a

full selection of movies with specialiy themed menus

Villase and Lake Creek

q1lt classics every weekend at Downtown

fiee screenings of exploitation films of the golden era

classic Bill

stite

Murra y io gear you up for The Life and llile

Aquatic
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everything you see here is true

lest.-.-

Pg 21

Austin's {orums for aspiring filmmakers and craphounds

the best Sick & Twisted animation of the year - 24 new fi1ms

InG Sinus Snow

ite Austin's favorite comedy show: bad movies, great

drug themed mor.ies for your holidaze season P011

calendar selection of recent release fiims Downtown Pg 12 Bestorcd lilms ---......*..........-.....-.. directors cut of Big Red Ong restored Chinatown & more

Bwtrry

,live sound

effects, live music

$1 admissiort sodas and popcom every Monday

tusie
movies

trrirs

night

act along to your favorite movie scenes for fun & prizes

..-.....P916
on bands and music

lffiniiE]HflHllght-'.. Iet out your inner rock god and shine BuffSir*&

rrith a focus

....P916

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90 min. of new

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an interactive screening of "Once More With Feeling"

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Pedro live in penon with the funniest movie of the year

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Iorhiildcn nnlmati0n
decor, LPs, dothing +

mind-melting video oddities from Japan

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food and drinks and have the Dlg screen an( nave real Iooq anq qrrnKs can watch movre As you,ve probably heard, the Alamo Drafthouse is the only place in Austin where you canwatch a movie on tne big a while, though, to yo, *ltir. you ,it. Our rugular menu is always there_to"k""p you sutiated with sandwiches, pizzas, salads, and more. Every once in fioirght we're showing. These events are we liie to do a little extra. We like to"mi* up ou, r.nu i bit and offer ipecial meals that are specifically catered to the.movies puiting it in your mouth some of our {avorite shows to put together, because nothing nakes a movie jump off the screm more than world, the term "spaghetti Western" is used to describe westem movies made in ltaly and the rest of Europe. The terh was originally one of derision used by critics who thought
To the rest o{ the

thal Italians had no busiress making movies about the Old West. But after PeoPIe started seeing the movies that came out of the 1960s era Italy, the term became one of endearment instead. ltalian westerns are edgier than the old Hollywood studio schlock, with decidedly shiftier moral values and heroes thation't necessarily go out of their way to save every damsel in distress theytrappen across. To us, ol course, the idei of a Spaghetti Western sounds Iike a great excuse to watch a kick ass movie and eat an insane amount oI paita. So we'Il have both oi those this month, with free allyou-can-eat spaghetti, {ocaccia, and Ciesar salad for the whole movie This calendar's featured
spaghetti western is...

AI(r\ DIANGO RIDES AGAIN) By the mid '70s the spaghetti western had pretty much played itself out, the few remaining releases were_ mainly geared,towards thlldren or were botton o? t[e barrel efforts aimed at the lowest common denominator. Then BOOM! Eroo Castellari hit the scene with this amazing ultraviolent, mystical western and for a few short years it was on again. And Iittingly it features Franco Nero in the starring role, as a mysterious half-breed who lives"for revenge. Neio made his name in one o{ the first Spaghetti Westerns, DJANGO and went
(1976 d. Eroo Castellari, 97 min,

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asanactor. Hereheburnsthroughthescreenwithanintensitythatfewotherperformerscouldhope to match. Ard director Castellari demonstrates a pure film sense that propels him past peers like sergio Martino and Antonio Margheriti into the exalted imer circle with film-makers like sergio Coriucci, Sergio Sollima, and yes,iven Leone himself. With a highly underrated music score by the De Angelis Brothers, KEOMA is a second Golden Age unto itself. (Lars)

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On the screen we will have the 1980 documentary by Les Blank, GARLIC 15 AS GOOD AS TEN MOTIIERS, a zesty paean of praise to the greater glories oi garlic' The SF Cluonicle called this ode to garJic "a joyous, nose-tweakin& .g-tingli"g, mouth-watering tribute to a Life Forie." Nothing less thm a hym to the stinkirg rose of tle kitchle4 this lovingly photographed dorumentary is an odyssey of garlic feasts altemated with miquely individual intemiews of garlic afticiomdos Not onlv does the film promote girlic as our fust line o( defense agairst all Iorms of blandness; it also tjtillates thJtaste buds with :hots of galic dishes sizzling in their pans. Les Blark shows again that he knows how to have a good time md share it on

iiLn - especially if it involves foodi Of course, the taste bud btillation of sizling sarljc on the :cieen is onlv half of the story Your ticket indudes a five-course meal, f,om appetizer to dessert, all heavily lacei with the swet {ragrmce of grllc And to takJ it all the way over the top, we will have live chels in the theater for the duration of the fitm'blowing the^aroma of freshly sauteed garlic into the aowd'
Prepare yousel{ for complete garlic overload! Also on the same bill is

The title oJ this one really says it all. Yes, Geman filn director Wemer Herzog reallv does eat his shoe to ftrliill a vow to fellow filmmaker Errol Monis - boldly exemplifying his belief that people mmt have the guts to aftenpt what they drem ot. lnipitioglShoes te aviable upon request as i replacement for the garlic feast

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(2001, d.. Jean Pierre Jeunet, 122 min, French w/ English subtitle$ Perhaps the most charming movie heroine of all time, AI,ffLIE (ihe bashf'l md impishiudrey Tautou) is Jsingle waihess who"decides to help other lonely people Iix theu lives. Her widowed father yeams to travi but won't, so to inspire the old mm she sends his garden gnome_on a tou of the world; with whispered gossip, she brings together tw.o omky regulars at her ca{d; she reverses the doorknobs md reprbgrami theiped a grocerwho's mem to his assistmt. Graduaily she realizes her om liIe needs fixing, md a cJrance meeting leads to her most elaborate stuatagem of all. This is a deeply wonder{ul movie, m iluminating mix of magic ard pragmatism. Fans of the director's previous fiims (DELICATESSEN TIIE CIIY OF LOST CHILDRX$ win not be disappointed; newcomers will be delighted.

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If the movie itself

im t enough to delight you, then ow cr6me brulde should definitely put you over the

top. Amelie's love for-the simple pleasures in life led us to discover one of ou om that [ad failen by the wayside, and we have to admit that she's right: craiking the top ol a {resh order of a6me bn_rl6e really is one of those.moments that make lile worth living right up there with skipping stones and

playing matdrmaker for a couple of regulars in the ca{e where you work. prove it to yor! w'll provide you with a spoon md your very om cr6me brul6e. Wdll let you aack it open youself, md we'll let you eat it. We won't muddle in you personal lile, though, so donlt look to our waitffi to help you get lucky. Youle on your om with that ques! but taking soiteone to see this movie would probably be a step in the right direction.
To

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ecenhic New Yotk window washer, nude nodel and spem donor, casually break the world oyster eating record in New Orlearu he decides to dedicate himselJ to frlfrlling his lifelong drem ofbecoming a professional competitive eater, C'azy.Legs shares his hilmiom md poigmt insi$ts into professional eating as he havels the United States following the circuit in an effort to get signed by the LF.O.C.E. (lntemtional Federation Of Competitive Eating). His goal is to eam a place
When Crazy Legs Conti" ai the table amongst his heroes at the Coney Island 4th of July hotdog eating contest. In a sport haditionallv dominated by corpulent gluttom, Crazy Legs finds his inspiration in the new wave of smaller, athletic eaters. He work on his tednique by studying the

consmptionmetho& of his idols md shives to aftain the Zen-like focus md capacity of the geat Japmese eating masters. Throughout his joumey he is challenged by the likes of the 400 pomd eating machine Ed Coohe Jawis, exciting newcomers
tapes and such as Ray the Brson Medma md wily veterans like Mo Ribs Molinsky and Crawlish Nick. Cra4v l-egs' jomey fmm aficionado to professional takes him fion New York to New Orlem, Seattle to Boston md even to his hometom BeLnont, MassacJrusetts where his food fixations began. Crazy Legs has the tenacity and desire, but does he have the atlrletic abfity md eating prowess to eam a spot at the table amongst the greatesi eatem in the world? Cm he match up dog for dog, bm for bun against the likes of Badlmds Booker, Cookie Jmis and the demi-god of eating Takeru Kobaymhi at the Super Bowl of Competitive Eating Nathm's Coney Islmd Hot Dog Eating Contest? More importmtly, how wiil you fare in the Aimo's fust brisket eating contest? The wimer gets a gift certi{icate to the Green Mesquite, a commemomtive brisket &ophy, and Texas-sized bragglrl rights

