Alamo Guide: Feb-Apr 2000 | Superman | Cinema

In addition to the special etents on the back side of this calendar, the Alamo also t'eatures the

best itt cutrent release moaies These



Magnolia debuted in Austin at the Alamo Drafthouse Cinema as part of the nou infamous BUTT-NUMB-A-THON. A month bet'ore its Austin theatrical rcIease, PauI Thomas Anderson sent Harry Knowles an ndaance print to throw into the eclectic 21
hour mix of ftlms. Eoen in the midst of celluloitl oaerload, the audience uas bloun away by this one of a kind film Magnolia is all-ouerlhe place atd cohesioe at once, and we arc proud to olfer it up as one of our premiere selections Youhaae neoer seen
a maaie

Keain Smitlt, director of Clerks, Mallrats and Chasing Amy, completes is self-proclaimed "New lersetl Trilogy" with this strange and sarcastic look at modern day Cstholicism. Lou orr

are hand picked by the Alnmo t'or your enjoyment All of the moaies we show, we haoe seen ourselues nnd are ptoud to offer up
u e oft'er daily t'or your enj oyment. Also,.for these regular t'eatures specials Sunday through Thursday ta make your tlsit t0 the Alamo a bargain as u'ell!


and glitz, but high on story


characterization, Dogma delioers the important Soods: inaentiue story and noael characterizations.


quite like it.

(Review by Owen Gleibermary San Francisco Chtonicle) Kevin Smith's D ogma is a deliriously audacious, one-ofa-kind satirical passion play that's as rascally i.n its glee as anything in Mad Magazine, yet it's also a searching md obsessive meditation on faith in our time. The entire movie is a wild and intricate theological debate, a Sunday-school catechism session turned into a snaPcrackle-and-pop thrill sermon for the mind. Smith, make no mistake, is {ar from a blasPhemer, but, my god, does he love to tweak pieties! He turns adolescent naughtiness into a sty1e, a worldview, and Dogma, in ils very form is a manic act of transubstantiation. Smith {ollows a pair of bad-boy angels as they attemPt to regain their place in heaven. Their names are Loki and Bartleby, and they're angels who have been consigned to everlasting exile in Wisconsin. In their jostling, sarcastic way, Loki and Bartleby have bruised and hungry egos; they can't believe how far man has fallen. The two go on a bloody mission to cleanse the world of simers, and when they start spraying bullets, ego - that is selfishness- emerges as the film's true theme; ii's the enemy of {aith.

Karrie and

sure. Some

were still skeptical and needed to check it out t'irst hand Lo and behold, Galaxy Quest exceederl our expectations. Eoen if you hspe had no contact whatsoeoer with the Star Trek ftnrlom phenornenon, you wiII still enjoy the delighful story and unique ttuist on the age-old sci-fi fmtasy saga.

I went to the theater to check this one out iust to be thumbs up, but we folks ue ttust Ssre it a hearty

(Review by Roger Ebert, Chicago Sun Times) Magnolia is operatic in its ambitiory a great joyous leap into melodrama and coincidence, with ragged emotions,

(Review excerpted from the San Ftancisco Chtonicle) The premise oI Galat"y Qzesf is irresistible. The cast o{ a Star Trek-llke TY show is brought to outer space bv aliens, who have been watching reruns of the program lor years, believing that they are watching historical trmsmissions Now they are hoping that the cast oI Galaty Quest wil]r lead them to victory in a sPace war.


crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intewention, all scored to insistent music. It is not a timid film. Paul Thomas Anderson here joins Spike Jonze (Being lohn Malkooich), David O. Russell (Tftree Kings) and their master, Martin Scorsese, in championing an extroverted self-confidence that rejects the timid post-modernism of the 1990s. These are not movies that apologize for their

or shield themselves with irony


suspicions of sincerity. The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood,

While the set-up alone is enough to spark interest in seeing lt, movie-goers might be wary, having been burned time and time again by a great concept that {alls flat with a onenote, one-joke film that goes nowhere This is not the case wiit Galaxy Quest. A superbly understated cast skewers the phenomenon of the siarily fanatical sci-{i convention scene with incisive humor that is at the same time fondly gentle and

coincidence and by the way their lives seem parallel.
Themes emerge: the deaths of Iathers, the resentment of children, the failure of early promise, the way all plans and ambitions cm be undermined by sudden and astonishing

Magnolia is the kind of film that one responds to instinctively. Leave logic at the door. Do not expect
subdued taste and restraint, but instead a kind o{ theatrical ecstasy, as the themes unfold" its characters stdve against the dying o{ the light, and the great wheel of chance rolls on toward them.

It's not every day you get to

Galaxy Quest avoids the heavy-handed treatment of
respectable space adventure as well.


see a movle that begins in satire md ends in reverence, but thery for Kevin Smith, they may ultimately be the same thing.

joke. it's a thoroughly satisfying comedy, and

Last year, the Alamo received a critic's award in the Austin


Chronicle Ior the best local film trend in Austin for our continuing series of silent film classics with alternative
scores. Kamran Hooshmand and the 1001 Nights Otchestra also received an award for their per{ormance at the Alamo accompanying the Douglas Fairbanks classic The Thief of Bagdad. This series has been running for two and 1/2 years now and ls really picking up steam. We exhibit the best quality archival 35m silent film prints available and work with the local music community to create m exciting new interpretation to the silent greats Thus far, we have produced eight silent film/live music events, and we plan to continue the series further this yem, with five new films this year and a video series of the films with the new scores in the works.

