AMC Loews Lincoln Square 13 with IMAX

1998 Broadway,
New York, NY 10023

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AMC Loews Lincoln Square 13 with IMAX

Viewing: Photo | Street View

On November 18, 1994, on the site of a demolished post office, the circuit then known by the Sony Theatres moniker introduced what immediately became the nation’s busiest multiplex at Broadway and W. 68th Street.

Construction of the Millennium Partners development known as Lincoln Square began on Manhattan’s Upper West Side in 1992. The $250 million mixed-use project, covering the block from Broadway to Columbus Avenue between W. 67th Street and W. 68th Street, was to rise 545 feet and encompass 800,000-square-feet. The developers took the unusual path of selling and leasing much of the complex’s space before construction had begun. Among the tenants of the 8-story commercial base, to be topped by a 38-story apartment tower, was Loews Theater Management Corporation. Plans for a nine-screen movie theatre with a traditional external box office and no inner lobby or unusual interiors were first conceived by Sony Pictures Entertainment Executive VP Lawrence Ruisi and Chairman Peter Guber. When Jim and Barrie Lawson-Loeks joined Loews/Sony Theatres as co-chairs in 1992, they envisioned a different complex, one that would include a mural-adorned lobby, movie palace ornamentation, indoor ticket selling stations, and more.

Sony Theatres Lincoln Square was designed by the firm of Gensler and Associates. The theatre’s lighting scheme was executed by Gallegos Lighting and the building’s 75' tall by 130' wide lobby mural was produced by EverGreene Painting Studios. (If ever gazing upon the mural, look, among the images from “Lawrence of Arabia”, “It Happened One Night”, and other classic films of Sony [Columbia] Pictures' past, for the embedded names of Sony/Loews executives of the era).

Upon its opening, the theatre totaled 3,046 seats and featured nine traditional exhibition auditoriums, each with a name and plaster/molded-fiberglass entrance paying homage to a grand movie palace of Loews' past. Among these were the Valencia, Kings, State, Capital, Paradise, and Jersey. The entry portals were designed as stylized representations of the old-time movie palaces. (The Paradise, for instance, has an Egyptian theme.) The grandest of the nine theatres bore the name “Loew’s”, since the circuit’s previous designation was, at the time, retired.

This premiere auditorium was modeled after the Thomas Lamb-designed Loew’s 72nd Street theatre (demolished in 1961) and reinterpreted that venue’s Thai-temple inspiration. The theatre featured a red and gold color scheme, handcarved designs atop gilded columns, a chandelier, a proscenium arch featuring elephants and palm trees, a gold show curtain, and a balcony. A two-minutes-long lighting pre-show was created by Patrick Gallegos, using equipment mounted on the balcony rail and footlights, to accompany a commissioned score by Jonathan Brielle. The auditorium housed 876 seats, a 65 feet wide by 26 feet tall screen, was 70mm capable, THX-certified, and opened with state of the art audio. Later, it featured Dolby Digital, SDDS 8-channel, and DTS.

Perhaps the facility’s most attention-grabbing feature was the Sony IMAX Theatre. Billed in advertisements of the time as “The 8-Story Wonder of the World”, the theatre featured 600 seats (not included in the nine-screen total cited above), the United States' largest theatrical screen measuring 100' by 80', and was reached by means of what was claimed to be the world’s largest free-standing escalator. It was the first IMAX theatre in the U.S. to be operated by a major exhibition circuit and also the first to exhibit 3-D films in the large screen format. The debut IMAX features were “The Last Buffalo”, which had previously been exhibited, and the premiere engagement of “Into the Deep”. On April 21, 1995, the theatre presented the first fictional IMAX film, “Wings of Courage”, starring Val Kilmer and Elizabeth McGovern and directed by Jean-Jacques Annaud. The film was the earliest to make use of the new IMAX 3-D Personal Sound Environment System. On October 20 of that year, “Across the Sea of Time” was presented, along with the ability for the audience to listen to the film in the language of their choosing via the four audio tracks available in their headsets. The IMAX theatre features a system by which, in a process lasting fewer than 40 minutes, each of the audience headsets is run through a fine mist of water and lens cleaning fluid between shows. Security panels sound alarms should a headset be mistakenly removed from the auditorium. In addition, the auditorium’s porthole glass is intentionally oversized, in order to allow the interested to pear into the projection booth, home to 7.5' wide film platters.