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the foliowing got schedlled at the Downtown theater over the next couple of monthq tn addition to all of the fantastic special events we've opgning weekend festivities for all of these

co.iir-"a

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fine Hollvwood films

as we

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When the Vampire Nation hatcles i olan to frme Blide in a series of brutal

i;ltines, h. mut ioin forces with the N jehistalkers, a dm of humm vmPire huitero, in ar exteme baflle in which the trail oi blood leads direcly to the notorious vanpire legend, Draola.
Written and directed by David S Goyer, BLADE: TRIMTY also stms Jessica Biel as Abigail, the daughter of Whistler

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fmal days as a A wine-tasting road hiP to salute Jack's (lhomas Haden Church) sideways as he and Miles (Paul Giamatti) hit the gas en ti*s. Tfie conic"ally nismatc}ed pair, who share liitle more thm th.t nirto* md a headv blend oflailed potentijJ md fading youth soon find in'wine md *omen (Saldtu Oh and Virginia Madsen)' the u lt-:. of pinot noir, wistful yemings and trepidation about

lKris lGistoffenon), who inheris the vampire-slaying duties that once belonged to Blide; md RYm ReYnolds (VAN WLDER) as Hmibal King one
of the Nightstalkers.

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futurc, the two inevitabiy collide with reality. wine Onlv at the Almo, we'll have a special tickel available that will indude fine wines to tasting tluoughout the filn' with i selection of specially tailored compliment the wine drhkirg on the sceen. FrEel

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gathenng up his complete Sang of con artists md thieves from the fust frlm rt New York Citv before t}ev all iet off to Amsterdam, Iiome, and Piris to pull off three seperate heists. All the while, the
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mvsterious French rival simply called I Dinner Tacket, Will Ocean's mw reach I tn.it t'rtt potential and become the I reatest thieves the world has ever

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his aew -Intemationally fmous oceanographer Steve Zissou (Bill Munay) and i.u* Zirtou'-- set sail on m ixpedition to hunt down the mysterious, elusive' the oorriUtu non-.*ltt*t Jaguar Slralk that killed Zissou's Partner during f:tt"te of th"eir latest adventure. Thel ue ioined on their voyage by (owen Wilson)' a .o-p"iloi *ho may or may not be Zissou's son. iJoutitit ioumalitt'iCate Blmchettt assigned to write a profile of Zissou' and iirrout .ru-g.a wile md co-producei Elemor (Arjc[ca Huston) They face ".otpllcations includmg pirate", kidnappirp md bankruptcy nu"*h"l-ion Or.*no.Lu"t a writer/drector We;-Anderson (RUSHMORE' THE ROYAL L* assembled m all-star cast that also includes Willem Dafoe'

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Benedict's revenge? All bets are off.

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embarassine... The fust movie, MEET THE PARtilTS, asked the question' "What kind of peoPle name their son Gavlord M. Focler?" This sequel, in Bymes (DeNiro) which ex-CIAman

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lacl mdhis wi{e havel to Dehoit to mmt the male nutse's Parents, Promises to answer that cuestion. Duslin Hoffman
and Bdbra Sheismd ioin Fockers, and with a release date of Chdstrnas Eve, MEET IIIE FOCKERS oronisec to be iust the laugh you need Lefore gearirg up to spend a couple ot days with your own parents or in-laws.
the cast as the

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We'll have Onlv at the Almo, compete in ou Speedo contest belore t]re moviel ii"iri"i-*. tmi.aps,'a kiddie pooib the lobby, md Speedos Lots and lots o{ r .i* out Blll Munay Retrospectivi this December at the #il-fit;;; ilamo Domtom, Ieaturing his oiher'performmces for Wes Anderson in
RUSHMORE and THE ROYAL TENEN-BAUMS.

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Just in ttrne to get you prEped up for TIIE LIFE AQUATIC the Alamo is proud to bring you this brief senes that look back at Bill Munay md proves, once and lor that not only is he one of the best comedims o{ our time, but that he's also not}ring short of pure genius. We guarantee that you'll leave the t}reater feeling better about your

a[

lot in life after seeing any of these movies for tlre fust or tlousandth time.

..." POST

"lovable md sweet."

Roger Ebert, CHICAGO SIJN-TIMES

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At tus! Hmold Rmis GROUNDHOG DAY seems like a tlpical Bill Muray conedy, with r\{may standing one step away fiom the rest of humanity, always quick with m ironic insult. But the fih dertrlv turu Mmay's sarcastic outsider persona against hin; and the film evolves into a sweet laDte aoour nmilH MuaY Prays rru lomo$/ m eSousucar rlroDu8n weanemil wno narcs nothing more thm Gromdhog Day. He detests covering the annual festival in nearby Purosutamey, Pa., and he especially despises shmg his nme with the tom's elebrated rodent. Dispatched to Pmsutawney (a very recognizable Wmdstuk) nith pmducer Rita Hanson (Andie MacDowell) md cmermm Lmry (Chris Elliott). f lutluPcs r0 Ecr trr dlq uur 6 wrr 6 Pu;srurc. durfuzilq ludLuD urtsrrcwr ucw uvEutrbrlt uur r ru Surr ru uEu figuring the/[ iut blort out of Pmsutamey {irst thing next day. When Phil wakes up, he finds out there is no next day. I(s still Feb. i. Oubide the people o{ Pmsutawney are celebrating Groundhog Day as if the previous 24 hous never happened, doing exactly the same things. Phil is the only one caught in a feeling of ddji w gone wild. The next time Phi.l rraks up, ifs shll Groundhog Day. And so is the next day, md the day after thaq ad infhitum - or s Phjl fears. 1\hat if there is no tomonow?" he sreams. "There wasn't one today!"
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(1998, d. Wes Andersoo 94 nm" 35mrn) Audiences could be forgiven {or t}ri*ing that Wes Anderson and Owen Wlson's first feature BOTTLE ROCKET was a fluke. All indications were that Anderson would go the

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Hollywood product. Which is why RUSHMORE is such a breath of fresh air, it's not built to please anyone but Anderson and Wilson. Of course the beauti{ll hiumphmt irony of it is that it pleases us on a much deeper level thm my paint-by-nmbers hack work ever could. And aedit Arderson and Wilson for having the sense to see thatBill Murrav- thatoowerhouseofa comic aclor wasbeingundcnrsed. A whole dimension ofhis senirrswas obsrured in his mainstream work. RUSHMORE gave us Bill Muuay the fully realized actor of many facets, whose facility at aeating md embodying a chmacter is equal to or greater than his ability to play broad comedy. Here he does both mzingly we[ but never upstages or overshadows his fellow actors. It's a tighhopewalk of a perfommce md it leaves us gasping for breath at its perfection. Likewise Jason Schwartzman carries off with seeming ease the dfficult role of a teenager rying for tle affection of lovely schoolteacler Olivia Willims with millionaire Murray. This movie is the real deal. (Lars)

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"ln honing their mique comic sensibility, Anderson and Wilson have delivered the year's best American comedy." -- Mark Carq CHICAGO TREITI{E

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tuderson, 109 rnin, & 35mm) THE ROYAL IENEMALMS is unlike my other film I cm think of. It look djfferent (ii has a nuted yet vibrmt palette that is immediately distinct from other movies). It somds different, r.ith sublmely tasteful and memorable music selection. It even smells different - the whole endeavor sumons up luscious olfactory memories o{ pmgmt hard-covers stacked in a dusty roon; and thafs a hi$ compliment ftom there quaters. The story traces the progress of a family of geniuses {rom childhood to the deadr ol the father. And ifs wildly fumy in some crazy ways I've never seen before. The cast
could not be more perfect, with Gene Ha&mm leadhg the way (future fihn histodans will mawel that he was not even nominated for m Oscar) md beautiful performmces all aound from Grymeth Palhow , Anjelica Huston, Owen md Lule Wrlson, Ben Stiller, Bill Munay (as a very odd neuologist based on Dl Oliver Sacls) md Dmy Glover I{s m escape to an imagmary New Yor( a New York that exists only in the mind o{ a precocious teenager, skipping school to leaf through bomd volmes of the New Yorker at the public Iibrary