This year, SXSW and the Alamo Drafthouse Cinema are teaming up to showcase this unique series with two select encore presentations of silent film classics. With both the film and music community converging on Austin this sprlng for SXSW, we saw an opportunity to Present these films to a forused audience of industry professionals and music and film enthusiasts.
We have chosen two {ilms to screen during SXSW: the first film of the series, Frltz Lang's Metropolis, with live music

by 3T-37, a space-tinged, improvisational rock bmd, and the aforementioned Thief of Bagdad with live musical accompaniment. Additional information about both films
can be found on the inside foldout of this calendar.

Tlckets for each event

will be available first to

and wristband holders, the remaining tickets
available to the general public.

pass, badge will be

I\-e hsae been waiting to show this moaie for a seeming eternity, btd it just keeps on winning award after award and extendhry

iis initial run. American Beauty was the big winner at the Gttlden Globes and looks to be a strong faaorite at the Academy td,nrds. Check out thst actiln at our Academy Azuards bash or ;ee it on the Alamo big sueen coming this spring!

fiIms erer made. We at the Alnmo are pulling for lohn Malkoaich to wir the best sctor Oscar for his performance of
lohn Malkooich, and not just for the sake of irom1.

Like Ameicnn Beauty, Being lohn Malkooich has serlous legs; it just keeps playing and playing. This, o.f course, is due to the fact that Malkoaich is ane of the most ftesh and origilLal

What does a Dead guy like lerry Carcia haae to do uith the 1964 film Tlrc Saragossa Manuscr[ptZ Like others in the counterculture, t|rc late leader of the Grnteful Dead uas a hig .fan of the tto-lnw internstional ttersion of Wojceich Hss' .fi\m, and


when he learnecl the original three-hour aersiot


(Review by Marc S avlov, Austin Chronlclo (4 out of 5 stars) \\hat American Beauty has to say isn't pretty, at least not in the conventional fashiory but it is a brillian! exhilarating piece of rilmmaking. It may even be the best mainstream film of the year thus {ar, and by mainstream I nean produced by a major studio ih this case, DreamWorks SKG). In fact, how this tempestuous, bleak comedy of suburban mores md the sudden renegotiation


(Review by Marjorie Baumgarten, Ausfin Chronicle,4.5 out of 5 stars) Rarely is there a movie about which you cm honestly say thai it's

restofitian, he commissioned it. After Gsrcia's death, Martit Scorsese and the11 Frnncis Ford CoTtpola took up the cause, nnd the rcsult--an archire sleening at the Alamo Drafthouse Cinenn Februanl 25 & 26-arriues with a riedicalion to Garcia.

like nothing vou've ever seen before. Betng lahn r\{al,konirft is one such movie - a wildly inventir,e, uroelenting thril1 that amzes us with its visual and intellectual heats and dazzles us wiih its
ongoing hgenuiry That this is the first {eature fiim by Spike Joroe only adds to its luster, although anyone {amiliar with Jonze's imaginative commercial work for such advertisers as Nike and Nissan will not be altogether surprised. Screenwriter Charlie Kaufmaq however, is also a first-timer and though it night be natural to wonder from what imer sanctums this writer chameled his story's ideas, its probably best to just sit back and enjoy the result. Cusack plays a puppeteer named Craig Schwartz whose bawdy street performances manage to keep him permanenily unemployed in his chosen profession. At home he is surrounded by a menagerie of mimals, which his nile Lotte (Diaz) brhgs home from her job. Craig's nimble fingers get him a job as a file clerk in a
1 I 2 floor, whose boss (Bem) is 105 years Soon Craig discovers a portal behind a file cabinet that swooshes him inside John Malkovichs brain where he remains for 15 minutes before being dropped mceremoniously alongside the New Jersey Turnpike. At work, the devastatingly alluring but curt Muine (Keener) whom Craig lusts afte1, figures out a way to sell tickets to Malkovich's brain and profit from the oddity. Then Lotte takes the ride and discovers that she s a transsexual or a lesbim md she and Maxine are setting up tete-a{etes inside John Malkovich. It all sounds mad but, trust me, it works - excepi, I think for the concluding subplot, which pushes the film's realism further thm it can stand. For this may be what is most amazing, ultimately, about this movie: It incorporates a bizarre uroeality within its strictly realistic narrative and visual structure. It stimulates mental gymnastics that excite the soul as our brains scramble to

of one man's deal with Life made


past the initial pitch

meeting is a mystery in itseif. It did, though, and moviegoers ae the better for it. Sam Mendeg the theatrical director who

