It seems the last minute rush jobs on blockbusters are the worse, with wet prints, sloppy lab splices and flaking from day one. These labs are digital’s best friend.
The mylar prints are more durable from breaks but are also easy to scratch and the soundtrack start cracking after a week. I have never personally experienced anything other than mylar. The current mylar prints are sub-quality.
Here in Europe we often get poor quality Italian made prints that are unplayable after a few weeks. When we do get refurbushed US prints, they are in such terrible shape that we often lose the first shows on a Friday.
I am not talking about hand-me-down sloppy work as we used to see caused by subrun drive-ins, these print look ten years old and they have run in the states for about three weeks.
We ran TOP GUN for six months without a problem. We were replacing TITANIC after three weeks. Recent prints of HARRY POTTER after two.
Let’s not forget that print stock today is also of poorer quality than it used to be. Prints break easier(even on platters)and start scratching within days. Luckily most films don’t run very long so the industry can get away with it most of the time.
It is easy to blame the projectionist but prints are worse quality and much cheaper to make than they used to be.
I remember in South Florida when the Union demanded such high hourly rates that many theatres shut down matinees. This caused the elimination of many full time jobs and, of course, the professional projectionists who did them, who instead moved into other professions. A very stupid negotiation that ended up hurting everyone.
The test was never really very difficult, just badly outdated, badly written and controlled by the union. It DID have questions about nitrate film well into the eighties and some of the questions didn’t even make sense.
In my opinion, the union lost it’s footing by backing the continued employment of incompetent projectionists with a history of poor performance and at premium rates. The cinema chains in financial trouble had nothing to lose by playing hardball because the professionals were so few. The notoriously lazy cinema operators would have kept the status quo if more of the projectionists did their jobs, or at least showed up on time, and the union had helped replace the bad ones instead of insisting they kept their jobs in spite of gross negligence.
I think it is a sign of the times. I had the same experience at the Lincoln Art with a foreign film and senior citizens chattering away and playing with their phones.
I am moving into a NYC condo with 550 units and a screening room. It is down the street from two multiplexes with 38 screens between them. Once we record the movie, over 1200 residents will be able to see it for a one time $50.00 communal charge.
So let me get this right. Anyone with a large enough TV and venue, plus £50 becomes an exhibitor and starts selling as many tickets as he can to friends and family to offset his costs plus the snacks he will surely include as overhead profit.
It is amateur night at the local bar and the industry loses control of their product, safety standards, and the talent’s percentage cut which comes from exhibition.
If this happens it will be PIRATES 1, EXHIBITORS & TALENT 0
So who cares about AMC and Tom Cruise? What about the malls, restaurants and other already marginal legitimate businesses that will close along with the theatres?
Oh, wait! Why not just gauge exhibitors with ridiculous terms and let them be accountable? Oops, that’s called four-walling and it is illegal in most y states.
Any distributor who engages in this is irresponsible and detrimental to the industry. It would be the equivalent of driving licensed safe legitimate business out and replacing them with the local thugs.
They will monitor it for abuse, you say? As efficiently as they control piracy around the world today, I am sure.
Michael, these are compiled from different sources. The early dates are from Variety, the later dates from the New York Times. I do not live in NY and did not go to the library to do microfilm research. I have a history of it at home and just had to retype the older ones.
These are playdate weeks and not always actual opening dates. I can check back on individual dates for specific features but I find the process mostly meaningless and here is why.
Films often preview for days before opening and screen extensively at other venues, so an actual opening date is no guarantee you saw it there. About 90% of movies since the 70’s opened on Fridays and exceptions are easily checked on Proquest.
The purpose of my original research was for booking patterns of theatres, not the historical opening dates of movies.
This mostly dire nineties line-up makes one wonder not why the Astor Plaza closed, but rather, how it managed to stay open so long.
01/12/90 INTERNAL AFFAIRS
02/02/90 HEART CONDITION
03/02/90 HUNT FOR RED OCTOBER, THE
05/04/90 TALES FROM THE DARKSIDE
06/08/90 ANOTHER 48 HRS.