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nade, but that trkes some of the fun out cf it md I think it works befter as fre4iqt qxploitation iilm wi& ioni:$alty.sto4age.4{F,rhippyrsndertolle*, The,gto1l, recslves murd leny zipt<in {plryed with no small amount of sweaty overacting by Ziilnrin King the amtor of sudr dreesy sex filns as 914 WEEKS and a wlole whacl of Red Shm Diaries episodesl. Jeny, while at r puty, witnesses m old Iriend mmd Fmie Scott

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(blaved bv nilly Cryslal's trother Richard) murder threi of the pady guets by pwhing r["ii i"to e rouing freplact when his toupee is rippecl of hie head. After rloing spme oni oI *q onl$glr.tuw rtto dosea.ou d*tio* *i&Jedift?l:uut th"t fir itienc

$ruirhinel-tin trenri'birlier : a batdr of bad lSD sold:by apusher who ht:eid14 cleaned up hie act md ir now a politiciar riiming liii ecn -eSq pl?lt+diby Mar-c-Gpild+d, tW'" Lost In Soacl. lt tums oilt that B-LUE SUNSHINE rag. far 8o-n!:a'harmles* little narcotic md in fa4 thoge who took it ffi starting to lose lheir hair md tum iilo raving hou,icid"l m*nt".s.tactly tm years later from the date thev ingested the drug. R1 f.qrs]g now ioqring op for nost ot tle forlr* hippie types md there ieem to h quite a few bald
e

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kr the spring of 195| two young men set out by motorrycle on m mbitious, footloose joumey that they hoped would cmry them from Buenos Aires up tle spine of Chile, aaoss the Andes and into the Peruvian Amzon. Their road trip, however impired and audacious it might have bee4 could have faded into personal memory md family lore, even though both travelers produced wri$en accouts o{ their adventures. The older, a 29-yem-old biochemist named Alberto Granado, is still alive md appems at the very end of THE MOTORCYCLE DIARIES, Walter Salles's stirring and warm-hearted reconshuction of that long-ago voyage. Granado's companion was a 23yem-old medical student named Emesto Guevma de la Sema, whose subsequent career as a political idol Chel reflects a charismatic, mysterious glow onto his early life. "ls it revolutionary miltlr and T-shirt icon possible to be nostalgic for a world you never knew?" Emesto wonders as he contemplates Inca ruins in the Peruvian highlmds. Mr. Salles's fi1n, as rdmt and serious a quest as Emesto's tumed out to be, poses a similar question. In making their movie, the cast and crew rehaced the route of Grmado md Guevara three times, trying to comect not only with the varied, rugged lmdscape of South America but also with the hopes and confusions of an earlier time: m era be{ore the Cuban revolution, be{ore the military coups md dir$r was of the 1960's md 70's, before the democratic resurgence md economic catashophes that {ollowed. The filrnmakers are not so naive m to suppose that the old days were simpler or more irmocent than the present. The movie's feeling of freshress md possibility comes ftom tle wide-eyed intelligence of its heroes. But one reason to explore the past is to try to rediscover an elusive seme of forgotten possibility, and in ll'lr. Salles's hmds what might have been a schematic story of political awakening becomes a lyrical exploration of the sensatiom md perceptions from which a politcal mderstmding ol the world emerges. What THE MOTORCYCLE DIARIES capturet wiih stmtling clrity md delicary is the quickening of Emesto's youthful idealisnr, md the gradual tuming of his passionate, literary nature toward an as yet unspecfied fom of radical commitnent. At the end of the film, after his sojourn at the leper colony has confimed his nascent egalitarim, mti-authority impulses, Emesto makes a birthday toast, which is also his first political speech. In it he evokes a pan-Latin American ideniity that hanscends the arbihary boundaries of nation md race. THE MOTORCYCLE DIARIES, combining the talents of a Brazfim director md leading actors fiom Mexico (Mr. Bemal) md Argentrna (Mr. de la Sema), pays hemdelt tribute to this idea. In m age of nass tourisn; it also unabashedly revives the venerable, rommtic notion that travel can enlarge the soul, md even chmge the world. (A. O. Scott, Ihe NmYorkTimu\

THT MAGHI]IIST
Christim Bale's 6lpomd weight loss for his role in THE MACHINIST may take the cake (or is it a diet wa{er?) as m exmple of m aitor's stawing {or his art. To play Trevor Reznik, the skeletal imomiac who stalk tluough this bleak psydrological thriller, this buff star of AMERICAN PSYCHO reduced himsel{ to a walking 120-pound cadaver This hollow-eyed apparition is such a disturbing sight that he isn't Likely to impire a stmpede of publishers bidding lor "Christim Bale's Rapid Waight-Loss Progra4" although in an age when they say you can't be too rich or too thin, that mght

trmfomation makes Robert De Niro's ballooning up for MGING BULL and Chulize Theron's metmorphosis in MONSTE& not to mention Ton Hank's sliming dom for CAST AWAY look easy. Mr. Bale's appemarce is the croming touch that makes TllE MACHINIS! directed by Brad Arderson (SESSION 9) from a screenplay by Scott Kosar, one of the few movies to scale the bmier between ciilly fmtasy md authmfic cinematic ni$trnare. The actor backs up his shrnt with a perfommce that builds to a pimade of savage fury md desperation,
not be the case. Mr. Bale's

Trevor hasn't slept {or a yea. His weight loss md sleeplessness have led his bosses in the madLine factory wherc he rvork to suspect him of drug addiction. Bleary eyed and beyond exhaustiory he is in no condition to hmdle heavy machinery One day, dishacted by tle gaze of a thuggish strmger whom he catches griming at him from across the shop, Trevor accidentally starts the drill press, caming a colleague, Miller (Michael Ironside), to lose an am. That glowering strmgel, Ivan fiohn Sharian), whose existence no one else acknowledges, becomes the lindrpin in the elaborate conspirary dosing in on Trevor Ivan cruises the streets il a 1969 Pontiac Firebir4 temPting Trevor to fo[ow him in high*peed car c]rmes in which Ivan inevitably eludes his pusuer At home in his clamy apaftnent, where a copy of Dostoevsky's ldlof sits by his bed" Trevor discovers tamting signs saawled on Post-it's shrck to his refrigerator He has only two friends: Mana (Aitma SdndrezGij6n), a sympathetic waihess at the air?ort coffee shop he visits nighdy, md Stevie (Jermifer Jason Leigh), a cranky prostitute who has a soft spot for him. His vaguely romantic friendship with Maia advances a step when he acconpmies her and her young son to m musement park. But their reluing aftemoon ends in guillshicken honog when he takes the boy on a funhouse ride called the Highway to He[ md the boy suffers m epileptic fit. As Trevor's world fragments md dores i4 and friends ium into enemies, the pieces of his decomposing mind slowly come together to finish the story Not until ihe very last moment do they snap into a completed puzzle that's as tight as a stel hap. (Stephen Holden, Tlrc Nru forkTimu)

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Polanski) It's amazing what Hollywood can do when it really puts its

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reputation as a one of the foiemost film directors of all time was firmly cemented by A;d th.n th"r.,, the cast - Jack Nicholson finds the perfect tone as Jake Gittes, hanied L.A. private investigator, who doesn't have to,dig_very deep at all to find a subterraneaoiuye, of ,rr.rrdJr, insaniry and incest. With John Huston, as great an actor_ here as you've seen he was i director. And Faye Dunaway in her greatest role. If you're like us an impact Chinatown a few times. Ii's so good through and through that it even makes *h.., r".r, or., TV. But on the b1g screen iis an experience unto itself: you can see ihe period detail with overwhelming clarity, the photography performs the amazing and iellghtfU feat of playing on the viewers' emotions with color, and maybe most .,,ruo.J of the players' performances- is_ visible in their faces - thirty i-p"ort*Uy, "uery no substitute for this. Its the difference between hearing an feei *ide.' Therl,s
orchestra in person and hearing it over the phone. (Lars)