A three-hou black md white art film {rom Eastem Europe... no, no, no, please don't turn the page. Please. Beiieve me. I mderstand the impuise... really I do. If I read the phrase "three-hour black md white art film fron Eastern Europe" in a movie review I'd probably be tuming the page so fast vou'd think it was hJected with flesh-eating bacteria. But it isn t Like that, honestly. lt's a blast; it's full of sex, and ghosts, md sex


recently shepherded Nicole Kidman

to new

heights of


stagebound erotica rnThe Blue Room, tackles his {ilm debut with gusto, alternately savaging the American Dream and the myth of the suburbs and then offering a flicker of hope. It's a heady, intoxicating mix, made all the more so by the ecstatig swirling cinematography of Coroad L. Hall (Cool Hand. Luke, Mnrathon -\4an) and a quietly seething score by Thomas Newman. It's all of a piece, and though a few of those pieces don't work as well r others, as a whole, it's tough, fumy stuff. Spacey, an actor l'hose mastery of the unspoken internal dialogue and weasely demeanor is second to none, plays Lester Burnham, a hack

ghosts, and duels, and srvordfights, and ske1etoro, md Inquisilions md people climbing in and out of windows.. and

all that good stuff. It's also beautiful and brillimt


strange company on lheT

unsettling; al1 about stories within stories and stories q'ithin stories within stories, and stories within stories within ... n'ell, you get the drift (there are, by my counl seven levels of storywithin-storytelling, but it's a little hard to be sure, especially since some of the story-levels have multiple stories enJolded in them. I saw the thing once about 17 years ago almost by


magazine writer who, approaching middle age, suddenly realizes that somewhere along the line he stumbled and fell,

rvithout knowing, onto the slippery slope o{ complacent nediocrity. This revelation arrives while he and his wi{e Carolyi (Bening), a rabidly materialistic, go-getting real estate
agent, are watching their daughter Jme (Birch) cheerlead at her

accident, and again about 12 years ago after writing it obsessively over and over in the UC Theater's suggestion book (in different handwritings so ihey'd think different people were suggesting it - yes, I suppose it was wrong o{ me, but I was serving a higher purpose - md the second I heard that it was coming back I immediately did a little happy jig 'cuz i u,as going to get to see it again. Olr, speaking of lvhich: if you've seen it before, do see it again. This is the complete, restored version-and it's a much better movie than
ihe clipped-up version that made such an impression on me oh-so-many years ago. It's actually a whole lot tighter and fa,ter moving than lhe shorler verrion.

high school. Lester's eye falls on Jane's best {riend Angela (Suvari), all blond insouciance md ripe voluptuousness, and Lingers, smitten, In very short order, Lester is pumping iron in tlle nude, zipping about in his new vintage Firebird, and
smoking up a ganja storm rvith the new neighbor kid next door It s a midlife crisis of such intensity that it throws you for a moment: Who is this creep? Turns out he's the sotl ol American Beauty, that's who. This is Lester's (and Spacey's) Jilm, but it's also his wife's, and here Mendes stumbles. Bening's character is not only a foil, but a nasty one. Nobody seems willing to give her a break, least of all the fiimmakers, and she becomes a shrill

parody of herself by the end. Not so for Jane's budding pdmour Ricky Fitts (Bentley), a voyeudstic fehshist rvith a
camcorder permmently affixed to his arm. Quietiy interee, he's Lester's flipside, and Bentley is mesmerizing. In fact, there's precious little about American Bemty that doesn't engage the mind and tweak the eye, from the production design on down. Its message of redemption may be a bit muddled -- Lester doesn't exactly triumph in the end - but the filmmakers seem to be saying, hey, that's life. And it is.

incorporate all the movie's polarities while our gut intuitively responds like a zoom lens at an amusement park. Ail the actors seem to have found a Ireedom here to go places their careers have never taken them before. Both Cusack and Diaz look unlike any chmacter they've played before, it could be a while before you even recogmze Diaz as the frizzed-out, dowdy Lotte. Malkovich seizes this plum role for all it's worth. And Keener, a longtime dariing of indie {ilmmaking is breathtaking in her perfectly controlied performance as the singular Maxine. Nothing I can say here feels like it even remotely captures the brilli ance of Being lohn Milkaaich. But like the people in the movie who line up for their 15 minuies hside the brain of the actor - or for that matter, inside myone other thm themselves - the fime for queuing up is now. It's really one hell of





ALL DATES AND SHOWTIMES ARE SUBJECT TO (, THE CHRONICLE, THE STATESMAN OR CALL 857.1839 TO VERIFY. In addltion to our regular new-release Hollywood features, the Alamo offers up the following special screenings this fall. For our regular daily features,
please check our ads in the Chronicle and Statesman or






our web page at For home
delivery of this calendar, e-mail or send us your postal

(d. F. Gary Gray, 1995,91 min.) In the wake o{ the sequel, the Alamo takes a trip back to 1995 ior the original goods: Ice Cube and Chris Tucker smoking weed on the porch in the original Friday. This film stands out as one of the few cult midnight movies of the 1990's, and the Alamo proudly offers it up for your enjoyment. Chris Tucker, who stole the show in the original Fiday, has subsequently found Jesus


and refused to play the happy-goJucky, dope-peddling Smokey. So il Next Fiday leaves you craving for more,
better and original, check out Frlday at the Alamo.
Free rolling papers to the first 200 through the gates, PLUS

your $6 admission includes an ice cold 40 oz. malt liquor, just like the ones seen in the moviel Before the feature begins, check out the seven deleted scenes not in the released version and a see a Q&A video interview about
the making of Fn day wrth Ice Cube and director Gary Gray. $6 admission, passes good for film admission only (not the malt liquor). 18 and up on Thursday (sorry no malt liquor for under 21), 21 and up Friday and Saturday. Tickets on
>ale -15