All of the building’s auditoriums, including 3 basement theatres added in early-1995 and originally intended to exhibit art house fare (a plan that was never executed), are reached via a ticket lobby featuring numerous automated ticketing kiosks and a Deco-inspired, 8-station box office at the end of a terrazzo floor with embedded brass stars (intended to be engraved with the names of stars visiting the theatre for premieres of their films). Patrons visiting one of the original 9 auditoriums enter an enormous concession lobby through an entryway replicating the gates of Sony Pictures Entertainment’s Culver City studio lot. Floor-to-ceiling structural columns are disguised as palm trees and large screens display trailers for upcoming attractions. A frieze features the names of Hollywood stars and encircles the space. The below-street-level auditoriums, which brought the facility’s total seat count to 4,144 (including IMAX), share a lobby showcasing a black-and-white mural paying homage to 1930’s Hollywood and an auxiliary concession stand. One of these auditoriums was originally equipped with joysticks for the age of interactive movies intended to be ushered in by 1995’s “Mr. Payback”. (The basement space was originally reserved for a neighboring tenant, Barnes & Noble.)

During its opening weekend in 1994, the Lincoln Square drew 33,000 paying customers and grossed more than $202,000 at the box office. The opening features were “Star Trek Generations” (generating $100,000), “The Professional” ($46,000), “Miracle on 34th Street” (1994), “The Lion King” (in the first weekend of a holiday-season re-release), and “The Swan Princess”. In the years since, Sony/Loews/Loews Cineplex Entertainment has striven to maintain the theatre’s technological preeminence. The premiere Loews auditorium is THX-certified. AMC now operates the theatre, having purchased the Loews Cineplex theatres.

Contributed by Damien Farley

Recent comments (view all 937 comments)

moviebuff82 on March 16, 2017 at 11:49 am

Sometimes AMC would show separate showtimes for imax movies switching from 3d to 2d.

BenPaz on March 17, 2017 at 3:16 pm

@bigjoe it is playing in both 3d and 2d here.

moviebuff82 on March 17, 2017 at 3:32 pm

@benpaz same here in Rockaway, where it’s playing Beauty and the Beast in 2d for the majority of the showtimes and 3d late at night. So far, imax beauty and the best has been selling out more than the 3d and 2d version as the imax version fills more of the screen than the widescreen version of the movie although said movie wasn’t shot on imax cameras.

Mikeoaklandpark on March 19, 2017 at 9:52 am

On the Imax of Beauty and The Beast, was the film shown on the full screen? I went to Regal RPX and like Sully it was not it had the black bars at the top and bottom of the screen just like any scope film. Other then the sound being 7.0 two of the other theaters screens are much bigger. It’s a total waste of money to pay for a movie in THE RPX theater here. Is RPX different then Imax? BATB was film in large screen format so to me the full RPX screen should have been utilized.

mhvbear on March 19, 2017 at 10:44 am

The IMAX version of “Beauty & the Beast” is being shown in 1.90:1 aspect ratio. Not the full IMAX screen but pretty close. 2.35:1 aspect ration in non IMAX theaters. Was disappointed that the overture on the soundtrack album was not included with the IMAX release.

Mikeoaklandpark on March 20, 2017 at 12:18 pm

Thanks mhvbear. The aspect ratio in the RPX was 2.35

xbs2034 on March 20, 2017 at 2:28 pm

RPX (along with other premium large formats like Dolby Cinema) are something theater chains came up with as alternatives to IMAX, but not the same thing, so they won’t have any IMAX exclusive bonuses such as expanded aspect ratios.

IMAX also does exclusive digital remastering and sound mixes for all the releases in the format, whereas RPX just works off the regular DCP masters/sound mixes I believe (Dolby Cinema though does get exclusive Dolby Vision masters for some titles, but not everything that plays in those theaters).

moviebuff82 on March 21, 2017 at 11:37 am

Imax is the best experience for big movies. Some movies that were not shot in imax are specifically formatted for imax screens such as Dr. Strange and Beauty and the Beast. This is from the full camera instead of the cropped image used for regular theatrical release. This trend has been around since Skyfall and Tron Legacy popularized it. Ghostbusters, the remake, used it comically, and can be seen in the bluray release of said film.

poland626 on March 23, 2017 at 1:17 pm

April 4th they are hosting a IMAX event for Transformers. I believe this this be the second time something is shown that was shot in IMAX cameras. I think the Dunkirk prologue was the first.

LeoOc on March 26, 2017 at 11:11 pm

Has anyone seen beauty and the beast in imax laser? How was it, it looked quite nice in regular IMAX.

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