Seattle Screen Scene

Strangers on a Train (Alfred Hitchcock, 1951) Fri-Weds
Throw Momma from the Train (Danny DeVito, 1987) Fri-Weds

The Assassin (Hou Hsiao-hsien) Fri-Thurs Our Review, Our Other Review
Samurai Cop 2: Deadly Vengeance (Gregory Hatanaka) Fri Midnight

Fantasia (Various, 1940) Sun & Weds Only

A Brilliant Young Mind (Morgan Matthews) Fri-Thurs
The Second Mother (Anna Muylaert) Fri-Thurs
Unbranded (Phillip Baribeau) Tues Only
Double Indemnity (Billy Wilder, 1944) Weds Only

Dangerous Men (John S. Rad, 2005) Fri-Thurs 35mm Our Review

Landmark Guild 45th:

Ghost in the Shell: The New Movie (Kazuya Nomura) Mon Only
Fantasia (Various, 1940) Sun & Weds Only

Spotlight (Tom McCarthy) Fri-Thurs
Prem Ratan Dhan Payo (Sooraj Barjatya) Fri-Thurs
Akhil (Nithin) Fri-Thurs
Fantasia (Various, 1940) Sun & Weds Only

Spotlight (Tom McCarthy) Fri-Thurs

Taxi (Jafar Panahi) Fri-Thurs
Homemakers (Colin Healey) Fri & Sat Only
The Devil’s Sword (Ratio Timoer, 1984) Fri Only
Obvious Child (Gillian Robespierre) Sun Only Plus shorts and Panel Discussion
Bob Birdnow’s Remarkable Tale of Human Survival and the Transcendence of Self (Eric Steele, 2013) Weds Only
It Is Fine! EVERYTHING IS FINE (Crispin Hellion Glover, 2007) Thurs Only with Performance, Q & A, Slide Show, etc

Ex Files 2: The Backup Tsrikes Back (Tian Yusheng) Fri-Thurs
The Last Women Standing (Luo Luo) Fri-Thurs
The Witness (Ahn Sang-hoon) Fri-Thurs

Prem Ratan Dhan Payo (Sooraj Barjatya) Fri-Thurs
Heneral Luna (Jerrold Tarog) Fri-Thurs
Felix Manalo (Joel Lamangan) Fri-Thurs
Everyday I Love You (Mae Czarina Cruz) Fri-Thurs

Swamp Women (Roger Corman, 1956) Fri Only
Danger: Diabolik (Mario Bava, 1968) Sat Only
Ikiru (Akira Kurosawa, 1952) Sun Only
Animation Room: Pick A Winner Sun Only
Framing Pictures: A Floating Conversation About Film Mon Only
The Fly (David Cronenberg, 1986) Tues Only
Pandora’s Box (GW Pabst, 1929) Weds Only
Suspicion (Alfred Hitchcock, 1941) Thurs Only

Nightfall (Jacques Tourneur, 1957) Thurs Only 35mm

Landmark Seven Gables:

Goodnight Mommy (Severin Fiala & Veronika Franz) Fri-Thurs

Sundance Cinemas Seattle:

East Side Sushi (Anthony Lucero) Fri-Thurs
All Things Must Pass (Colin Hanks) Fri-Thurs

SIFF Cinema Uptown:

Spartacus (Stanley Kubrick, 1960) Fri-Sun, Thurs
Cinema Italian Style Festival Fri-Thurs Only
Gun Crazy (Joseph H. Lewis, 1950) Sat-Sun & Tues Only Our Podcast
Papillon (Franklin J. Schaffner, 1973) Sat & Weds Only
Exodus (Otto Preminger, 1960) Sun & Mon Only

In Wide Release:

Bridge of Spies (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Crimson Peak (Guillermo del Toro) Our Review
Steve Jobs (Danny Boyle) Our Review
Sicario (Denis Villeneuve) Our Review

Dangerous Men (John S. Rad, 2005)

November 9, 2015 ~ Michael Strenski

If years-in-the-making is a means of quantifying quality, then Dangerous Men is twice as good as Boyhood. Production began at the dawn of the 1980s and yet the film was not completed until two and half decades had passed. And it’s not as if all of the footage was captured during Reagan’s presidency and put on the shelf. Some scenes are filled with late ’70s model cars and feathered hair, only to be interspersed with shots set at a makeshift police station with a calendar marking December 1995.