mnutes before


This is a night for the pure of hearf for those o{ us who kept this magical series alive for as long as I'e could and still look back on it with fondness unparalleled. For this night, the Alamo will feature a spectal Twin Peaks menu featuring, among other items, black coffee and cherry pie. We have a whole slew ol great Twin Penks prizes in the Twin Peaks costume contest, Come as u'rapped-in-plastic-Laura, the Log Lady, Bob, Agent Cooper, or any of the "distinctive" Twin Peaks characters, and 1'ou will not ieaye disappointed. The evening begins rvith Twin Peaks Fire Walk With Me in 35mm, follou'ed by a video presentation of The Pilot md next episode. If all goes well for Twin Peaks Efirmaganza 1, we will continue the series next month l'ith a whole new batch of episodes on the big screen. Dust off the log, rvrap yourself in plastic or simply prepare vour mind for a trip back to the best damn town the small screen ever produced, Twin Peaks. (You cannot enter the theater rvithout signing the petition to New Line to release the Fire Walk Mfft Me Director's Cut D\D, allegedil, with over an hour of cut {ootage). Admission $6.00, advance tickets available at the Alamo Drafthouse Chema ot cal 476-1320 to charge by phone, passes not valid, 18 and over.


The Austin Film Society, SXSW,

The Uruversity oi Texas RTF Department and KLRU present


Two By Maysles:


Meet Mailon Brando rs a delight{ul, unusually candid portrait of the world-famous movie star: a tongue-in-cheek con{rontation with the press. While television journalists interview him about his most recent film, Brando counters their futile questions with wit and insight, a man unwilling to sell himself. "It's a wonderful show" one woman comments about the new project. "Did you see it?" he asks. "No, I haven't seen it yet." "Then how do you know?' Always smiling and never modest, Marlon Brando shines in
one of hiq most revealing performances.

the Austin Film Society presents

Wojciech Has, 1964, NR, 175 min, 35mm) "Polish master Wojciech Has's grandly nutty and expressionistic The Saragossa Manuscript, which was released originally in 1964, is the kind of movie you want to discover moldering away in an attic. The fact that the film was never released stateside - not in any version, much less its original three



26 & 27 3:OO PM

WHAT'S HAPPENINGI THE BEATLES IN THE USA, 1,964 One of the most exciting moments in the history of show business: the Beatles' first week in America. The filming team of Albert and David Maysles accompany the Beatles in limos, the Plaza's hotel rooms, and on their trip from New York to Washirigton, D.C. to Nhami, Florida. The Fab Four perform the favorite tunes on the Ed Sullivan Show and in

made it the stuff of cinephiliac legend, a Holy Grail for movieheads. It helps that it's based on an 1805 novel of which the complete text has never been completely reassembled, and that the film itself is a compulsive medieval puzzle-box with enough alternate realities and stories-within-stories to choke Umberto Eco. Employing


and has remained virtually unseeable ever since --

"Made with near-perfect fidelity by Albert and David Maysles.. . who shot it on the spot with a handheld camera
and portable sound gear, this bristling, hilarious account of

practically every Polish actor alive at the time and careening through a fictional hrstory rife with ghosts and sirens, Has's film is a borgesian genre epic that is a wicked
genre all to itself." -



the sound and fury


during a


Postmodern before such a concept was fashionable, and

appearance..." - Time Magazine

long a counterculture favorite (it was musician Jerry
Ford Copolla) to its full-length glorv, allowing the intrinsic

"If the Beatles are a phenomenon of the age, and typical of youth's impatience with stuffy admonitions and outmoded

Garcia's favorite movie), this masterpiece has been restored (with the help of Jerry Garcia, Martin Scorsese and Francis

desisn of the storvtellins. imasr.rv and Krzvszlof

cf a they get once they put the footage togerler. r. younger generation of beiievers h cinema rrho aie eager to rid filmmaking of stagrness, scene-seti:ing, and the contrived, the literary and al1 that makes the imitaiion of Lite a rare *Ling in films..." -Teleaision Age, Nor enber 13, 196-1


s i\..1.1a:i1i- saJre tJ ;..i-n a: ner-er'oeicrre 'nine (Pendeleri.i later composed scores for Kubricks fil; 5lirir;g md Friedkin s fte Ercr;i-.i).


The South




Sortthrrest Film Festival

Admission $6.50,

$4.50 AFS and students, passes

noi ralid.

Al1 ages. Advance tickets on sale at the Alamo Drafthouse Cinema or call 476-7320 to charge bv phone.

presenls the best nerv independent films from around the rvorld and proudes a unique opportunitv to interact with and leam lrom some of the mosi promlnent figure. in the

film industn'. This

vear's panelists include Chistine

Vachory Elvis Mitchell, Janeane Garofalo, Larn' lhe Hughes Brothers. John Sloss and Dolly HaJl.





The Alamo Drafihouse ard SXSW wiU presenl.ereral fi[m shou'cases and premieres, including a special midnight world premiere ol Shafted, in which a wh\e mental paiient believes he's 70's blaxploitation hero "John Shqt". Shat leads hi' fory. fei.ry iemale sidekick. and band of hiled a,,a::ins

(which includes Gary Coleman)

on a

series of

misadventures to fight crime. Also at the Alamo, South br Southne>t'* four-film tribute to Vonte Hellman \Two-Lane Blacktop, Cockfighter)hosted by the man himself.