08/10/90 TWO JAKES
08/31/90 LEMON SISTERS, THE
09/14/90 DEATH WARRANT
09/28/90 KING OF NEW YORK, THE
10/26/90 GRAVEYARD SHIFT
11/16/90 ROCKY V
12/25/90 GODFATHER III, THE
02/14/91 SILENCE OF THE LAMBS
03/22/91 TEENAGE MUTANT NINJA TURTLES II
05/03/91 RAGE IN HARLEM, A
06/07/91 CITY SLICKERS
07/12/91 BOYZ N' THE HOOD
08/23/91 DEAD AGAIN
09/27/91 NECESSARY ROUGHNESS
10/11/91 FRANKIE AND JOHNNY
11/22/91 ADDAMS FAMILY, THE
01/17/92 JUICE
02/14/92 WAYNE’S WORLD
03/27/92 LADYBUGS
04/10/92 SLEEPWALKERS
06/05/92 PATRIOT GAMES
07/10/92 COOL WORLD
07/24/92 MO' MONEY
08/28/92 PET SEMATARY TWO
10/09/92 1492: CONQUEST OF PARADISE
10/30/92 RAMPAGE
11/13/92 BRAM STOKER’S DRACULA
12/18/92 LEAP OF FAITH
01/15/93 NOWHERE TO RUN
02/12/93 TEMP, THE
03/12/93 FIRE IN THE SKY
04/07/93 INDECENT PROPOSAL
05/21/93 SLIVER
06/30/93 FIRM, THE
08/27/93 NEEDFUL THINGS
09/17/93 STRIKING DISTANCE
11/05/93 FLESH AND BONE
11/19/93 ADDAMS FAMILY VALUES
01/21/94 INTERSECTION
02/18/94 BLUE CHIPS
03/18/94 NAKED GUN 33 1/3: THE FINAL INSULT
04/22/94 BRAINSCAN
05/25/94 BEVERLY HILLS COP III
07/06/94 FORREST GUMP
08/03/94 CLEAR AND PRESENT DANGER
09/28/94 JASON’S LYRIC
10/28/94 DROP SQUAD
11/18/94 PROFESSIONAL, THE
12/16/94 DROP ZONE
02/03/95 IN THE MOUTH OF MADNESS
03/03/95 MANGLER, THE
03/17/95 CANDYMAN: FAREWELL TO THE FLESH
03/31/95 TOMMY BOY
04/19/95 NEW JERSEY DRIVE
04/28/95 PANTHER
06/09/95 CONGO
07/07/95 SPECIES
08/04/95 VIRTUOSITY
09/01/95 PROPHECY, THE
09/29/95 closed?
10/13/95 JADE
11/22/95 NICK OF TIME
12/15/95 SABRINA
01/12/96 EYE FOR AN EYE
02/02/96 BLACK SHEEP
02/23/96 BRAVEHEART
03/08/96 HELLRAISER: BLOODLINE
04/03/96 PRIMAL FEAR
05/17/96 HEAVEN’S PRISONERS
05/31/96 ARRIVAL, THE
06/07/96 PHANTOM, THE
06/21/96 MISSION: IMPOSSIBLE
07/26/96 KINGPIN
08/09/96 ESCAPE FROM L.A.
08/23/96 ISLAND OF DR. MOREAU, THE
09/06/96 closed?
10/11/96 GHOST AND THE DARKNESS, THE
11/22/96 STAR TREK: FIRST CONTACT
12/20/96 SCREAM
01/29/97 GRIDLOCK'D
02/21/97 BLOOD AND WINE
03/07/97 PRIVATE PARTS
03/21/97 GODFATHER, THE
04/11/97 ANACONDA
05/02/97 BREAKDOWN
06/20/97 BATMAN AND ROBIN
07/11/97 CONTACT
08/01/97 SPAWN
08/15/97 EVENT HORIZON
08/27/97 HOODLUM
09/12/97 GAME, THE
10/03/97 KISS THE GIRLS
10/17/97 DEVIL’S ADVOCATE, THE
11/21/97 JOHN GRISHAM’S THE RAINMAKER
12/19/97 TITANIC
04/03/98 LOST IN SPACE
04/24/98 BIG HIT, THE
05/08/98 DEEP IMPACT
06/05/98 TRUMAN SHOW, THE
07/10/98 LETHAL WEAPON 4
08/05/98 HALLOWEEN: H20
08/14/98 HOW STELLA GOT HER GROOVE BACK
08/28/98 54
09/18/98 RUSH HOUR
10/16/98 PRACTICAL MAGIC
11/06/98 WIZARD OF OZ, THE
11/20/98 CELEBRITY
12/11/98 STAR TREK: INSURRECTION
12/25/98 THE FACULTY
01/15/99 VIRUS
02/05/99 PAYBACK
03/12/99 THE CORRUPTOR
04/02/99 THE MATRIX
05/07/99 THE MUMMY
06/18/99 THE GENERAL’S DAUGHTER
07/02/99 WILD WILD WEST
07/16/99 EYES WIDE SHUT
07/30/99 RUNAWAY BRIDE
08/20/99 MICKEY BLUE EYES
09/10/99 STIGMATA
09/24/99 DOUBLE JEOPARDY
10/22/99 BRINGING OUT THE DEAD
11/19/99 THE WORLD IS NOT ENOUGH
12/10/99 THE GREEN MILE
You will notice all of 1977 was Wednesdays. Where I have exact dates I have used them but I did not compile these with exact dates and many are off by two to three days.