The film tells the story of a woman named Mina, who is out for revenge after her fiancé is killed by bikers. At least that’s the story for about half the running time until Mina ages out of the role and/or the production’s finances temporarily ran dry. At that point the story decides to follow Mina’s brother-in-law, a cop who is also tracking down some bikers but they don’t really have anything to do with one another. In fact the film’s final villain, the incongruously named Black Pepper, never actually does anything wrong, unless the extended belly dance he and his girlfriend watch as prelude to their lovemaking in his barely furnished apartment is somehow illegal.

Dangerous Men is inept. It is often inscrutable and more than a little insane. It spends a significant chunk of time following a thwarted rapist as he wanders through the California desert completely naked as a means of comic relief. He is also British for some reason. Later Mina picks up a prostitute but doesn’t tell the woman that she’s not interested in sex, she only wants to ask questions about her profession, until after they arrive at Mina’s apartment and the prostitute has gotten naked. A lot of people get naked. Most of them are not people you would want to see naked.

The film is an auteurist’s dream come true as Iranian transplant John S. Rad (yes, Rad) lists himself as writer, director, editor, producer, and composer. His is literally the only name in the opening credits. As the film begins, it is his musical score that garners attention with funky synth soundscapes bleeding into tranquil acoustic ballads. But soon it becomes apparent that Rad just had five songs on autoplay which he simply layered throughout the full cut of the film, irrespective of whether the music belonged at any given moment. As happens often throughout Dangerous Men‘s 81 minute running time, one song ends in the middle of a scene and is immediately followed by a tonally different tune, which then plays on into the next scene, which is set in a different location and filmed at a different time with different characters.

Dangerous Men’s release comes courtesy of Drafthouse Films, in partnership with the American Genre Film Archive. And while the film contains elements of the previous Drafthouse treasure Ms. 45, Abel Ferrara’s provocative and powerful tale of feminist revenge, Dangerous Men is more in line with some of Drafthouse’s less accomplished offerings, such as the newly minted midnight movie staple, Miami Connection. And there is nothing wrong with that. If you want cinema to show you something you’ve never seen before, then Dangerous Men is as worthy a film as any. I for one had never seen a woman hide a knife between her naked butt cheeks.

(Dangerous Men plays in 35mm 11/13 – 11/19 at the Grand Illusion Cinema.)

In the Mood for Love (Wong Kar-wai, 2000)

November 6, 2015November 6, 2015 ~ Melissa Tamminga

“I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet”
~John Keats, “Ode to a Nightingale”

Time shifts and slips, and the past is a thing of soft veils and refracted reflections, three of you, two of me, then none, only the round white face of the clock and the sound of your voice, my voice. I can’t reach you there, at the edges of my mind; you slip from view.

But in the now, a sudden scent presses the bright deep color of your dress, the shape of your hip, a white clasp at the dip in your neck, into my vision, filling it. A green dress with bright yellow daffodils, impossibly vivid. Could you have been so beautiful?

The streets of the teeming city were empty then, only you and I were there, there in the rain, under the bulb, there in the passage on the stairs. Our shadows pass along those walls, where paper notices tatter, fade, and are smoothly absorbed into the place on which they were glued. The rain soaks us, pounds the pavement; water seeps down into the earth, the water stands in clear pools. It disappears, leaving blackness; it reflects, leaving shimmers of light.

I can feel the press in the hallway, packed with furniture, movers. Was it there I first felt the press of your arm? Or in the cab? Your fingers slip out of my grasp, leaving their warm fading print.

I wait for you. You wait for me. Memory, shrouded and alive, floats in red, graceful curtains in the long deserted passage.

I whisper this fleeting, lingering thing into the ancient ruins, where boldly soaring arches and disintegrating figures in stone relief, settle into the earth, growing into the grass and mud.