Restored 35mm

FEB T 7-I9 MIDNIGHT FEB l9 & 20 4:45 PM

print with additional new foltage

(d. George Dunmng, 1968, 90 min, G, 35mm restored) The Sixties animated classic is surfacing again; but now it's digitally restored, remixed in stereo surround sound and contains never before seen footage! Thirty years after it first set sail through psychedelic seas on the Modyssey to save Pepperland from the music-loathing Blue Meanies, The Beatles' fabulous flagship is relaunching for the trip of your life. In February, fans can once again relive the magical maritime tour as Captain Fred and his crew of Beatles dive into one of rock and roll's most enduring fantasies. Before the film, as an added attractron, n e will be showing Beatles

previews and the making

of Yellow


AJd a^s i{Qt' rtP\, \L-L rl-_-ti

Admission $5, passes are accepted. Advance tickets are available at the Alamo Drafthouse Cinema, call 476-1.320 or stop by the theater during office hours. 18 and up Thursday and Matinees, 21 and up Friday and Saturday nights.

Andre the Giant Double Fenture:



The Austin Film Society presents Full Moon Madness!

(d. Rob Reiner, 1987.PG,98 min) "Being a fairy tale, this has all the expected derring-do, life-threatening exploits, swashbuckling, damsels in distress and evil monsters (check out the Rodents Of Unusual Size), but being a Rob Reiner movie, it is also a highly knowing commentary on the genre. The dashing Wesley is a trifle too perfect, shrugging off each near-fatal encounter with a raise o{ the eyebrows, pouty smile and a shake of the head. It does for the fantasy adventure what Quentin Tarantino did for the Bangster movie, subverting the cliches at every turn, with characters giving wry nods io camera from time to time as if to say that they recognize how silly it all must seem." Edinborough Film Society

SXSW and the Alamo Drafthouse Cinema Present Silent Film I Alternatioe Scue

Liae Musicby ST-37 UFA's most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanized society founded on slavery Thea Von Harbou's script is a bizarre mixture of theolog.v, futuristic sci-fi and backwardlooking gothic horror Friiz Lang's direction is tremendously inventive and
exhrlarating: no other direcior before (and not many since) had worked so closely with cameramen and designers to achieve such dynamic visual and spatial effects.
The print we will be screening on March 18 is an archive 35mm restored, tinted Giorgio Moroder versronofMettopolis. By adding



WED, FEB 23 9:30 PM



Andre the Giant has a Posse is the story of a philosophical prank of international proportions. The GIANT sticker (see

(facques Tourneur, 1943) The most elegant o{ Val Lewton's 1ow budget horrors for RKO, an imaginative updating of lane Eyre which anticipates Jean Rhys' Wide Sargasso Sea

photo above) and graffiti campaign began in 1989 as skateboarder and graphic designer Shepard Fairey's
rebellion against corporate logo worship. Over a decade later, more than a million GIANT images appear on streets, guitars, books, skateboards, computers, cars, road signs, and bathroom stall doors around the world. Andre the
Giant has a Posse reveals an artist's obsession



the action to the Caribbean, with

Rochester's wife not mad but the victim of a voodoo spell.

live musical accompaniment, we are avoiding the Moroder horror (1984 soundtrack by Pat Benetar, Adam Ant and others) and retainhg the Moroder beauty (beautifully restored imagery md a moderry swilt pace). Moroder con'erted all of the title cards to
subtitles and the action keeps pace much better.


script, weaving a delicately intricate web of local superstition around a litany of oblique references to the relativity of good and evil, does wonders in creating an ambiguously unsettling atmosphere. But it is Tourneur's caressingly evocative directiory superbly backed by Roy Hunt's chiaroscuro images, that makes sheer magic of the film's brooding journey into fear by way of voodoo drums, gleaming moonligh! somnambulistic ladies in fluttering white, and dark, silent, undead sentries. - Tom Milne
$5 Admissioru $3.50 AFS and student. A11 ages, tickets on sale 45 minutes before showtime.

o{ a dead wrestler and how it turned into a global experiment in Phenomonology. Andre the Giant hqs a
Posse exposes the methods and rationale behind Fairey's GIANT campaign: part accident, part desigru the campaign is motivated by aesthetic pleasure and a desire to cause people to reflect on their surroundings. $5 regular admissiorL, passes are welcome. 18 and up on Thursday and for matinees, 21 and up Friday and Saturday nights. Tickets on sale 45 mjnutes before showtime.

with the Iace

Metropolis was the first film in the Alamo's series of silent

classics/ alternative scores, and ST37 set the standard
against which all subsequent bands were measured. Their multi-layered spacetinged wall of sound is a per{ect compliment to the futuristic world ol Metropolis.

Advance tickets available Jor all SXSW badge and wristband holders will be available at the Alamo starting Wednesday, March 15. Remaining tickets will be available to the general public starting March 17. Tickets are $10 (98
for SXSW attendees), passes are not valid.