02/08/80 HERO AT LARGE
02/29/80 AMERICAN GIGOLO
03/07/80 THE BLACK MARBLE
03/28/80 SERIAL
05/09/80 FRIDAY THE 13TH
05/23/80 THE EMPIRE STRIKES BACK
10/10/80 ORDINARY PEOPLE
12/12/80 THE SHINING
12/25/80 ALTERED STATES
04/03/81 HOLY TERROR
04/17/81 THE POSTMAN ALWAYS RINGS TWICE
04/24/81 HEAVEN’S GATE
05/08/81 SQUEEZE PLAY
05/15/81 LAST HOUSE ON THE LEFT/HOUSE ON THE LAKE
05/22/81 THE FOUR SEASONS
06/12/81 RAIDERS OF THE LOST ARK
11/20/81 TIME BANDITS
12/04/81 REDS
03/12/82 RICHARD PRYOR ON SUNSET STRIP
04/30/82 WRONG IS RIGHT
05/21/82 ANNIE
07/30/82 AN OFFICER AND A GENTLEMAN
12/17/82 THE DARK CRYSTAL
02/11/83 LET’S SPEND THE NIGHT TOGETHER
03/25/83 RAIDERS OF THE LOST ARK
04/15/83 FLASHDANCE
05/27/83 RETURN OF THE JEDI
10/21/83 UNDER FIRE
11/25/83 TERMS OF ENDEARMENT
03/09/84 THE HOTEL NEW HAMPSHIRE
04/06/84 MOSCOW ON THE HUDSON
05/18/84 closed?
05/23/84 INDIANA JONES AND THE TEMPLE OF DOOM
10/05/84 TEACHERS
10/19/84 CRIMES OF PASSION
11/16/84 JUST THE WAY YOU ARE
11/23/84 INDIANA JONES AND THE TEMPLE OF DOOM
12/07/84 2010
02/08/85 WITNESS
05/24/85 A VIEW TO A KILL
07/12/85 EXPLORERS
08/02/85 WEIRD SCIENCE
08/16/85 YEAR OF THE DRAGON
09/27/85 THE STUFF
10/18/85 CEASE FIRE
11/01/85 TO LIVE AND DIE IN L.A.
