audience booed the film and walked out, both statements patently untrue. Pauline Kael was at that show also, sitting in the back row and drinking heavily from airplane-style booze bottles.
JNZ – We have long-term leases at both locations. The landlord of the Sparta Theatre building wants to sell the property (and has been trying for some time), but that does not mean the theatre would close if that ever happens. The Newton Theatre building is not for sale as far as we know.
Mikey – Regarding the Hudson Street Cinemas, the location was never profitable – and never would be. We chose not to renew our lease and stayed there after it expired to allow time for the landlord to find another tenant and convert it to regular retail space.
Galaxy Theatre Corp.
That’s been floated from time to time. The latest proponent of it is Mark Cuban, who owns the Landmark Theatres chain well as High Def satellite services and other things. It’s a foolish idea and most likely won’t happen with mainstream films, but for some of the lower-level art films it might happen.
This is not true.
Subtract payment to the film company (approx. 75%) and they’d be left with $436,590 – subtract payroll, utilities, taxes, etc. and I’d guess they’d lose money at the end of the week, especially since there is no way they’d sell out 4 shows a day with the current studio release patterns.
The Bergen Record has ads featuring the Lafayette. I’m going to put together some time over the remainder of the summer at the the Hackensack Library going through the microfilms.
My memory might be off, but I believe the entrance was on Route 46 Eastbound, across the highway from the where the Totowa Cinema was and right about where the “The Lantern” char-broil used to be.
Wow – that’s embarrasing! I wonder if the print came in too late to pre-screen or at least inspect before the show.
23 films: 14 flat – 9 scope. He hasn’t used Panavision since 1991; Minority Report was Super 35 and so poorly photographed it wouldn’t matter if it was Cinerama.
War of the Worlds (2005) – FLAT
The Terminal (2004) – FLAT
Catch Me If You Can (2002) – FLAT
Minority Report (2002) – SCOPE (Super 35)
Artificial Intelligence: AI (2001) – FLAT
Saving Private Ryan – FLAT
Amistad (1997) – FLAT
The Lost World: Jurassic Park (1997) – FLAT
Schindler’s List (1993) – FLAT
Jurassic Park (1993) – FLAT
Hook (1991) – SCOPE (Panavision)
Always (1989) – FLAT
Indiana Jones and the Last Crusade (1989) – SCOPE (Panavision)
Empire of the Sun (1987) – FLAT
The Color Purple (1985) – FLAT
Indiana Jones and the Temple of Doom – SCOPE (Panavision)
Twilight Zone: The Movie (1983) – FLAT
E.T. the Extra-Terrestrial (1982) – FLAT
Raiders of the Lost Ark (1981) – SCOPE (Panavision)
1941 (1979) – SCOPE (Panavision)
Close Encounters of the Third Kind (1977) – SCOPE (Panavision)
Jaws (1975) – SCOPE (Panavision)
The Sugarland Express (1974) – SCOPE (Panavision)
Sadly, I was never in there when it was a single.
Small screen size is no deterrent to running 70mm, you just don’t get the same benefit of the large format image on a small screen, but you do get the 6-channel sound – which, in the pre-digital-sound days, was a big selling point.
When it was twinned, they put a wall right down the middle – each side had orchestra and balcony seating. The auditoriums were then very narrow and the screens were on the small side if you wanted to sit in the rear. I know for certain that at least one side had 70mm capability.
TC – Since the Big Screen Classics series at the Lafayette is on hiatus until September, one of my projects over the summer is to update all of the web pages for the Galaxy chain.
No, they are still part of the Galaxy Theatres chain.
Michael – it is a CompUSA store, but a lot of the building was changed so it’s not really recognizable as a theatre any longer.
The Totowa Cinema – ¼ mile up the road – is now an Office Max store and is similarly unrecognizable.
Yes, that’s where it was – I worked there as an assistant manager in 1982, the summer of Poltergeist in 70mm!
It stays open until the construction is under way, same as the Tenplex. They continue to use the Triplex as a ‘move-over’ house with films from the Tenplex.
The Little Cinema was actually located inside the Willowbrook Mall. I believe the Valleyview/Jerry Lewis was known as the “Ramapo Plaza Adult Cinema” during its x-rated run.
This theatre has been part of the Galaxy Theatre Corp. since January 2001.
I can’t say for cerain Robert, but I believe that UA had it until the late 70s. I have a copies of newspaper ads from 1954 showing it as a Skouras Theatre and from 1966-69 showing it as a UA theatre, so they got it sometime after the mid-50s.
I’m going to spend time this summer at the microfilm reader trying to put together a definitive playlist & history to use for an upcoming event and will post it here when it’s complete.
Director of Film Programming
Big Screen Classics at the Lafayette Theatre
No, the Loew’s Jersey does not have air conditioning.
No, the Loew’s Jersey does not have air consitioning.
First, you’d need to see who holds the USA theatrical rights. Then, they would have to have a 35mm print available. It was originally released by Warner Bros., but I’ll bet their license expired a long time ago.
They’ll be closing those two locations once the new megaplex is built (it’s waiting for final approvals from the towns involved) in the back parking lot area of the Garden State Mall.
Thanks for giving us information about the attendance during the film series held at the Hall. In all of the deal papers we’ve seen from Cablevision, the Hall is never mentioned as being sold off as part of any future plans, so it’s in safe hands for now. I do wish that a programmer with vision (and a budget for the crew!) could coordinate a film series within the Hall’s live event schedule.
It is a DLP-based system. It’s Dolby’s all-in-one solution -hardware, software, automation – for “digital” presentations. It’s used at the Ziegfeld in Manhattan, if the article is correct.