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Jireci.a, editia una scored this classic on a $1b0,000 budget. And like practicaliy ev_e_r1m9111\algounds Howard Hawks' RIO BRAVO is us with its newness, it had its antecedents in the cinema of the golden age. One could just as easily draw parallels with George Romero's the obvious inspiratiory but this is no remake. Carpenter handles NIGHT OF THE LIVING DEAD. But ASSAULT ON PRECINCT 13 is wholly original.
station undersiege-by an the suspense with the assurance ol a master in this story of an abandoned police the19q1 and death-row almost'supematurally evil sheet gang, who cut the power and p-hone lines forong tense huh? Uniil you see this inmates tr'apped insiie to work to"getier to save theii own lives. Sounds pretty (Lars) movie on the big screen with an ai.rdience, you dor{t know what tension is' Cte0t tl83 st lat0 Gr00t Plwvl ' uwJnfin0uso.G0m

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There's not much we at the Alamo love more than incredibly violent bone-crushing action movies from the far east. There's just something about the sound of those weirdly amplified punches and karate chops that takes us to a nicer place and makes us forget all our cares, if only for 90 minutes or so. Won't you join us as we serve out heaping helpings of the cinematic equivaleni of comfort food to you, the entertainment-starved masses? Come on home!

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(1980 d. Kam Yong) This is a prime-time Sammo Hung star vehicle from the Golden era of ffi;l martial arts movies. If you don't know Sammo, it's time you learrr. If you do know Sammo, you probably won't need much convincing. Sammo is one of the greatest fighters in the history of Hong Kong movies, despite tipping the scales at well over 200 pounds. We love to watch the fat man fight. Few martial artists of any body type have displayed the speed, ;1,,i agilily and dexterity of Sammo Hung. Not to mention the comic genius. Fans are treated to the fuil range of Sammo's talents in FILTHY GUY as he porkays a wandering misfit whose i,,,,t:,itii dirty hair gives him magical powers. There are some amazing fights here, especially the ones i:': ': r:i': with old-school kung fu legend Carter Wong. Not to be missed. (Lars) ,,,._,,.-,.;
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(1977 d. Yukio Noda) You watch a Fred Astaire movie because you want to see him dance, you watch a Sorury Chiba movie because you want to see him kill and kill and kill some more. The spectacle of Sonny Chiba killing a dozen or so people is one of the greatest rewards the movies can offer us. You've seen him in Tarantino's loving homage to eastern hit-squad movies, KILL BILL. Now see him 26 years youngel, in his lethal prime. Here he plays the worid's most badass hitman, accused of a couple

of murders he amazingly did not commit. That tiny detail matters very little though since he takes out everyone in a 30 kilometer radius wherever he goes. And looks great doing it, in stylish 1970's hitman gear. Like Toshiro Mifune before him, Chiba's great strength is in his reserves of emotiory in this case the white hot fumace of rage always present just below the surface. GOLGO 13 is one of his best movies and a role he was born to play. (Lars)

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(1978 d. Chang Cheh) We've seen a lot of them but this may be the greatest kung fu movie of them all. After all, how could it get any better? It features four guys who are disabled in various ways by a bad guy and his iron-armed son. There's the blind guy, the deaf and

dumb guy, the legless guy, and the guy who's gone insane from having his head squeezed in a vise. When they ieam up and leam kung fu they're a completely unstoppable juggernaut of revenge" Sounds pretty good huh? Well, not only is it pretty good. It's incredible! Because this is the fastes! crazies! most amazing kung fu ever captured on ce1lu1oid. You'll be rubbing your eyes in disbelief at the mindblowingiy over-the-top action in CRIPPLED AVENGERS. For those of you who love o1d-school kung fu movies (and if you don't - why not?) this is a great big window into heaven.
(Lars)

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(D. Rene Daalder USA 1986) The

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Sremers are the Great Lost Bmd o{ the first wave of L.A. punk rock. They werc among the fust bmds to emerge on the Wst Coast scene md were wildly poputar in Los Angeles foi several years. ihe Suemers dso deared new patls for the somd md image o{ rock musig abmdoning elecnic guitars for a keyboird-based sound that was as musrula md abrxive x my other bmd on the scene, md embracing video md theahics in a mmer that put them far ahead of their bme. (Muk Deming) fie bmd's last perfomance wm at the Whisky-A{o Go in 1981, md much of this perfomarce was captured by Dutch filnmaker Rene Daalder (MASSACRE AT CENfML HIGH) who used it as the foundation for his bizare, largelv urseen post-apocallptic epic POPULATION: ONE. The film is pretty much a one-man show, wth thelate Tomaia Du Plenty as a civil rerumt whohappens to be tle last man alive, hamtei by ozy musical
hallucinatiom that feature fellow Smamerg other LA scenesters and even a young Beck Hansen. Pure cinematic anmcfut

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(2004, d. Lms Nilse& Anne Heller and Kier-La Janisse)Ano&er in the Almo's series of in-house music productions, TFIE IN SOIJND FROM WAY OUT is an homage to the world's nusical outsiders, mmy of whom either Iorged musical hends or maintained ilrcir fierce originality md independence ltr the face of

Mmy of these acts were never hugely poprlar, 6nd 1sr4 ir be talked about more tq but we hope to do our part n chmgng all that. Featuring per{omances by Kevin Ayers (fomding member of rhe soft Machine md the most mdenated muslaan on earth) electronic pioneers The silver Apples, painteg musicim and all-aomd genius captain Bee{heart, Beatles-obsesred German retud Klaus Beyer, defunct LA Punk band lhe Smarners, the late, great Tiny Tim, existential pop singer Scott Walkel, Brazilian lgyolutionaries Os Mutmtes, French perfommce artist/noise musicim Costes md more!
adverse cultural response.

then listened

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first real maimhem attention {or a legion of bmds we now recognize as being the musical pioneers of the subsequent decade. Their faies world vuy - the Crmps would be one of the hugest mdergromd baads of all iime without ever selling ouq Gary Numm would remain lageiy nismderstood until almosi two decades later; Klaus Nomi would die of AIDS md the Police would take over the world mtil Sting's bleeding heart would bring about a premature death {or the truly great bmd. 32 bmds,
(1981 d. Gary Burbidge lJK 96 nin.) The ultimate cinenatic Battle oI the Bands, LRGHII is a shming md aggressive document of the avmt, exkeme, md up & coming of the 80s pmk & new wave scene. While not widely releaseJ in theatres, it was popularized by regu1il Iffi on Night Flitht - the sme show that made a cult hit out of FABL'LOUS STAINS - md attained the

including Devq The Go-Gos, Jom Jeft, oingo Boingg Dead Kemgdys, X, Magazine, xrC md others, all in one mazing package! For $1 admission md a rare 35mm fihn prinlthe only thing that could make this deal sweeter would be if all the waiteri
were dressed like robots. We're still working on that. (Kier-La Janisse)

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thar 24 hous after Martin Luther King's assassination tle city of Boston was in a state of turmoil. When James Brown arrived at the airport to play his already scheduled show he was wmed tlat the mayor, feming fruther unrest among the Afiicm plamed to cmcel the show. Brom assured the iayol that the consequences would be much worse iI the concert was called off. Not only did the show go on as planned, pubLic television station WGBH broadcast the whole thing. It's an incredible historical doment and a fmtastic

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perfomancely James Brow4 who dedicated the show to Dr King's memory md brought the raw emotions within himself and his community to a searing head. At one point the restless crowd swms the stage md amidst the mayhem Jmes Brown tells the cops to stay back and calmly talks the crowd back into their seati. "This isn't how black people should act " Riveting viewing. (Lms)

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After more thm tluee decades, A HARD DAY'S NIGHT has not aged md is not dated; it stards outside its time, its geme and even rock. It "A Had Day's Night" wasin a dif{elent category is one of the great life-affiming landmuks of the movies. It was cliar {rom the outset that from the rocf musicals that hai stanecl Elvis and his imitators. It was smart, it was ineverent, it didn't take itself seriously, md it was shot md edited by Richud Lester in m electrilying black-md-white, semi-documentary style that seemed to {ollow the boys duing a day in their lives. And it was chaged witl the peninalities of the Beatles, whoce one-liners dismissed the very proces ofstadom they were "Cm't Buy Me Love," "l Wanna Be Your mdergoing. The fikn is walito wall with great songs, indudng. lshould Have Known Better," Mm."t Ali Mv Lovins," Happv lust tobance With You," "She Loves You," and others, induding the title song inspired by a remark

droppedbySimmdiurltt.nouemr$tUyLemonandMcCartney.RichardLester'sirurovatiorsin"AHmdDaysNight havebecore iua1ilut; Ui,u*. the style, the suble"ct md the stars ae so suited to one mothet the novie hasn't become dated lt's filled with the
(Roger Ebert) PLUS:.on Wednesday exhilmation of {our musicims who were having fun ard creating at the top of their form md knewit. night The Dmg Beatles wiJl bring their .catalJgrcal parodie, oiyou favbrite Fab Fou songs to the Almo for a spmial live appeamce t.?or. tft rf,o# Expect such hits:as "From Mea"t To ioo", "Sgt. Pepper's Lonely Farts Club Bmd" and of couse "A Hard Days Shite".