,u,o,!',!,i,'!rlli},1'x'oT:r'#"'ll,i"iiii{!li;present.,."$f,ll{S I SAIURDAY ilIORl{INC ]IlilI C]UB

SAI MAR 25, 12:OO NOON "l'r'e
grew up with here

The Clash of the Titans

in Austin... Called THE SATURDAY MORNING FILM CLLE. They'd show hlms like The lungle Book wjth Sabu, King Kong (,933), The Adaenturcs of Robin Hood, Seoeilth Voyage of Sinbad, etc... Kids would make paper airplmes md throw them. There were art contests based on the films wi saw, Story contests. People iold us how things were done, md read behind the scenes stuff out of Famous Monsters of Filmland. So... Tim and I decided to make the entire event (Butt-Numb-A-Thon) be aboui raising funds for the Children's Film Series." - Harry
Knorvles, Afu t-If -C o ol-N ew s

been wantirg to start a Chiidren's Film Series like the one that

ln thv end we "ai.ed orer:0000 in admis.ion and pledges. enough to rund Lhi. -ene. for ai led't d )edr lhe erent\ dre lor kid. and lo" adults who want to bring their kids to see the greatesi movies of all time. The {ilm screenings are 1001% free for kids and adults with kids (you can thank the Butt-Numb-A-Ihon sun'ivors for thatl). II you are over 15 years old md you aren't bringing a kid to the movies, well, you probably won't get in md if we are not packed md you do get it, you will have to pay. This event is strictly for the kids. Film screenings the final Saturday of every month from here on out. To open up the series, we tender one of the flnest action/lantasy films ever Clash of the Titms!

You've seen the smashed head shot on the Daity Shorv (you cm dou'nload it {rom our site at, you've see the exploding head shot on the Late Late Show with Craig Kilbom, but norv vou can see the uncut real deal-the most unbelievably over the top kung fu movie ever made: RIKI-OH (THE STORY Oi RICKY). The plotline is inconsequential (but nonetheless acted out with intense brar,ado) - a prisoner with a heart of gold and a slight anger management problem goes toe to toe with the imates md warden on a corrupt futuristic privatized prison. What is of consequence, however, is the level of Chi-Gong Kung Fu practiced by all parties involved. Superhuman shength gives Ricky and company the ability to punch through stomachs, skulls, chest cavities and my other body put that stands in their paths. See Ricky dig into his lacerated arm and suture the I'omd with his own ligamentsl See the mint dispensing glass eyel See a prisoner strangle Ricky witl his orvn iniestines! You MUST SEE THIS MOVIE TO BELIEVE ITI Just when you think Riki-Oh has run out of l'ar.s to do violence to the human form, it surprises you all over again. Yet it somehow oddlli manages to avoid being totally mem-spirited; unlike the catalog of atrocities in say, your avetage Italian chunk-blower, the stuff on display in Ricky is more like the exuberant grossness of a 13 year-old rvho has been drawing his own comic books and suddenly discovers the magic o{ a red marker $3.50 regular admissiory passes are welcome. 18 and up on Thursday, 21 and up Friday and Saturday. Tickets on sale 45 minutes bef ore showtime.


I revisit a film like


of the

Titans, I'm

simultaneously exalted and saddened- exalted because the movie is a tour-de-force of gripping, powerful storytellhg and saddened becJuse it make' me realize how much thi' slyle of grand filmmaking belongs to a bygone era. The increasing cinematic trend towards mediocrity, particularly in the action-film genre, does not bode u'ell for the future.

SXSW and the Alamo Drafthouse Cinema Present Silent Film with Lfue Alternatiae Scores

liu e musicnl

prepare for a breath of fresh ai1, and check out a classic you may have missed. Directed in a beautifully vibrant style by Desmond Davis, Clash ol the Titans ts a brilliant, highly-stylized

co mp




re-telling o{ the story of Perseus, the Greek mvthological hero who {aced uniold dmgers and obsiacles in his quest for the fair Princess Andromeda. Astonishinglv photographed with equal parts light and shadow, Clash ol the Tltdrs, opens a window into the imagination and allol's it to soar for 118 minutes. " - Joe Barlow Chsh of the Tifaas is also a great introduction to one of the all-time greats h fmtasy, the god of clavmation: Ray Harryhausen. Harry and friends will explain the art of Claymation and each child will get a chance to actually mold their orvn fantasv hero (or monster) out of clavl Kids, hang on to vour ticket stub, rve will have an old fashioned raffle with prizes from Hog Wild Vintage Toys. Seating begins one
hour before showtjme, arrive early, no advance tickets available.


(Raou1 Walslu 1924) Fairbank's Arabian Nights spectacle presents

American silent cinema at its most flamboyant. The collection of sets lvere said to extend over six-and-a-half acres; the designs, partly by renowned art-deco fashion guru William Cameron Menzies, are a dizzy conglomeration of Mmhattan chic, Art Deco and rampant Chinoiserie, guaranteed to amaze the eyes. Fairbanks leaps and grins through them all! entrancing picture, wholesome and compelling, deliberate a feat of motion picture art which has never been equaled.'-The New York Times


md beautiful,

The first performance of this silent film with original Arabian Nights score garnered an Austin Chronicle "Best of Austin' Award for lggq for best silent film -creeninB.

Advance tickets available for all SXSW badge and wristband
holders will be available at the Alamo starting lVednesday, March 15. Remaining tickets will be available to the generai public starting March 17. Tickets are $15 ($13 for SXSIV attendees), passes are not valid.