Friday November 6 – Thursday November 12

November 6, 2015November 13, 2015 ~ Sean Gilman

Featured Film:

The Assassin at the SIFF Egyptian

The best film of the year so far, and one of the very best of the decade, opens this week at the Egyptian. Hou Hsiao-hsien’s long-awaited return, eight years after The Flight of the Red Balloon, follows on the heels of the career-long retrospective that played Seattle Screens earlier this year. His first foray into the martial arts genre, The Assassin is based on a Tang Dynasty story about a young woman assigned to kill the man she had been betrothed to a decade earlier. As she returns home to his provincial court, she observes all manner of intrigue and deception as she contemplates what her course of action should be. Meditative and gorgeous, it’s a film that defies expectations of both the wuxia genre and Hou’s career, while at the same time remaining consistent to the spirit of both. Sean’s review attempts to situate the film within generic and auteurist contexts, while Melissa’s tries to capture the emotional experience of the deeply immersive narrative. We also discussed the film on all three of our podcasts from the Vancouver International Film Festival.

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Playing This Week:

Fantastic Mr. Fox (Wes Anderson, 2009) Fri-Tues
Manhattan (Woody Allen, 1979) Fri-Tues

The Assassin (Hou Hsiao-hsien) Fri-Tues, Thurs Our Review, Our Other Review
Yakuza Apocalypse (Takashi Miike) Fri & Sat Midnight Our Review

Home Alone (Chris Columbus, 1990) Sun & Weds Only

A Brilliant Young Mind (Morgan Matthews) Fri-Thurs
Sundance Shorts (Various) Sat & Sun, Tues & Weds
Island of Lost Souls (Erle C. Kenton, 1932) Mon Only
Ghost in the Shell: The New Movie (Kazuya Nomura) Tues & Weds Only
Of Men and War (Laurent Becue-Renard) Weds Only
The Last One (Laurent Becue-Renard) Thurs Only

Tab Hunter Confidential (Jeffrey Schwarz) Fri-Thurs
Polyester (John Waters, 1981) Fri, Sat & Thurs Only 35mm In Odorama

Landmark Guild 45th:

Ghost in the Shell: The New Movie (Kazuya Nomura) Tues Only
Oklahoma! (Fred Zinnemann, 1955) Weds Only Our Review

Home Alone (Chris Columbus, 1990) Sun & Weds Only

Goodbye Mr. Loser (Yan Fei & Peng Damo) Fri-Thurs

Nasty Baby (Sebastián Silva) Fri-Thurs
Children of the Arctic (Nick Brandestini) Sat Only
Dreamcatcher (Kim Longinotto) Sun Only
Cinema Bomb Squad: Movies We Love to Hate Mon Only
Billy Strayhorn: Lush Life (Robert Levi, 2008) Weds Only

Ex Files 2: The Backup Tsrikes Back (Tian Yusheng) Fri-Thurs
The Nightingale (Philippe Muyl) Fri-Thurs
The Witness (Ahn Sang-hoon) Fri-Thurs
Home Alone (Chris Columbus, 1990) Sun & Weds Only

Heneral Luna (Jerrold Tarog) Fri-Thurs
Felix Manalo (Joel Lamangan) Fri-Thurs
Everyday I Love You (Mae Czarina Cruz) Fri-Thurs

Heart of a Dog (Vladimir Bortko, 1988) Fri Only
The Golden Age of Seattle Public Access Sat Only Special Guests
The Great Beauty (Paolo Sorrentino) Sun Only
The Reckless Moment (Max Ophuls, 1949) Mon Only
Candyman (Bernard Rose, 1992) Tues Only
Head (Bob Rafelson, 1968) Weds Only
All That Jazz (Bob Fosse, 1979) Thurs Only

Continue reading “Yakuza Apocalypse (Takashi Miike, 2015)” →

Victoria (Sebastian Schipper) Fri-Thurs Our Review
Fantasia (Various, 1940) Sun Only
Clueless (Amy Heckling, 1995) Mon Only Makeover Party
Trumbo (Jay Roach) Tues Only
The Cockettes (Bill Weber and David Weissman, 2002) Weds Only
My Mother (Nanni Moretti) Thurs Only

Varsity Theatre:

I Smile Back (Adam Salky) Fri-Thurs
Home Alone (Chris Columbus, 1990) Sun & Weds Only

In Wide Release:

Bridge of Spies (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Crimson Peak (Guillermo del Toro) Our Review
Steve Jobs (Danny Boyle) Our Review
Sicario (Denis Villeneuve) Our Review