12/04/85 YOUNG SHERLOCK HOLMES
01/31/86 YOUNGBLOOD
02/14/86 OUT OF AFRICA
02/28/86 PRETTY IN PINK
03/26/86 THE MONEY PIT
04/18/86 LEGEND
05/16/86 TOP GUN
07/02/86 PSYCHO III
08/01/86 HOWARD THE DUCK
08/22/86 NIGHT OF THE CREEPS
09/26/86 CROCODILE DUNDEE
11/21/86 AN AMERICAN TAIL
12/19/86 PLATOON
04/24/87 EXTREME PREJUDICE
05/20/87 BEVERY HILLS COP II
07/31/87 THE LIVING DAYLIGHTS
08/28/87 HAMBURGER HILL
09/25/87 BEST SELLER
10/30/87 FATAL BEAUTY
11/25/87 PLANES, TRAINS AND AUTOMOBILES
01/15/88 THE COUCH TRIP
02/05/88 COP
02/26/88 APPRENTICE TO MURDER
03/11/88 VICE VERSA
04/01/88 BRIGHT LIGHTS, BIG CITY
04/15/88 COLORS
05/13/88 FRIDAY THE 13TH PART VII: THE NEW BLOOD
05/25/88 CROCODILE DUNDEE II
06/29/88 COMING TO AMERICA
08/19/88 A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
09/16/88 TOUGHER THAN LEATHER
09/30/88 ELVIRA, MISTRESS OF THE DARK
11/04/88 US RATTLE AND HUM
11/23/88 SCROOGED
01/13/89 I’M GONNA GIT YOU SUCKA
02/17/89 THE MIGHTY QUINN
03/03/89 FAREWELL TO THE KING
03/17/89 LEVIATHON
04/07/89 MAJOR LEAGUE
04/21/89 PET SEMATARY
05/24/89 INDIANA JONES AND THE LAST CRUSADE
07/14/89 LICENCE TO KILL
08/11/89 THE NIGHTMARE ON ELM STREET 5: THE DREAM CHILD
08/30/89 RELENTLESS
09/22/89 BLACK RAIN
11/03/89 STEPFATHER II
11/17/89 HARLEM NIGHTS
I was recently at this horrible little cinema for a sold out showing of THE LIVES OF OTHERS. I am fifty years old and the crowd was even older. They never shut up for one second throughout the film. So much for the rude younger generation…
With columns in the auditorium of this mutation multiplex theatre, I would rather stay on 42nd Street or at AMC Lincoln Center…
The Tivoli advertised as showing LA CUCARACHA in the New York Times, a Mexican all star hit headlining Maria Felix and Dolores del Rio in 1961. This implies it was showing Spanish product then and this one had cross-over potential.
Love movies, Tarantino tried doing just that with GRINDHOUSE. It didn’t work. Established titles have no subrun life either with DVDs two months later. Most multiplexes have no staffing control for those who have time for a double feature and they are well aware it happens.
You should be getting more favorable terms on a third week or else, on a single screen, pull it. There is too much product out there.
You should be getting more favorable terms on a third week or else, on a single screen, pull it. There is too much product out there.
I am having more trouble than ever navigating the site and my email notices have stopped altogther.
There was a wide release starting September 6, 1968 on a double feature with THE UNSINKABLE MOLLY BROWN.
Alive and well and playing CHICAGO live.
http://www.ibdb.com/VenueImages.asp?Id=1036
According to this link posted by Dave-bronx in 2005, it just said “42nd St.”, so it does look like name change if the piece was removed intentionally.
View link
The shed under the “REGAL” sign is partially gone and it looks like something (truck or bus) hit the marquee and damaged the front.
Prime advertising space that gets seen world wide.
It seems the last minute rush jobs on blockbusters are the worse, with wet prints, sloppy lab splices and flaking from day one. These labs are digital’s best friend.
The mylar prints are more durable from breaks but are also easy to scratch and the soundtrack start cracking after a week. I have never personally experienced anything other than mylar. The current mylar prints are sub-quality.
Here in Europe we often get poor quality Italian made prints that are unplayable after a few weeks. When we do get refurbushed US prints, they are in such terrible shape that we often lose the first shows on a Friday.
I am not talking about hand-me-down sloppy work as we used to see caused by subrun drive-ins, these print look ten years old and they have run in the states for about three weeks.
We ran TOP GUN for six months without a problem. We were replacing TITANIC after three weeks. Recent prints of HARRY POTTER after two.
Let’s not forget that print stock today is also of poorer quality than it used to be. Prints break easier(even on platters)and start scratching within days. Luckily most films don’t run very long so the industry can get away with it most of the time.
It is easy to blame the projectionist but prints are worse quality and much cheaper to make than they used to be.
I remember in South Florida when the Union demanded such high hourly rates that many theatres shut down matinees. This caused the elimination of many full time jobs and, of course, the professional projectionists who did them, who instead moved into other professions. A very stupid negotiation that ended up hurting everyone.
The test was never really very difficult, just badly outdated, badly written and controlled by the union. It DID have questions about nitrate film well into the eighties and some of the questions didn’t even make sense.
In my opinion, the union lost it’s footing by backing the continued employment of incompetent projectionists with a history of poor performance and at premium rates. The cinema chains in financial trouble had nothing to lose by playing hardball because the professionals were so few. The notoriously lazy cinema operators would have kept the status quo if more of the projectionists did their jobs, or at least showed up on time, and the union had helped replace the bad ones instead of insisting they kept their jobs in spite of gross negligence.
