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‘Mike’ you seriously don’t know nothing about Christopher Nolan’s ‘Interstellar’? I find that hard to believe. Or were you talkimg about ‘The Master’?
The tweet/response I got from the Silver in regards to the booking of the 70mm print of “Interstellar” was that they are looking into it. I’m sure the too close to the Regal Majestic and their IMAX digital screen might be problematic.
this complex might be sighing a sense of relief that the promised RPX screen over at the upcoming Dulles Town Center 10-plex is a dead deal… good for them,sucky for the Mall theater.
whoever did the mastering of Paramount’s classic ‘Chinatown’ – (I saw the DCP here at the Silver and my jaw was on the floor) should do the Star Trek films the justice they deserve. There is no reason why these films should NOT look and sound their best (that properly mastered DCP resolution/audio replication can deliver)
a bluray presentation of “Star Trek: The Motion Picture” – ewww, yuck. Have any of the Star Trek movies outside of the two latest versions been encoded on DCP? For such Paramount tent pole A-list sci-fi films, the transfers to bluray have been a mixed bag (i.e, pathetic)
as for Wise’s ‘West Side Story’ and ‘Sound of Music’ the AFI is still working out if said presentations will be 35mm prints or DCP’s – but the tweet I got from them, said that 70mm was a no-go [insert sad face]
Wait.. what? … I didn’t think the new IMAX laser systems weren’t going to debut until next year
in regards to “Oklahoma!” – which I wasn’t able to see, it doesn’t make sense that the restorers spent so much time on the image, but couldn’t encode the sound with the five front channel setup, when DCI compliant processors actually can encode/extract the left/center, right/center channels of sound.
The bluray is actually mixed to 7.1 sound (left, center, right, side-left surround, left center rear, right center rear, side right surround). Technically the AFI Silver which can playback 7.1 films on all it’s three sceens, this could have been a possibility, but ultimately that would have furthered the sound experience from the original theatrical mix (that SHOULD have been on the DCP). Interestingly the bluray is video encoded at 1080i to recreate the 30 frame per second Todd-AO ‘look’.
this weblink actually denotes the change from the planned DCP to a 35mm ‘Sound of Music’ screening:
while I agree that the pink-red tinged print of the ‘Around the World in Eighty Days’ was disappointing, I thought the directional sound was the highlight, except when there was some odd ‘thumping’ in the surround channels (which I assume indicated that the audio tracks on the prints were slightly damaged in some way)
but overall I was very very impressed by ‘Ryan’s Daughter’ (both films I had not scene before)– notably the photography during the love making scene in the forest – it felt like maybe Terrence Malick was inspired by said scene.
oh that was you Howard? I was the one that took that second picture of you in front of the doors…
from what I remember of ‘The Sound of Music’ last year was that it was supposed to debut the new DCP system in the main auditorium, but when the system had been delayed, the AFI had to do a change over to a 35mm print.
NO —– IMAX-Lite !! [pulls hair out]– in doing that, they’d get stuck with all the crap IMAX exclusive titles i.e, ‘Teenage Mutant Turtles’.
I don’t know why AMC is thumbing it’s nose up at Atmos, when quite a number of past Atmos mixed films have played here. Personally I think Auro’s sound format is akin to the marketing and release of Kodak’s CDS sound all over again – they went tail up. They like to claim they have studio backing, but I don’t see it…
I think AMC is playing it cheap but one, not being more aggressive to the installation of Dolby Atmos – at least two other theaters that have balconies have figured out how to configure Atmos (and the speaker placement) around it.
Two: the Uptown should be considering what the Seattle Cinerama is doing now, upgrading to Christie’s new 4K laser projector system, but again, I don’t see AMC jumping up and down spending MORE money here at the Uptown for additional upgrades.
I got a Facebook message from AMC that stated they are in the process of figuring how to upgrade the sound system. It implied that it wouldn’t be Dolby Atmos but nor did the explicitly state Auto 11.1 either
was there this morning to see “Land Ho!” (an utterly charming movie by the way – highly recommended) – but I have to say the coffee they serve is surprisingly good and cheap $1.75 (with refills) – and you can add flavoring to it. Little things like this make me happy – and six bucks (admission price) before 11am – thumbs up!
saw ‘Transformer: Age of Extinction’ a second time but this time in IMAX – that sound was totally unacceptable – it was soooo loud – I had to put my fingers in my ears, something I never do – it was just ear piercing. And it never achieved or replicated the outstanding Atmos mix.