Yakuza Apocalypse (Takashi Miike, 2015)

November 6, 2015 ~ Sean Gilman ~ 1 Comment

Playing this Friday and Saturday at midnight only comes the latest from prolific Japanese lunatic Takashi Miike. The limited late night time slot gives a hint of what to expect, even if you’re unfamiliar with Miike’s work, much of which amounts to highly imaginative reworkings of familiar genres, pushing them to their extreme (and often extremely violent) conclusions. But while the Miike review that doesn’t contain the word “gonzo” is a rarity, he is no scattershot shock auteur, rather his films, unpredictable as they may be, are always guided by a clever intelligence. He’s not a director of chaos, but of logical absurdity. Of the more than 40 films he’s directed this century, I’ve only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narratives. Of course, critiquing the samurai code has been an essential part of the samurai/yakuza genres in cinema since at least the end of World War II. But Kobayashi, Kihachi Okamoto and Akira Kurosawa, as far as I know at least, never made a film about gangster vampires fighting demons in plushy cosplay frog outfits.

Friday October 30 – Thursday November 5

October 30, 2015November 6, 2015 ~ Sean Gilman

Featured Film:

Jean Renoir Double Feature at the Seattle Art Museum

Tying in with their exhibit Intimate Impressionism from the National Gallery of Art, the Seattle Art Museum this Wednesday night only is presenting, on 35mm, a pair of films by director Jean Renoir, who in addition to be one of the greatest filmmakers of all-time, also happened to be the son of painter Pierre-Auguste Renoir. A Day in the Country was shot in 1936 but left unfinished, it was assembled a decade later into a 40 minute featurette and remains one of the more astonishingly perfect short story films. French Cancan, from 1954, is a glorious celebration of color and music, intersecting love triangles and rectangles forming around the invention of the 19th century’s most scandalously silly dance craze. They are two of Renoir’s very best films, and the combination is one of the unmissable film events of the season.

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Playing This Week:

Ark Lodge Cinemas:

Krush Groove (Michael Schultz, 1985) Sun Only Q & A with Kurtis Blow

Psycho (Alfred Hitchcock, 1960) Fri-Tues
Hausu (Nobuhiko Obayashi, 1977) Fri, Sun-Weds
Unity (Shaun Monson) Weds Only

Animation Show of Shows (Various) Fri-Thurs

My Fair Lady (George Cukor, 1964) Sun & Weds Only

A Brilliant Young Mind (Morgan Matthews) Fri-Thurs
Freeheld (Peter Sollett) Fri-Thurs
Deathgasm (Jason Lei Howden) Fri & Sat Night
Eyes of the Totem (W.S. Van Dyke, 1927) Tues Only
A Brave Heart: The Lizzie Velasquez Story (Sara Hirsh Bordo) Thurs Only

Boruto (Hiroyuki Yamashita) Fri-Thurs
VHS Über Alles presents Spookies (Brendan Faulkner & Thomas Doran, 1986) Fri Only VHS
The Sprocket Society presents Halloween Monster Mania, featuring Invasion of the Saucer-Men (Edward L. Cahn, 1957) Sat Only 16mm

Kanche (Krish) Fri-Thurs
Sher (Mallikarjun) Fri-Thurs
Shaandaar (Vikas Bahl) Fri-Thurs
My Fair Lady (George Cukor, 1964) Sun & Weds Only

Goodbye Mr. Loser (Yan Fei & Peng Damo) Fri-Thurs
Dancin’ It’s On! (David Winters) Fri-Thurs

Spookhaus 3: Spook There It Is A Night of Fear, Mayhem, and Debauchery Fri & Sat Only
60 Second Film Festival Sat Only
Jane B. par Agnès V. (Agnès Varda, 1988) Mon-Thurs
Kung Fu Master (Agnès Varda, 1988) Mon-Thurs
Festen (The Celebration) (Thomas Vinterburg, 1998) Tues Only
Jaco (Stephen Kijak & Paul Marchand) Weds Only

The Witness (Ahn Sang-hoon) Fri-Thurs

Dancin’ It’s On! (David Winters) Fri-Thurs
Felix Manalo (Joel Lamangan) Fri-Thurs
Freaks of Nature (Robbie Pickering) Fri-Thurs
Ladrones (Joe Menendez) Fri-Thurs
Shaandaar (Vikas Bahl) Fri-Thurs
Shareek (Navaniat Singh) Fri-Thurs