I think it is a sign of the times. I had the same experience at the Lincoln Art with a foreign film and senior citizens chattering away and playing with their phones.
I am moving into a NYC condo with 550 units and a screening room. It is down the street from two multiplexes with 38 screens between them. Once we record the movie, over 1200 residents will be able to see it for a one time $50.00 communal charge.
Excellent idea!
So let me get this right. Anyone with a large enough TV and venue, plus £50 becomes an exhibitor and starts selling as many tickets as he can to friends and family to offset his costs plus the snacks he will surely include as overhead profit.
It is amateur night at the local bar and the industry loses control of their product, safety standards, and the talent’s percentage cut which comes from exhibition.
If this happens it will be PIRATES 1, EXHIBITORS & TALENT 0
So who cares about AMC and Tom Cruise? What about the malls, restaurants and other already marginal legitimate businesses that will close along with the theatres?
Oh, wait! Why not just gauge exhibitors with ridiculous terms and let them be accountable? Oops, that’s called four-walling and it is illegal in most y states.
Any distributor who engages in this is irresponsible and detrimental to the industry. It would be the equivalent of driving licensed safe legitimate business out and replacing them with the local thugs.
They will monitor it for abuse, you say? As efficiently as they control piracy around the world today, I am sure.
Michael, these are compiled from different sources. The early dates are from Variety, the later dates from the New York Times. I do not live in NY and did not go to the library to do microfilm research. I have a history of it at home and just had to retype the older ones.
These are playdate weeks and not always actual opening dates. I can check back on individual dates for specific features but I find the process mostly meaningless and here is why.
Films often preview for days before opening and screen extensively at other venues, so an actual opening date is no guarantee you saw it there. About 90% of movies since the 70’s opened on Fridays and exceptions are easily checked on Proquest.
The purpose of my original research was for booking patterns of theatres, not the historical opening dates of movies.
Actually, that’s not true. EMPIRE opened on the 21st, but these are not exact dates.
This mostly dire nineties line-up makes one wonder not why the Astor Plaza closed, but rather, how it managed to stay open so long.
01/12/90 INTERNAL AFFAIRS
02/02/90 HEART CONDITION
03/02/90 HUNT FOR RED OCTOBER, THE
05/04/90 TALES FROM THE DARKSIDE
06/08/90 ANOTHER 48 HRS.
08/10/90 TWO JAKES
08/31/90 LEMON SISTERS, THE
09/14/90 DEATH WARRANT
09/28/90 KING OF NEW YORK, THE
10/26/90 GRAVEYARD SHIFT
11/16/90 ROCKY V
12/25/90 GODFATHER III, THE
02/14/91 SILENCE OF THE LAMBS
03/22/91 TEENAGE MUTANT NINJA TURTLES II
05/03/91 RAGE IN HARLEM, A
06/07/91 CITY SLICKERS
07/12/91 BOYZ N' THE HOOD
08/23/91 DEAD AGAIN
09/27/91 NECESSARY ROUGHNESS
10/11/91 FRANKIE AND JOHNNY
11/22/91 ADDAMS FAMILY, THE
01/17/92 JUICE
02/14/92 WAYNE’S WORLD
03/27/92 LADYBUGS
04/10/92 SLEEPWALKERS
06/05/92 PATRIOT GAMES
07/10/92 COOL WORLD
07/24/92 MO' MONEY
08/28/92 PET SEMATARY TWO
10/09/92 1492: CONQUEST OF PARADISE
10/30/92 RAMPAGE
11/13/92 BRAM STOKER’S DRACULA
12/18/92 LEAP OF FAITH
01/15/93 NOWHERE TO RUN
02/12/93 TEMP, THE
03/12/93 FIRE IN THE SKY
04/07/93 INDECENT PROPOSAL
05/21/93 SLIVER
06/30/93 FIRM, THE
08/27/93 NEEDFUL THINGS
09/17/93 STRIKING DISTANCE
11/05/93 FLESH AND BONE
11/19/93 ADDAMS FAMILY VALUES
01/21/94 INTERSECTION
02/18/94 BLUE CHIPS
03/18/94 NAKED GUN 33 1/3: THE FINAL INSULT
04/22/94 BRAINSCAN
05/25/94 BEVERLY HILLS COP III
07/06/94 FORREST GUMP
08/03/94 CLEAR AND PRESENT DANGER
09/28/94 JASON’S LYRIC
10/28/94 DROP SQUAD
11/18/94 PROFESSIONAL, THE
12/16/94 DROP ZONE
02/03/95 IN THE MOUTH OF MADNESS
03/03/95 MANGLER, THE
03/17/95 CANDYMAN: FAREWELL TO THE FLESH
03/31/95 TOMMY BOY
04/19/95 NEW JERSEY DRIVE
04/28/95 PANTHER
06/09/95 CONGO
07/07/95 SPECIES
08/04/95 VIRTUOSITY
09/01/95 PROPHECY, THE
09/29/95 closed?