Also, has anyone noticed that some of the auditoriums have a vibration issue (and it has nothing to do with the amping of the bass channels/speakers) – like you’re feeling a minor earthquake, saw ‘Get On Up’ and it happened several times, very very odd.
I really don’t like these theaters – for starters no one comes around to close the doors – so all the noise comes into the auditorium as well as any ancillary light – I shouldn’t have to do it myself. Secondly, I was more than peeved that the first showing of James Cameron’s ‘Deep Sea Challenge 3D’ for the first 8 minutes the 3D projector aperture wasn’t set right – the colors were all off and the image had no pop. Had to go down three flights to tell someone this, missed the beginning. [insert annoyed face]
still no separate listing for the Inner Circle theater. I was recalling/mentioning this on Facebook the other day. I remember seeing Monty Python’s ‘The Holy Grail’ and ‘Life of Brian’ at the Circle – classic! And over at the Inner Circle, ‘Liquid Sky’ and two ‘no one under 17’ movies ’Re-Animator' and ‘Demons’ – apparently they were really lax on not enforcing that restriction [insert smiley face]
score another film where the Atmos mix delivered a truly stunning presentation – “Transformers 4” – used the overhead ceiling speakers to constant and surprising result – thumbs up – it’s one of the few ‘loud’ movies where the mix was nuanced and created with care and attention to how Atmos does (and should) sound.
can someone comment on how the Dolby Atmos system sounds – I know that both here and the Dolby Theater factor in that both auditoriums have balconies – how is sound dispersed in a theater that has mult-tiered seating?
IMAX ‘laser’ will be true 4K – so yes the resolution will be improved.
‘Jersey Boys’ here at the Lincoln Square 13 is only one out of two East Coast theaters that are presenting the film in Dolby Atmos.
I don’t know what it is – but I’m finding that it’s become a total crap shoot depending on the movie if and how a movie is presented on the ETX/Atmos screen. ‘Maleficent’ (Atmos) sounded and looked great (image at Cinemark Fairfax Corner was too dark), and then you have the complete opposite; ‘X-Men Days of Future Past’ looked great, but the Atmos mix front channels sounded so front heavy and blaring to such extremes that it essentially muffled and obscured all the other speakers – it sounded jumbled and just loud for the sake of being loud. And yet the 7.1 mix of ‘X-Men’ at the Angelika was better nuanced and was considerably less bombastic.
even though the Atmos mix of ‘Noah’ – didn’t wow me. ‘Edge of Tomorrow’ did. ‘X-Men: Days of Future Past’ was once again insanely (and obnoxiously) loud over at Tysons. Here though because it’s a smaller auditorium I think the folks who did the install didn’t have to compensate or alter the sound levels to much extremes as the folk over at Tyson’s did. Even though the screen here is smaller in height than at Tysons, the Atmos / overall sound system is better calibrated here.
here’s the online story and what is opening:
“Supermensch: The Legend of Shep Gordon” – Opens June 13 – Opening Week Film
In his directorial debut, Mike Myers documents the astounding career of Shep Gordon, the consummate Hollywood insider. Beginning with a chance encounter with Janis Joplin and Jimi Hendrix in 1968, Gordon managed the careers of Alice Cooper, Blondie, Luther Vandross and Raquel Welch. He even found time to invent the “Celebrity Chef” with his representation of Emeril Lagasse and forge a friendship with the Dalai Lama through his philanthropic endeavors with the Tibet Fund. Stuffed with fantastic archive footage, Gordon’s unlikely story is told by Alice Cooper, Michael Douglas, Sylvester Stallone, Anne Murray, Willie Nelson, Emeril Lagasse, and more.
“Queen Margot” – 20th Anniversary Directors Cut – Opens June 13 – Opening Week Film
Patrice Chereau’s acclaimed tale of intrigue and forbidden love returns to theaters in its complete, uncut version in celebration of the landmark film’s 20th Anniversary. Triumphant winner of 5 Cesar Awards and the 1994 Cannes Film Festival Jury Prize, this powerful and sexually charged film stars Isabelle Adjani, Daniel Auteuil, Virna Lisi and Vincent Pérez. Amidst the late 16th century Wars of Religion, when Catholics and Protestant Huguenots battled over control of France, scheming power player Catherine de Medici offers up her daughter Margot for marriage to the King of Navarre in a bold political move to reconcile France.