The Night Strangler (Dan Curtis, 1973) Fri Only
The Shining (Stanley Kubrick, 1980) Sat Only
Alien (Ridley Scott, 1979) Tues Only
Loving (Irvin Kershner, 1970) Weds Only
Notorious (Alfred Hitchcock, 1946) Thurs Only

Continue reading “Oklahoma! (Fred Zinnemann, 1955)” →

A Day in the Country and French Cancan (Jean Renoir, 1936 & 1955) Weds Only 35mm Double Feature
One Way Street (Hugo Fregonese, 1950) Thurs Only 35mm

Landmark Seven Gables:

Experimenter (Michael Almereyda) Fri-Thurs

SIFF Film Center:

The Keeping Room (Daniel Barber) Fri-Thurs
Tales of Halloween (Various) Fri-Thurs

Sundance Cinemas Seattle:

Rosenwald (Aviva Kemper) Fri-Thurs

SIFF Cinema Uptown:

Oklahoma! (Fred Zinnemann, 1955) Tues Only Our Review
The Latin Explosion: A New America (Matthew O’Neill & Jon Alpert) Weds Only

In Wide Release:

Bridge of Spies (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Crimson Peak (Guillermo del Toro) Our Review
Steve Jobs (Danny Boyle) Our Review
Sicario (Denis Villeneuve) Our Review
The Visit (M. Night Shyamalan) Our Review
Trainwreck (Judd Apatow) Our Review
Straight Outta Compton (F. Gary Gray) Our Review

Oklahoma! (Fred Zinnemann, 1955)

October 29, 2015October 29, 2015 ~ Sean Gilman

The following review of Oklahoma! was originally published in March, 2014 on my website The End of Cinema.

Richard Rodgers and Oscar Hammerstein II are generally credited with ushering in a Golden Age of musical theatre, this 1943 play marking the first truly integrated show, with music, lyrics and story seamlessly interwoven. Of course it wasn’t the first (Show Boat did much the same thing 15 years earlier, to say nothing of the operettas from the 19th century onward that did as well, but whatever), but it was a huge hit, inspiring many imitators, some of which are actually good. Similarly, the 1955 film adaptation was followed by a new form of musical film: more or less direct translations of stage musicals, often excruciatingly long, presented as roadshow extravaganzas (more expensive tickets, super widescreen formats, elaborate sets and locations). These films, increasingly bloated and dull, eventually killed the musical as a viable American film genre and played no small role in bankrupting the studio system that had been in place in Hollywood since the 1920s.

This Week at the Multiplex

October 28, 2015 ~ Sean Gilman ~ 2 Comments

After ten days in Vancouver and another couple of weeks trying to recover from ten days in Vancouver, I’d fallen quite a bit behind on the early stages of autumn multiplex season, the time of year when superheroes and cartoons recede from Seattle Screens to be replaced by middling movies for grownups, long shot award hopefuls, and films that star actors people like me (old people) grew up with. So over three trips to the multiplex this past week, I caught up with five of the first wave of what will amount to the (self-proclaimed) best Hollywood has to offer in 2015. More of the same will follow between now and then end of January, when the stragglers of Oscar season will finally make their way onto Seattle Screens, but if the early returns are any indication, this is shaping up to be a solid year for the American cinema. And when you consider that it’s also a banner year for international film, the year in film 2015 is shaping up quite nicely indeed.

Continue reading “This Week at the Multiplex” →

Attack On Titan: End of the World (Shinji Higuchi, 2015)

October 25, 2015October 27, 2015 ~ Jhon Hernandez

Seattle Screen Scene’s review of the first film can be found here.

Just a few weeks ago, the first Attack on Titan played in American screens. It was a frequently disturbing film that took the Titan universe and re-imagined it in tokusatsu terms. Because it appears that the latest trend in Japanese cinema is to take these manga/anime properties and milk them for all they’re worth, the film adaptation was split into two parts (see also: Parasyte, Bokura Ga Ita, etc.). This is where the problems begin.