10/13/95 JADE
11/22/95 NICK OF TIME
12/15/95 SABRINA
01/12/96 EYE FOR AN EYE
02/02/96 BLACK SHEEP
02/23/96 BRAVEHEART
03/08/96 HELLRAISER: BLOODLINE
04/03/96 PRIMAL FEAR
05/17/96 HEAVEN’S PRISONERS
05/31/96 ARRIVAL, THE
06/07/96 PHANTOM, THE
06/21/96 MISSION: IMPOSSIBLE
07/26/96 KINGPIN
08/09/96 ESCAPE FROM L.A.
08/23/96 ISLAND OF DR. MOREAU, THE
09/06/96 closed?
10/11/96 GHOST AND THE DARKNESS, THE
11/22/96 STAR TREK: FIRST CONTACT
12/20/96 SCREAM
01/29/97 GRIDLOCK'D
02/21/97 BLOOD AND WINE
03/07/97 PRIVATE PARTS
03/21/97 GODFATHER, THE
04/11/97 ANACONDA
05/02/97 BREAKDOWN
06/20/97 BATMAN AND ROBIN
07/11/97 CONTACT
08/01/97 SPAWN
08/15/97 EVENT HORIZON
08/27/97 HOODLUM
09/12/97 GAME, THE
10/03/97 KISS THE GIRLS
10/17/97 DEVIL’S ADVOCATE, THE
11/21/97 JOHN GRISHAM’S THE RAINMAKER
12/19/97 TITANIC
04/03/98 LOST IN SPACE
04/24/98 BIG HIT, THE
05/08/98 DEEP IMPACT
06/05/98 TRUMAN SHOW, THE
07/10/98 LETHAL WEAPON 4
08/05/98 HALLOWEEN: H20
08/14/98 HOW STELLA GOT HER GROOVE BACK
08/28/98 54
09/18/98 RUSH HOUR
10/16/98 PRACTICAL MAGIC
11/06/98 WIZARD OF OZ, THE
11/20/98 CELEBRITY
12/11/98 STAR TREK: INSURRECTION
12/25/98 THE FACULTY
01/15/99 VIRUS
02/05/99 PAYBACK
03/12/99 THE CORRUPTOR
04/02/99 THE MATRIX
05/07/99 THE MUMMY
06/18/99 THE GENERAL’S DAUGHTER
07/02/99 WILD WILD WEST
07/16/99 EYES WIDE SHUT
07/30/99 RUNAWAY BRIDE
08/20/99 MICKEY BLUE EYES
09/10/99 STIGMATA
09/24/99 DOUBLE JEOPARDY
10/22/99 BRINGING OUT THE DEAD
11/19/99 THE WORLD IS NOT ENOUGH
12/10/99 THE GREEN MILE
You will notice all of 1977 was Wednesdays. Where I have exact dates I have used them but I did not compile these with exact dates and many are off by two to three days.
02/08/80 HERO AT LARGE
02/29/80 AMERICAN GIGOLO
03/07/80 THE BLACK MARBLE
03/28/80 SERIAL
05/09/80 FRIDAY THE 13TH
05/23/80 THE EMPIRE STRIKES BACK
10/10/80 ORDINARY PEOPLE
12/12/80 THE SHINING
12/25/80 ALTERED STATES
04/03/81 HOLY TERROR
04/17/81 THE POSTMAN ALWAYS RINGS TWICE
04/24/81 HEAVEN’S GATE
05/08/81 SQUEEZE PLAY
05/15/81 LAST HOUSE ON THE LEFT/HOUSE ON THE LAKE
05/22/81 THE FOUR SEASONS
06/12/81 RAIDERS OF THE LOST ARK
11/20/81 TIME BANDITS
12/04/81 REDS
03/12/82 RICHARD PRYOR ON SUNSET STRIP
04/30/82 WRONG IS RIGHT
05/21/82 ANNIE
07/30/82 AN OFFICER AND A GENTLEMAN
12/17/82 THE DARK CRYSTAL
02/11/83 LET’S SPEND THE NIGHT TOGETHER
03/25/83 RAIDERS OF THE LOST ARK
04/15/83 FLASHDANCE
05/27/83 RETURN OF THE JEDI
10/21/83 UNDER FIRE
11/25/83 TERMS OF ENDEARMENT
03/09/84 THE HOTEL NEW HAMPSHIRE
04/06/84 MOSCOW ON THE HUDSON
05/18/84 closed?