“Flex is Kings” – Opens June 20
This inspiring documentary explores the hopes and realities of the under-acknowledged and totally unfunded group of Brooklyn artists behind the urban dance movement known as “flexing.” Born in the Brooklyn neighborhood of East New York, the competitive dance style combines dramatic contortions, simulated violence, and flowing footsteps that are at once flights of fancy as well as poetic evocations of the streets. Shot over two years by local filmmakers, the film is structured around Battlefest, the central organizing event of the Flex movement, and focuses on some of the community’s key personalities.
“Violette” – Opens June 27
An official selection of the Toronto International Film Festival, Cesar Award winner Martin Provost’s VIOLETTE spans 20 years in the complex life of trailblazing French feminist author Violette Leduc, and her relationship with the legendary Simone de Beauvoir. Born out of wedlock in the early 20th century, Violette (Emmanuelle Devos, in a searing performance) encountered Simone de Beauvoir post-WWII in St-Germain-des-Prés. The intense relationship between the two women would last their entire lives – a relationship based on Violette’s quest for freedom through writing and Simone’s (Sandrine Kiberlain) conviction that she held the fate of an extraordinary writer in her hands.
oops – major mistake – it’s vertically masking – sorry. It’s a rare thing nowadays that theaters are comprised/constructed with horizontal masking in mind.
on a side note: the 2015 opening of the downtown Washington DC complex has this bit of new news regarding a ‘Pop-Up’ location opening in mid June:
“DC’s acclaimed Union Market and Reading International, Inc. (NASDAQ: RDI) have announced that the Angelika Pop-Up, a three screen micro cinema located in the growing Union Market district, will open on June 13, 2014. The Angelika Pop-Up will serve as the DC hub of Angelika’s signature mix of specialty film programming and unique events during the development of the permanent Angelika Film Center expected to open in late 2015 at Union Market.
As announced in late 2013, Reading International signed a lease for an Angelika Film Center in Union Market. This new multi-screen cinema will combine the most cutting edge presentation technology with elements of luxury and comfort in stylish surroundings reflective of the creative spirit existing at the Market, an artisanal, curated year-round food market featuring over 40 local vendors. While this new state-of-the-art Angelika Film Center is scheduled to open at Union Market in late 2015, the Angelika Pop-Up will satisfy a growing demand for unique entertainment to complement the Market’s vast culinary offerings.
“The vibrancy and creativity of Union Market make it a perfect home for the Angelika Pop-Up,” says Ellen Cotter, chief operating officer of the US Cinema division of Reading. “And we are honored that our state-of-the-art Angelika, in development now, will be part of the continued re-shaping and transforming of this important area of Washington, DC.”
“Our vision for Union Market is to create a place that brings together the innovative and creative community of DC,” says Jodie McLean, President and Chief Investment Officer of EDENS, developer of Union Market. “The caliber of the Angelika’s programming and their overall commitment to emerging and established filmmakers from both here and abroad makes them the ideal partner for Union Market and the surrounding DC neighborhood.”
For the Pop-Up, a raw warehouse space was converted into three intimate screening rooms. This will offer an immediate venue for the culturally-rich DC community to enjoy not only a range of independent, foreign and specialty films, but also specially tailored film-based events, panels and unique alternative content. By providing opportunities to connect with the films and each other, the Angelika Pop-Up at Union Market aims to support a creative community of local, national and international filmmakers, artists, and film enthusiasts.
In addition to the familiar theater concessions of popcorn and soda, a menu featuring a selection of packaged snack foods and drinks of the gourmet quality Union Market guests are accustomed to will be curated by former Food Network executive Bruce Seidel (Hot Lemon Productions) and former Food Network chef Santos Loo. Among the special items that guests can enjoy before, during or after their film are: Rosemary Truffle Popcorn, Crunchy Kale Chips, Maple Bacon Chuao Chocolate Bars, Intelligentsia Coffee, and a selection of craft bottled beers and wines. While this temporary micro cinema will not offer all the luxurious amenities of the future state-of-the-art cinema, the Angelika Pop-Up will feature pristine new Barco digital projection and digital sound as it offers a sneak-peek of the provocative and intelligent programming the neighborhood deserves. The Pop-Up will operate seven days per week, with showtimes and advanced reserved seating"
FYI: all IMAX features at all three Smithsonian theaters are $5 til the 22nd of May.
was at Thursday’s screening of the new Kevin Spacey documentary film with him in attendance and during the Q&A the curtains were used to conceal the screen – with light streaming up, the redness of the curtains was just beautiful – wish I had gotten a picture of that.