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- md The SMALL FACES were the Fab Four of London's East End. But unlike their contemporaries The Who and The Rolling Stones while comistently topping the charts in the LK - they went practically unnoticed stateside, with the excephon_of their one US hit "ltchycoo Park'. it's oftenieen said that they were the biggesibmd in the world never to make it in the USA. A{ter the departure of sinser Steve Marriott, the bovs trmcated their moniLer tol'heFaces md took on Rod Stewart as lead vocalist. h a sharp departure from "Had Me a Real the"small Faces' mod roois, tfie Faces were a rough" deliberate$ sloppy rock & roll band, able to pound out a rocker like "Rjchmond" all in one album. Stewat already becoming a star in a blues ballad like "Tell Everyone,"br a folk nmber like his own right,let himself go wild with the Faces, teamg *uough coverc md originals with abmdon tdespite fus status asa rock legend, he was neier as good as f,e was with The !aces). Notdrious for their had-patimg, boozy tours md ragged concerts, the Faces lived '70s the rock & roll lifistyle to the extreme. Their music has proven extremely iilluential over the years: many pmk rocke$ in the late lemed how to play thet instruments by listening to lices records, md n the '80s_ md.'90s, guitar ro& bards from the Replaements innuch o{ to the Black Croiles tooktheir rue from ihe lacesis much as the Stones. Their reckless, Joose, md joyous spirit stayed alive Good Tme," the best rock

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"He's more than just a jer(" Anton Newcombe of t|e Brim Jonesiown Massacre doesn't receive the most dnging endorsements fiom his friends. Taylor of the Dmdy Warhols, the savs his record company president Greg Shaw But he remains a subject of intinse {aschation lor Courtney alirock bmd from iortimd, Ore., that is"the Beatles to the BrianJoneitown Massaae's Rolling Stones for the duation ol the rather remarlcbie tlre rwir patls rockumentarv, "DiCl" Shot over the course ol seven years and mlled Irom a staggering 1,500 hours of fmtage. the movie follows foliowtd the entmgled ofthe two iniie rock bands, as they bob and weave ilong $e stumbling path toiock stddom. Filmmaker Ondj Imoner ftom rise of these two bmds frorn the iacific Northwest with an obsessiveiompulsive's eye for detail. Every ugly momeni is on ihe screen 11

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bmd," says one the omtage fistfights to the Gorgia roadside mrijuana bust - as the tlvo bands seck their respective fortunes. We're a.ludq "DiG!" as a cautionary. tale.about the pitfalls of creativ\ and the of the W#hok. 'ihey're m unlu&y band." While it may be tempting to read is Newcombe modem record business, or an al]egory about comerie (the Wirhols) versus art (the Massacre), the film's cmtrifuge actually himself. Self-absorbed, semi-delusiinai enrirely uroepentilL Newcombe is not only a never+nding sourceof fascination for his friendly rivals
the Wahols, but also the lurching; flailing driving wlieel of this movie, (Joel Selvin San Frmcisco Cluonicle)

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tune. But the difference Cone on - if we are honest with ourselves, we'd all aclmit to hdulgrng in the odd bout of air Suitar to our fuourite rockinest U.t*.en us *d thu .haracters in this hiluious film is that we stay con{ined to the walls of our abodes where-as these lads ue-participating in an.airguitar comoetition.Andinthiscase,competitionisthewordl Herc,wefollowtwoprospectiveair-guituheroesgeftingreadyforthebigchampionshipandare ,.'--^,-^,^r^'-^-^'-r,'/,-,Li-L^-.^-li--+^^-^^frl".-icecron,hnwphpzprLl Pr:dirinothpirmovps wafrhinqlaoesoftheircomDetitols taPes of thefu comPetitors thev'serious - it's going to be 'menflk' (which according to one of them is a step above bezerk). Practicing their moves, watclrhg ,fr.#.fG *J.t At th. piesure o{ a trialrelete, these lads neediome serious comelJing, but it makes for_some Pretty funny viewing. The

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(1984, d. Albert Magnoli, i11 nin, & 35mm) PURPLE R{lN's gazillion-selling soundhack album has more or less eclipsed the film in-pop culture history books. But anvone who'd dismiss it out.oI turn must be blind to how Albert Magnoli's mcomplicited scemio (i.e. Prince's idealized life story) hamesses the most elemental atchetlpes of the

nanihue frmework ard, more importantly, stmds well clear out of the way oi Prince.(dubbed "The Kid" in the iikn) when the time comes for him to prove his musical talent. Like the best musicals ol the golden age, Prince's tunes serve as the mems by lvhich his enotionally stifled character is allowed the opporhnity to express his true feelings. Given that throughout the couse of dre film his life is clouded by jeere from1ris mainstage
suciess story cornpetihon Morris Day (who would dare cali Pnnce a "faggot " toting that button-cute mmseruant Jerome around like ire does), th.e tlueaiof mutiny from his bacl ing bmd ihe Revoiution because he won t per{onn thetitular ballad wittenby lVendy and Lis4 anddomesiic tumoilbetween hisparents, his dark onstage expresiom (the outraged sex tami,,Darlirg Nikki") are h severe dmger of killing his fragile business relationship with First Ave's orrer

The filn is obvio"us, md conllict is merely preiude to (Pnnce and) the resolutioll but Maglolls pro{essional, downnght neorealistic approach t0 filmng the concert clips almost disguises how audacious a structural conceit is the filmYs climax: nealy i halFhour of muiical numbers that render the solipsism of Prince's vmity project entireiy jusiifiable. The color purple signifies royalty, Moris (Eric Henderson, Slant Magazine)

ll0wlll0wll: Ihurcday,l/s thru $aturdau 1/8 - ilidnig[ts and Sunday,l/9-?00nm

THE TTHK
f RTE

TIGIftT I ]IGIUIIE$
(1979, d.

PUM.I H.[.GUP!

min, 35m) Navh (Ster,e Matn) rvas a rvhite boy adopted into a black fmill' as left on their doorstep in N{ississippi. He finds this out on his birihday, when his mother prepares him a special snack of Twinkies and Tab while the rest of the {amily eals a}rardy meal. His iather hmds him a zippo from the rvar and Navin breaks down crying, exclaiming that he's havng that frmv feeling again, as if he doesn't belong. A{ter realizhg that he can't beat time to the blues with his famiiv but cin io the oldies on the radio, he sets out to search {or his future The heart-waming familial advice belore he ventures hto tie world: 1) recognizing the diiierence between shoe polish md excrement.

Cal Reiner,

94

inJant when he was

2) Don't

tusi Whitey.