Year's Academy Award's Part,v at the Alamo Drafthouse Cinema was a blowout bamburner, but this year we are going even further! Prize givearvays, drink specials, and the Academy Awards

SUN, MAR 26, 6:OO PM

The Austin Film Society, SXSW, The University of Texas RTF Depdhnent and KLRU prerent

action on the movie scrcen is just the beginning. During the comercial break, check out embilrassirg failed projects of the nomnees, compete in the "Song of the year" sing-along contest (you don't need io know the words, just follow the bomcing ball on the movie screeq it's a good-old fashioned Mitch Miller shg-along for a whole new generation), see memorable moments from Oscar nights of yore, and choose the rvinners in our single elimination ballot to be crowned official Academy Award Grand

With this foilow-up to their 1996 Parcdise

losl filmmakers Joe Berlinger and Bruce Sinofsky retum to West Memphit Arkansas to reexamine the controversial story of the most notodous murder case in t}le stat€'s history. Nearly tluee years h the making, this film reveals startlhg new evidence md explores the ironies and ambiguities of a murder case that continues to leave many que'tions unmswered.
Filmmaker Bruce Sinofsky will introduce and conduct a Q&A followhg each screening. Advance tickets ue available for Austin Film Society members only by callhg the Austin Film Society at
322-0145. Admission $6, AFS & student

APRIL 12 6:45 & 9:45

Reaelations: Paradise Lost 2

21 and up. $7 admission includes one glass of chmpagre, a copy

of the Razzie award wimers and one


at the


Academy Award raffle. Advmce tickets are available at the Alamo or call 47o-1120.



not valid.

Hog Wild Vintage Toys Preseuts

(d. Richard Donner,

1985, PG, 114 min, 35mm) Last year's scttenings of TIrc Cootties rrere.rch a snra.h hit that lines formed


ae biK. ltuS yed the snow 15 e\-en Defter as rie ncluoe a Cindy Lauper look-alike contest (with swank 80's prizes from Hog Wild Vintage Toys!), sing-a-long with the hit of Tfte Goonles (Goonies ate Good Enough - r'ideo and lyric sheets provided), a Goorles coloring contest, a look at the making of The Goonies documentary and see ihe mysterious cut footage of the evil octopus. It's the movie that half of our audience loves but are afraid to admit. Be bold, stand out, come to the Alamo and



embrace, cherish and LOVE everything Goonlesl 18 & up on Thursday and matinees, 21 and up Friday night. $3.50 admission, passes welcome, tickets on sale 45 min. before showtime.

Stephen Romano and the Alamo Drafthouse present

Reggie Bannister, Angus Scrimm €t Don Coscarelli lizte in person!
The spacegates o{ Hades swing wide for April lool's weekend, as The Tall Man and his minions invade the Alamo Drafthouse Cinema for a three-day film event like no other in sci-fii horror history: PFL{NTASMANIAlMt's a phantastic phantasmagoria of nightmare hilink, nonstop action, zombie dwarves, and flying silver spheres that slice, dice and suck brainsl We've got the original tdlogy in all of it's insane gory glory on the big screen, presented b1' director DON A. COSCARELLI himself from his own personal archive of 35m prinis! Ballbuster Reggie Bamister, star of all three films, joins the fur for live music and bull sessions with the fans, and The Tall Man himself, mister ANGUS SCRIMM, will be lurking in the shadows to embalm members of the audience! A dark masterpiece of sureal exploitation horror cinena, Phantasfr losses tfr every oftbeat mutation of the traditional horror you can imagine; the Iocals of a sleepy town are crushed into yellowblooded dwarves and vacuum-packed for teleportaiion to another dimension, a severed finger becomes a shriekhg demon insect trapped ir a denin jacke! and the inJamous 'silver sphere' makes its blood sucking debutl Phqntssm celebrates its 10th anniversary explodhg across the big screen for the first time anywhere since 198$ showcasing all the ball-busting, blood-gushing, gun-slinging, shotgun-pumping honor hoopla you can shake a chaimaw at, featuring the Tall Man's return and a new gaggle of spheres that always seem to take out the wrong guy. Phantasm lll: Lotd of the Deqd makes its Austin premiere on April Fool's Dav closing the festival with a greasll blood-gushing bmg you won t soon forgetl Lr a fitting end to the sedes, there's more action in P.III than the first two combined, includlng thousands of spheres, plenty of zombie-fu, dimension-hopping madness and little monsters that crcep up your pmt legs! Yet another fhe production from Alamo Drafthouse md Stephen Romano, who teamed up last year to bring you Halloween's Fulci Film Festivaf dris is a once-ln-alifetime horror showcase, and we'lI have a ton of T-shirts, program books, buttons, bumper stickers md gore in the lobby, md a SUPER-SPECIAL DOUBLE-FEATURE SURPRISE in store on April Fool's night {or the badasses who sit through all three filmsl If you miss this out on this one-you're already DEADI 3 day festival passes are $35, single night tickeis are $13. 3 day festival pass tickets are available in advance at the Alamo. Single night tickets are available at the door as available. Passes are 21 and up, Thursday night is 18 and up.



There are hvo ways to mnket rult classic llesh Cordory so we'Il
just touch on them both.
1: iust froiic in the oddity that is the piotline: Flesh Gordon and the mad scientist Jerkoff blast off ir their phallic rocket to battle the evil Emperor Wang and his ninions of fruity Forest Men, hook-



handed lesbians, one-eved penisauruses and anaiomically
enhmced robots!