Continue reading “Attack On Titan: End of the World (Shinji Higuchi, 2015)” →

Friday October 23 – Thursday October 29

October 23, 2015October 30, 2015 ~ Sean Gilman

Featured Film:

The Leopard Man in the Scarecrow Video Screening Room

Continuing their October series of Val Lewton masterpieces (their Cat People double feature was our Featured Film a couple weeks ago), Scarecrow Video pairs The Ghost Ship with The Leopard Man this Wednesday night, October 28th. The latter is one of director Jacques Tourneur’s unsung classics. The plot is stripped down to almost nothing and the structure is simplicity itself (65 minutes long and four deaths, roughly one every 15 minutes), but not characterization: there are at least a dozen fully-realized humans (and one cat) here, pointing the way forward to Tourneur’s evocation of small-town life in his masterpiece Stars in My Crown. Unlike Cat People, there’s no goofy mythological/Freudian underpinning to the violence. A man sees death once and then finds he cannot prevent himself from killing, again and again. A grim prognosis for the future for a film released in 1943, with pretty much the entire world at war.

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Playing This Week:

Hocus Pocus (Kenny Ortega, 1993) Fri-Tues
A Nightmare On Elm Street (Wes Craven, 1984) Fri-Weds
Find Me (David and Kathi Peters) Weds Only

Victoria (Sebastian Schipper) Fri-Thurs Our Review
Deathgasm (Jason Lei Howden) Fri & Sat Midnight

Dracula English & Spanish Double Feature (Tod Browning & George Melford, 1931) Sun & Weds Only

A Brilliant Young Mind (Morgan Matthews) Fri-Thurs
Meet the Patels (Ravi & Geeta Patel) Fri-Thurs
The Final Girls (Todd Strauss-Schulson) Fri & Sat Only
Court (Chaitanya Tamhane) Tues Only
Attack on Titan Part 2 (Shinji Higuchi) Tues Only

Lifeforce (Tobe Hooper, 1985) Fri, Sat & Tues Only 35mm
Extraordinary Tales (Raul Garcia) Fri-Thurs
Scarecrow Video presents Shock & Awe: A Secret No-Budget Thriller Fest Sun Only Video
Jack Pierce, The Maker of Monsters (Strephon Taylor) Mon Only
The Best of The VCR That Dripped Blood Thurs Only VHS

Landmark Guild 45th:

Freeheld (Peter Sollett) Fri-Thurs
My Fair Lady (George Cukor, 1964) Sun & Weds Only
Attack on Titan Part 2 (Shinji Higuchi) Tues Only

Kanche (Krish) Fri-Thurs
Bruce Lee – The Fighter (Srinu Vaitla) Fri-Thurs
Shaandaar (Vikas Bahl) Fri-Thurs
Dracula English & Spanish Double Feature (Tod Browning & George Melford, 1931) Sun & Weds Only

Goodbye Mr. Loser (Yan Fei & Peng Damo) Fri-Thurs
The Algerian (Giovanni Zelko) Fri-Thurs

The Decline of Western Civilization Part II: The Metal Years (Penelope Spheeris, 1988) Sat Only Our Interview
Bezango, WA (Louise Amandes and Ron Austin) Sat Only Filmmakers in Attendance
Ben Gibbard’s Secret Screening Sat Only
Kurt Cobain About a Son (AJ Schnack, 2006) Sun Only
Spookhaus 3: Spook There It Is A Night of Fear, Mayhem, and Debauchery Thurs-Halloween Only

Dracula English & Spanish Double Feature (Tod Browning & George Melford, 1931) Sun & Weds Only

Paramount Theatre:

The Cabinet of Dr. Caligari (Robert Weine, 1919) Mon Only

Must Date the Playboy (Mae Cruz-Alviar) Fri-Thurs
Ladrones (Joe Menendez) Fri-Thurs
Shaandaar (Vikas Bahl) Fri-Thurs
Shareek (Navaniat Singh) Fri-Thurs

Troll (John Carl Buechler, 1986) Fri Only
Troll Hunter (André Øvredal, 2011) Sat Only
Chris Marker Group Mon Only
The Hunger (Tony Scott, 1983) Tues Only
The Leopard Man (Jacques Tourner, 1943) Weds Only
The Ghost Ship (Mark Robson, 1943) Weds Only
Monster Mash Thurs Only