A{ter all this time, THE JEIIK is stili one oi Steve Martin's best fiins, ivhicli isn't too surpdsing since it's also one of the best slapstick comedies ever. Ard we're iaking the ilsanitl'of{ the rreen and putting it smackdab ir the middle of your plate, too, with free pizza-in-a-cup provided with every ticket and a host of special menu items available, as well, including Tab (,ves, they siill make ii) and Twinkiesl

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IIAUE YOU

(1982, d. Steve Miner, 95 min, Free 3D glasses with tickeil) olay we know - The thirteenth is on a Thusday this month. So wiry aren't we waiting {or ai actual Friday the 13th to brhg back this masterpiece of both horror md

3-D filrnmaking? Because we ae iot patieni people, md because this movie pst kick too much ass, ihat's why. We think tle plot hias something to do with som teinage kids who go to a cabin in the woods md then stat drhking or having sex or somethinf "bad" like that md then have to spend the resi ol the movie ruming away from m unkillabl"e force with a rr.ih.t . But to t li you the huth, we're not reallv sure, became we don't watch tiris movie

Haven't overmdoveragainfortheplot.Wewatchitforthestumng3-Dviolence,.ardrvethink_youshould,too. seen3-Daithe,[lmo? Haven'tseen3-DattheAlamo?We'renottalkingthatcrappyred/bluejunktheypawnofl

on TV, this is the real deal: silversreen polarized 3-D action, and there is only one theater in Texas dedicated to showing you classic 80's horror in ali it's multidimentional glory.. that's right the Almo Drafthouse, baby.

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Almo Drafthouse Cinema has been hosting a- series of Jree movie scrcenings o{ exploitation classics: fron cheerleaders gone bad to blaploita6on to killer mutmt mimds to chmy 80's slashers to women in prison. Many of these films are so obsrue that little is knom or has been witten ibout them. Some of them ae bad, nost of them ge enjoyable, *9.u t1d blowingly amazing Weird.Wednesdays is the vanguard of cinema exploration in Austin. Brave new tasty lT" fut T. treats awilt you.every Wedresday at midnight, md, best of all, admission is free! Lars, tle host of Weird Wednesdays, will be theri most Wednesdays to inpart a little wisdom before the film.
Since Fall of 2001, the

DIGEiTBII
(1981 d.

t G[nilUAl itlctG
Because this is possibly the rarest movie on the entire

Al Admson) Ahight, it's time to get serious. Very serious.

planet. Only one print exists of this thing ard we've got it. And we're going to share ii with you, If you've been out to Weird Wedresdays a few times you've seen sorne pretty shmge things. But unless you've taken acid with Bigfoot on the moon you-ve never seen anything quite as awe-inspiringly demented as this "impirational" kids' movie from the director of SATAN'S SADISTS and BLACK SAMIJRAL Why myone thought this was appropdate for kids Hr'll never mderstmd Although it might be edmational to see tle lior tamer Sratuitously slapping his girlfriend around or a womm appmently giving m ape a hand-job (we didn't beliere_it at first either) we don't know il we'd be prepmed to field Juniork mmy qu"rioos-rbouithe msavory goings-on in the cheapesl, most depraved cmival this side of SHE-FREAK. Ifs a sick world and this Wednesday we're going to help spread the disease. O[ and i{ you bring your kids to this you're on you own, (Lars)

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0958 d. Richmd Cudra) We're dipping way back into the collective uncomcious here. We haven't played many older black md white movies at Wetd Wednesday mainly because we[ a lot o{ them are from the '50s md they're"kinda square md not much fun. SHE DEMONS is an exception. It's about a shipwrecked party that washes ashore on m iilmd that's being used for atomic bomb tests. The inhabiimts of tle islmd me beautiful, skimpily clad women who dmce wildly in the mo6nlight to mugrc Hey, smds like paradise. Except when ihe Nazis grab the girls md tluow them ir bmboo cages. ftrafs"rlght !ong9 the_ Nazis have gotten there first md their commandant is using the girls for the age-oJd weird-movie practici of restoring"his wife's beauty with a sem made from the islmd women. The process is pretty revolutionary and the side efiects are relative$ minor The_grls iust tum into HORRELE MONSTERS, that's all. Can tle shipwreck suvivors, including {omer "Sheen4 Qqeen Of The Jungle" Irish McCalla figure out a way to deshoy the Nzis and iestore the girls'beaufy? OI course they canl

(Las)

lltG[ttlBlfi 15: B[ilG Blt0! ilft tffh Gnil0 (1972 d. kt Liebemm) A nudie-rutie about gangsters md
Excuse me? were

swinging Hollywood, stming a Woody Allen impe$omtor?

Huh? OI( we need some accountability here. Who thought this was a good idei? We[ whoever they were, they Became this rnovie played throughout the seventies and on into the eighties mder a vaiety of different titles ani must have.made bmk its original budget mmy times over. Of course mosl. people weren't shelling out their hrd-emed green

right.

to see *re ltalim Woody Allen. - Frank Corsentino, even though - surprise - he's pretty funny. They were paying to see-what must be,_by consewahve estimate, 900 pomds of boobies. Anchoring that total are hvo of the moit famous bg-breast fetish stars of the '50s md '70s.- Uschi Digmd md Haji, who, in addiiion to thel impressive physical athibutes, are ilso witty ancl gifted conediennes. In the words oi the great Russ Meyet "lt smells like breasts in herelt' (Lars)

llllllilBlt

22:

Bl[l![

[0RGI

(1975 d Michael Fink) Now this is something you don't see every day. A full-on mafia vs. black kuate guys movie that looks like it was directed, shot md edited by six yem olds. It's tnrly awe-inspiring. These re t]rc worst {ight sienes we've ever seen in my movie. Ard we've seen I{LLER FORCE. These fights make DOLEMITT look like SNAKE IN THE EAGLES S}IADOW

Ii's conwlsively hililious. At least 3 of the 4 leads seem to have had some martial-mts tlaining. The fourth, nmed Warhawk Trumia, lools like he's just watched a couple of Bruce Lee movies md is eager to hit the schoolyard to bust out all his new moves. You won't believe your eyes. We would have loved to see the reaction o{ oowds back in the day who laid dom their had-emed money to see this. It probably went ir stages. First shoc! then denial, then mger, and finally explosive laughter
Unbelievable. (Lars)

llllllilBll
(1972

20: B10m

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d. Blad Grinter)This made-in-Florida poultry-monster exhavaganza represents the outer limits of what mm car hope to achieve in the arena of bad cinema. Like Michelmgelo's frescoes on the reiling o{ the Sistine Chapel, we cm mderstand easily enough the mems by which the work itself has been accomplished. What we cmot fully comprehend is the genius whicir peruades mry frme of this remmkable piece of shit. Steve Hawkes stms as a sidebumed Elvis-look biker-with a drug problem who is recruited as a guinea pig by two mcrupulous poultry technicians to eat m experimental turkey of some sort. Not surprisingly, he tums into a gimt turkey-headed drug addict with a thirst for blood, blood, md more blood. In between

tle brutal md hilmious muders

OK? (Lars)

are scenes

in which tle turkey-mm gets

lai{

shoots up,

md finds Jesus.

Say no to drugs,

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(1971 d. Ferd and Beverly Sebastian) Misty Rowe (Hee-Harr'- Goodble \orma Jean) stars as a ripe young thing who gets tangled up with a N{a-nson-iamilv sh'1e bar:rd of bait-and-sri.itch

highway robbers. Drivers are enticed to stop bv the abu,ndant roadside displav of femrnine pulchritude, then relieved of their belongings and senl rackLng. \\hoa, genius plar, guysl There are lots oI hippie songs about heedom and eren a token biker named (get this) Rebel. Fortunately Arkansas exploitation legends Ferd and Beverlev Sebastian (GATOR BAIT ROCKTOBER BLOOD) are at the helnu and thev bring all the tasteless zest for fun and sleaze that we've come to expect from them. This movie brought the crowds out to the drive-in summer a{ter summer in the south. Norv the onll place vou can see it is at the Alamo. (Lars)

lAilU[[Y t2: Illt

(1969

Innililff 0 W0lilil

d. Piero Schivazappa) It's movies like this that make me want to pack up my belongings, grow a little bitty mustache, put on a l'hite lhen suit and move to Europe. I can
pretty much guarantee that you'll never see an S&\1 soap opera like this roliing out of Hollpvood anytime behveen now and the fust ertreme snowboarding championship in Hell. Ball-achingly bodacious Dagmar Lassander stars as an ingdnue learning the ropes (liierally) from satanic Phillipe Lerov, whose l'hole crib is like Six Flags for perverts. The door into and out of the sex gym is in the shape of a giant mlva between two giant sculpted legs! Now that our whole country seems to be slipprng into some kind of Puritan Dark Age, those of us with sex drives need to pick up the slack for the rest of America. Won't you join us in our crusade? (Lars)

lfflUfllY

19: UP Y0UR

I[0DY BI[n!