2: disregard Method 1. Beneath the grindhouse exploitation hype, this movie is dam good-it could have been a no-budget comball erotic spoof, but every special effects and stopaction geek in tle universe was clmoring to be onbord with this project. The effects tem, led by Jim Dan{orth (Clasft of the Titans) and Dave Allen (everything from Wftex Dinosauts Ruled the Earth to Hofley I Shunk the Klds), created lovingly-crafted sets and spaceship interiors beautiful enough to make you cry Thel' lust
don't make exploitation films like this anymore. 35mm print
courtesy of Henstooth Films.


r0rur sAvrilr lrvE 11{ PERsoll! MAR 25,9:3O till ?
Come and bow down at the altar of the holiest of holies, the master

of all things dead, undead and soonlo-be-dead: special effects' ' magician TOM SAVINMT Savini will host this non-stop barrage
of good old-fashioned gore! See rare behind the scenes footage of Tom at work on his numerous projects! See rare film screenings of your favorite Savini features! See lucky members of the audience blown to bits live in the theaterl Challenge Tom to a push-up contestl A11 here, one night only at the Alamo Drafthouse Cinema! Tickets are $20 md are available in advance at the Alamo or call 4761320 to charge by phone. 18 and up, passes not valid.
Selected Films of Tom Savini
Deathdream (1972) Deranged (1974) Creepshorv (1982) Fridav ihe 13th: Final Chapier (1984) Day of the Dead (1985) The Ripper (1986) Texas Chainsaw Massacre Il (1986) Monkey Shines (1988) Two Evil Eyes (1989) Night of ihe Ln'ing Dead (1990) Imocent Blood (1992) Trauma (1993) From Dusk Til1 Darvn (1995)



Darvn of the Dead (1978) Ffiday the 13ih (1980)

Knightrides (1980) Midnight (1980)
The Burning (1981) Eyds ot a Stranger (1981) The Prowler (1981) Alone in the Dark (1982)


Austin Chronicle and Big BrotherslBig Sisters plesent




]IlilI (lUB

We are skipping a few events here, but n'e wanted all the kids and parents to know what the next free kids film will be. One of the

Aint lt Cool News and Hog Wild Vintage

Toys present

Witness the eaolution of Superman throughout the century



Next Column for detailsl

Superman screenings. Everything Super ever imagined wili bombard the screen. From Superman's "Join the Air Force" commercial to the gorgeous Max Fleischer 1940's animated Superman cartoons; from George Reeves to Christopher Reeves; from kitschy 50's Superman TV to 70's big screen epic, you will see it all at Superman-ia. The program running time is over three hours and includes Superman commercials, previews, cartoons, TV episodes and culminates with the Christopher Reeves in Richard Donner's 1978 Supeman. Also, win {antastic vintage Superman toys provided by Hog Wild Vhtage Toys. Advance tickets are available for this event at the Alamo or call 476-7320 to charge by phone, $6.50 admissiory 18 and up, passes are not valid.

is the be-all end-all in


I & 2, 3:OO PM tdbute

most intriguing sci-fi movies of all time, a clever reworking of Shakespeare's The Tenpest, with a Prospero who unwitthgly creates monsters from his own id. Radlcally reinventing the original stage play, but staying true to its essential plot themes, Forbidden Planet combines excellent special e{fects with an imaginative script. Whdst the standard 1950's sci-fi conventions are used (shiny ray-guns), these never seem constdcting or ridiculous. The cast don't try {or a kitschy self-awareness (like mmy modern films) but play the story straight instead, which work fine. The acting is really quite good, encompassing scenes of humor, fear, sadness and awe more thm adequately. Particular mention needs to be made of the special effects, which haven't dated in the slightest, and the eerie, effective electronic score. Altogether, Forbidden Planet is a movie which is {ury doesn't insuit your intelligence md stays eternally fresh (like the alien machinery). Again, the Sahrrday Moming Film Club is free for kids and for adults bringing kids. We will have a barrage of space-themed shorts and crtoons belore the feature, and kids, dress up like a space-man and win fabulous prizes! Seating begins one hour before showtime, arrive early, no advance hckets available.

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The Alomo Drufftouse Cinemo is unlike ony movie theuter in Austin The Alamo Drafthouse Cinema has established itself as the premiere movie experience. As the action unfolds on the screen, waiters serve our version of theater snacks: stonebaked pizzas, zesty salads, pastas, sandwiches on fresh-baked bread, beel, wine, and coffee with desserts. Movies, howevel, are just the beginning at the Alamo.

Meeting ond (onferen(e Fodlity
The Alamo also serves as the most unique meeting and banquet room in screening room seats 200 people. A lounge area makes socializing

Austin. The

easy. Hundreds of

groups and companies have already discovered that the Alamo offers a great setting and powerful audio-visual presentations. The Alamo is ideal for meetings, team building
exercises, presentations, or just a fun night out for a

group. It's

a perfect site

for parties

of all sizes.

Bunquet Service
Our catering facilities are on-premise, and are equipped to satisfy every need and every budget..{rom buffet style hors d'oeuvres to full dinner service, or just movie snacks. Our bar serves beer and wine, a variety of sodas, Italian sodas and full espresso service. As an added bonus, the Alamo can offer a fun and unique way to unwind following the business at hand: a private showing of a movie of your choice on the big screen, making your event truly an affafu to remember. To book 0n

evenl or for more informotion, (0ll 476'1320.

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