05/23/84 INDIANA JONES AND THE TEMPLE OF DOOM
10/05/84 TEACHERS
10/19/84 CRIMES OF PASSION
11/16/84 JUST THE WAY YOU ARE
11/23/84 INDIANA JONES AND THE TEMPLE OF DOOM
12/07/84 2010
02/08/85 WITNESS
05/24/85 A VIEW TO A KILL
07/12/85 EXPLORERS
08/02/85 WEIRD SCIENCE
08/16/85 YEAR OF THE DRAGON
09/27/85 THE STUFF
10/18/85 CEASE FIRE
11/01/85 TO LIVE AND DIE IN L.A.
12/04/85 YOUNG SHERLOCK HOLMES
01/31/86 YOUNGBLOOD
02/14/86 OUT OF AFRICA
02/28/86 PRETTY IN PINK
03/26/86 THE MONEY PIT
04/18/86 LEGEND
05/16/86 TOP GUN
07/02/86 PSYCHO III
08/01/86 HOWARD THE DUCK
08/22/86 NIGHT OF THE CREEPS
09/26/86 CROCODILE DUNDEE
11/21/86 AN AMERICAN TAIL
12/19/86 PLATOON
04/24/87 EXTREME PREJUDICE
05/20/87 BEVERY HILLS COP II
07/31/87 THE LIVING DAYLIGHTS
08/28/87 HAMBURGER HILL
09/25/87 BEST SELLER
10/30/87 FATAL BEAUTY
11/25/87 PLANES, TRAINS AND AUTOMOBILES
01/15/88 THE COUCH TRIP
02/05/88 COP
02/26/88 APPRENTICE TO MURDER
03/11/88 VICE VERSA
04/01/88 BRIGHT LIGHTS, BIG CITY
04/15/88 COLORS
05/13/88 FRIDAY THE 13TH PART VII: THE NEW BLOOD
05/25/88 CROCODILE DUNDEE II
06/29/88 COMING TO AMERICA
08/19/88 A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER
09/16/88 TOUGHER THAN LEATHER
09/30/88 ELVIRA, MISTRESS OF THE DARK
11/04/88 US RATTLE AND HUM
11/23/88 SCROOGED
01/13/89 I’M GONNA GIT YOU SUCKA
02/17/89 THE MIGHTY QUINN
03/03/89 FAREWELL TO THE KING
03/17/89 LEVIATHON
04/07/89 MAJOR LEAGUE
04/21/89 PET SEMATARY
05/24/89 INDIANA JONES AND THE LAST CRUSADE
07/14/89 LICENCE TO KILL
08/11/89 THE NIGHTMARE ON ELM STREET 5: THE DREAM CHILD
08/30/89 RELENTLESS
09/22/89 BLACK RAIN
11/03/89 STEPFATHER II
11/17/89 HARLEM NIGHTS
I was recently at this horrible little cinema for a sold out showing of THE LIVES OF OTHERS. I am fifty years old and the crowd was even older. They never shut up for one second throughout the film. So much for the rude younger generation…
With columns in the auditorium of this mutation multiplex theatre, I would rather stay on 42nd Street or at AMC Lincoln Center…
The Tivoli advertised as showing LA CUCARACHA in the New York Times, a Mexican all star hit headlining Maria Felix and Dolores del Rio in 1961. This implies it was showing Spanish product then and this one had cross-over potential.
Love movies, Tarantino tried doing just that with GRINDHOUSE. It didn’t work. Established titles have no subrun life either with DVDs two months later. Most multiplexes have no staffing control for those who have time for a double feature and they are well aware it happens.
They are Friday to Thursday weeks as is traditional in the industry.
Michael, these are all within a week.