weird. We got vour rveird right here. Wally Cox, rvho provided Underdog's voice, stars as a mild marurered clerk who invents toys. Julie "Catwoman" Newmar plays "Mother", the head oi a huge toy conglomerate, who wants to hire Wally. He refuses because the slinky Miss \eu'mar reminds him so much of his orvn
(1970 d. Don Joslyn) You want

mother (no wonder he's got problems). So she orders her assistant Skippy, played by 350pound Victor Buono, to break down his resistance bv providing him with an endless succession of prostitutes. That would be unsavon' enough even without Wally's kinkl' infantile dream sequences featuring Newmar as his mother. Or (Oh no!) elephantine Victor Buono in drag. But when you get iocked into a senous rveird movie, the tendenry is to push the pedal all the way to the floor uniil you hear the gears scream. In addition to being shange and creepy and ulha sleazy, this movie also has the blissful advantage of being really, reallv funny. And super rare. So don't miss it. (Lars)

lAllU[[Y 20: lllUil

(1976 d. Steve Carver) As if MANDINGO rvasn't bad enough, the sarne producer ard star retumed with an even more tasteless big-budget foliolv-up. You won't believe how utterll' wrong and politically incorrect this movie is. Again, hearyweight champ Ken Norton plavs an ubermale stud slave named Drum, who's the apple of everyone's eye, both black and white, male and female. Producer Dino Di Laurentis probably threw out his elbow patling himself on the back for this "accurate and balanced" historical treatment of slavery but the reaction in the theaters must have veered between hysterical laughter and shocked indignation. The plot takes a salad-bar approach to story construction with real incidents plucked from their historical context and tossed together with a heaping helping of Di Laurentis brand Italian dressing. With whippings, rapes, castrations and the most repulsive white people in the history of the cinema. And what a cast, Warren Oates, Pam Grier, Yaphet Kotto, Fiona Lewis, even Cheryl Rainbeaux Smith! Come marvel at this amazing spectacle of big-

budget bad taste at its finest. (Lars)

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"Flicker mastemind Cory Rym (or is that "mrshessmind?") and her bimonthly minifest is the best place {or Super 8 and 15m short films to tet seen. Part of a loose-knit national rnovemen! Flicker Austin screens whatever you tluow at 'em (more or less) as long as it's under 15 tninutes in length md orginates on small-gauge filrn sto&. Is this how D.W. Griffith got his start? We[ nq but t]ren

Griffith never had people seruing Shiner Bock at his premieres as fm as we know. Too bad for him." (The Atshn Cfuonicle) Flicker is a quarterly film screening series in Austi4 that features short films by area filnmakers and all other enthusiasts who dare submit via maill Submissions are free, screenings ae always only $5. Flicker submissions must a) Originate on film b) Be under 15 minutes in length. And that's it! We cm screen Super 8 prints, 16mm prints, aad hmslers to VllS or D\D There is NO submission iee. Due to the lrge nmber of filmi subnrjttted, you filn with not be retumed urdess it is a FILM PRINT. There is NO submission Iom; just send in you film with yourname, contactinlo (induding EMAIL), title, ming time md original film{ormatlyouwillbe notified by email iI you film is scheduled to sreen!

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IUST N UTT1T BII GRAZY ll0lllllT0wlt wcilnesilay,1211, 7 a 0il5 llut StlAlff $ll0w BI]0RI IllE fllt'l! sllAlc$ 011TllI scnHt & st{Alfts 0tY0uR PIArE!
in Taylor, Texas, masodists, thrill seekers md village idiots come from all over the state to watch a competition of indescribable compleiiy md grandeur, documented for all to see by UI a1m Will Dotter The contesimts enter m endosed pen with 10 live, venonous md genuinely pissed off rattlesnakes to see how quickly ihey cm stuff the serpents into a burlap sack.Yeg rattlesnakes. And nq participmts don'i wear gloves. Of course, certain prccautions re taken. The judges review all the snakes be{ore the competition begins to rveed out the bad seeds. The high-stdl(ers that tend to aim {or torsos ard faces are eliminated. and usually become "rattlesnake McNuggets." ltre snakes that make the final cut are packed into crates, md the
Once a

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md take pmt in

judges take great pleasure

Record decade, but the mother

ir gohg to every meims to make them as irritable as possible. Guimess I\btld holdtr md snake sacking champion Jackie Bibby & Ken Gmt have been the team to beat for over a

/ son sacking team of tsobby Duke and Betty Hanis feel like drey have been cheated out ol the title for all these years. \{'ill the1, finally cone out on top? (The Daily Term)

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million children in SouthAlrica alone. This is a tale of heartbreaking pathos md breathtakurg beaufi; as rre rvihess hurnan tragedy rmfold against a backdrop ol vast landscapes and rustic poverty. Set in the heart o[ rua1 Z,:1u1mcf all the benefits of western civilisation in one of the wealthiest comtries in Africa have [ttle eilect here. \\'here ile tamac ends, so does the ruming water and elechicity, nutdtious food is a luxury; nedical choices are made on cost and availability rather thm necessiiy. This exquisitely shot film {ron True Vision productions follon'ed three homesteads and their families through fow seasons of discovery md grie{. ioin us for thls speclal lVorld AIDS Day preseniation md help make the world a better place iust by going to the movie-.
The AIDS pandernic has orphaned mound a $uee-quarter

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M. Martin) The sound of the theremin is pretty strange; thai hig[ arcing vibrato-laden tone ihat Hollyvood used so effectively in filrns like THE DAY THE EARTH STOOD STILL and IT CAME FROI{ OLT|ER SPAaE, bui it tums out that tlLe story of the itrkumeni itself is even shmger TTIEREMIN, in telling the storu oi the invention of this singular elechonic nusical instment, also uncovers a mique history oi ihe 20th centun: Leon Theremln, who invented the instrument ihat bears his nme in Russia in the 19201 emigrated to America md became a celebrated scientific figue in his new home comtry and a poliiical flashpoint in the Soviet Union under Stalin. Wlen he disappeared in the 1930s it was widely assumed that he was another victim of the pugesbut astonishingly filmmaker Martir fomd the inventol alirt md well, aged 95. This fascnating filrn, amodem
(1994, d. Steven

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classic mong documentaries, presents his story in his orm words as well as the amazng transii of the theremir tluough American popular mlture, SPECIAL BONUS: Be{ore the filrn hear the Austin Theremonic Orchestra live h concert. The scmd oJ a half-dozen theremins trachg their ghostly pattems tluough the air is one you won't easiiy iorget. The ATO have garnered rave reviews with their one-of-a-kind aural srulpture.

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(2004, d. Kelly Duane, 77 mins)

1/0, ? [m

MONUMENIAL offers a intimate look at the golden age of the enviromental movement tluough the compelihg md colorful life of Davjd Brower, fomder of the Sieua Chrb, and arguably the greatest environmentalist o{ the twentieth century. If you've ever rvondered what a singie person can do against the relentless onslaught o{ development, lvait mtil you see the charismatic and enignatic Brower push the 1964 Wildemess Act throu$ Congress, and then go on to save the Grand Cmyon from dming md help establish the Redwoods Nahonal Park and Point Reyes National Seashore. Ahead of his ume, Brower mderstood the power of the image to spread his message. LIe was m avid filmmaker, md was the first to use photographs bv great artists such as Ansel Adams in hardhitting lobbying md adverlsing campaigns [o win over the hemts o{ the American public, and the minds of mmy Washington politicians. Wth a playful visual aesthetic and alt-comtr,v somdhack (Beechwood Sparks, Americm Aralog
Set, Frurt Bais and more!),

md

16 mm hand-held wilderness footage, largely shot by Brower himself behveen 1930-70,

a

MONUMENIAL documents Brower's jomey as he hmsfoms dre Sierra Club from a regional hiking Sroup into

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minor images, iulio lledem) Basque director Julio Medem is fascinated by recurring mages, opposites, doubles, md fate, all means of exploring philosophical questiore o{ being md meaning. In the fa*inating.LO\ERS OF ARCIIC CIRCLE, set in Spain ari linlmd, Otto and Ana are childhood hieilds who become more iike brother and sister

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because of parental separationi

md new attadxnents. Playful in childho_od, experimentai in adolescence, Otto md Ana seem destined to be together forever Accidents, crashes, ruming on enpty; all those elements o{ chmce or misfortune brhg them together ard huri them apari over and over, as the circle forms the relentless shtcture of this beautifully photographed md flawlessly edited film.

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and lheir daughter Liberal proteshnq the opnre.sive rule of Ferdinmd \41. He ' lir irg rvith hi. much younger $ Ife Leocadia nor*olu. .ourr"*.s to paht ar nrght, md in flmhback stirred by conversations with his daughter by Nful headaches, md iv th. b.tuddl...nt of age, he reliv-es key times h his life, particularlv his relationship with the Duchess of Aiba, his discovery oihm he u,mtea to puini lnslghtprovideaby Veldzquez's work), and his lifelong celebration ofthe imagination. Tluoughout,
his reveries become

tableau o{ his paintlngs." [IMDB]

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moves (1999 ,1. B.nito Zumbrmo) "Muia, rvhose parents Live in the count4i cmot stmd her iather's authoritarim ways and io t6. Aty She finds a job as a clemer and tries to suruive in a rvretched aparirnent in ihe shabby part of_a big cifir She is for an goes_to the Whenher ffiJ, una th. tu.t that her boyfriend has abmdonedher does not help mitters,odyJriend father dog, begrns hospital out o{ to come is his ipeiatiorl hu nother comes to siay with her Her neighbor, m oid.recluse whose his sheil md these three lost souls iry to give eadl other the shength to start over'" [IMDB]

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cinema. Iaat-Kine (\'enus Seye) is the Sembene, the Senegalese novelistlturned-director widely regrded as the lounder of sub-saharm locals omontoring the_quali$ of her fortvsomething manager of a gleaming Dakar gas station wf,o, when she's not gossip:ing with tle h.r trio teenaied childien. Daughter Aby (Mariane Baide) md son D]ip (Ndiagne Dia) tvue both fatiered out of i*Jtoo( ly autt"t.n, deadbeat dads; h-avhg raised both"clLildrenon her own and seen them pas_s their_baccalaureaie exms, Kine is afraid jTord to send them io college inturope. Aby md Djip, in tum, worry about theiistill*ingle mother and decide that what she she car,t n .Js is u hurbard. Kine disagrees: i(one o{ the men"in her iife not even her own father, who firsi iricd to sel her on fue md t}ren Jiso*ea h* rh.n he leamei she was pregnant har,e been of much use, and my sex Kine rvants she's more than lvilling to pay for and thriving'($inks to no one but herself), she's a maruelously optimistic slmbol {or an independent counhy

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Ambitious, sel{-empowered on the mend." (Ken Fox)

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"What is BUTI-NUMB-A-THON? the greatmt film geek event in the world. The forus of this 24 hour event is to celebrate film in all its forms! In advmce of the film festival you will never know what is going to be showrng, who may be aniving as a special guest or if you'Il ever see the sun againlll The purpose of all this is to let your mind wander md wonder about what it is fhat I have in store for you! In the past our special guests have been Vin Diesel, director Guillerrno Del Torq director Peter Jadcson, Mel Gibson md nmy others. We've had soeenwriters, directors and producers show up just to attend the event for themselves... and oI couse there is the disguised in hmm form cast of chmacters Irom behind the scenes of AIN'T II COOL NEWS." (Hary Knowles, Ain't It Cool News)

BIJII-NIJMB-A-THON completely fund the Saturday Moming Film Club all year long. At the time of this prinfmg, the mem for allocabag the tickets has not been detemined. Please cleck wwwdrafthouse.com {or more details. This is ile single-most popuiu event that we host each yea4 we cm seat not even 1 / 10th of the ticket requests we get each year. 'Lmt As with every yea1, runous are alrcady rmpmt and expectations aretesewedly high. yeart hiflights included Mel Gibson live in person to prcsent a rough cut of TTIE pASilON OF TT{E CHRIST before aryone else laid eyes on it, as well as a sneak premiere of THE RETLJRN OF THE KING, This year, mything goes. Check bacJ< soon md keep your fingers crossed, md hopefully, we wlll see you at the movie-geek heaven that is Butt-NrimU-e-fhont
The proceeds from

ACTORS ilEEDED:
sEEKIl{G I1{DIVIDUALS
II{TERESTED
PTAYIHG A HEATTHY ROLE OT
11{

THIS PLAilET.
lnquire at the Dailyfuice at 16z5 Barton Springs Rd. Serving Organic Juices, Serious Smoothies & Fresh Nutrition Daity,
& Big

Ihe tustin thruniclc, lint lt C00l ltGU$ BloutGlt/Big $istel$0f lustin Dl0sGm
for kids the last Saturday of every month! This month featuring:

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Free movies

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Harmon Jones, 83 mi4 35m) How would you like it if a giant rmpaging gorilla jumped out of tle novie sceen ard into your lap? Ihat's exactlv whit happens in GORILLA AT LARGE tluough the uLiraile of 3DI Most o{ us studiously hy to avoid being pursued by mmauding apes in our daily lives but GORILLA AT LARGE gives us the opportunity to experience this puise pomding tlrill without the danger And all you need to do is show up at your friendly domtom A.lmo Drafthome md put on the special magrc 3D glmses. Thm sit back in your cozy theater seat md watch Goliath, a 900 pomd gorilla as he terorizes camival sideshow We'll provide the glasses md the gonlla repellint. All you have to provide is youself. See you there!
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Longhom play on our movie screer; you have no idea what you've been missing The smen is bigger thm mything you've got in your house or whatever "big screen" TV your favorite sports bm loves talkingibout.'lhe soud is huger thm that car with the thmping base at the last tailgating pmty you went to. And the fans il the mowd me more enthusiastic ihan anlvhere elsg with the possible exception of the stadium iiself. Add in some great food md beer specials, md you cm see that you've got a special reason to nol
be too hungover on New Year's Day...

A TRIBUTT TO BI11 IIIGIG ll0lllllT0t{]ft Thursday, 1/6, 945 m

In 1993, network executives abruptly cut the final appearmce of comedim Bill Hicks - a scathing tirade of digs

on the Pope ard tle proJile movement - from m episode o{ The Late Show with David Lettemm. His bmishment fton the shoW along with a profile in The New Yorker by veteran writu lohn LalU catapulted Hicla to mtional pronhence. Jusi nonthslatel, at age 3! he died of pancreatic cmcer This year, ten years after his death, Soft Skuil Press-publishers of a book about Bill Hiclc by Bill Hidcs have conpleted for the fust time eve1, Hiclc' most oitical md comic observations, gathered from his stand-up routines, diariet notebook, letters, md final mitings. This collection features his conhoversial hmor and witheringly funny aftacks on Americm nrlturg fron its worship of celebrity md material goods to its involvement in the fust Gulf War In an admiring pmfile by the New Yorker aitic iohn Lalu, Hiclc desaibes the comic's vocation as being "tle mtithesi o( the moL nentality." The book, LovE ALL PEOPLE, faithlully haces Hicks's evolution fiom a fumy but conventional stmd-up comedim into a fearless md brillimt iconoclast. To celebrate the release of the new boo( and to pay hibute to one of America's best and dmkesi comedim, we've arranged {or a special evening
devoted to every4hing Hicks.

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We've been longtime fans of bizarre Japmese advertising, televisior! and video. We have temed up wiih local Japmophile pop-culture enthusiast md archivist Tony Salvaggio to compile the defnitive collection o{ Japanese oddities: strmge surreal mimatiorg A-list Americm celebrities pimping themselves out for cheap Japmese products, cruel md inhumane gme shows, bawdy situation comedies, unexpected nudity, exheme pro-wrestling bizane mti-flatulence products, nonsensical English pluases, supreme goofiness, ard more, more, morel We ve made a special trip to Japm for the express purpose oI acquiring the shmgest, mo5t conwlsively hiluious video that the land of the rising sun has to of{er Customs officials md airline porters looked at us askmce as we hauled case a{ter care of videotapes and D\4)s onto and off of the planes as our carry-on baggage. When questioned, we simply pretended not to mderstmd English. Nothing is too good for ou rustomers!

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