In 4TH MAN OUT Evan Todd (“Switched at Birth”) stars as Adam, a small-town, blue-collar mechanic who likes beer and hockey but surprises his buddies when he tells them he’s gay. Well meaning but perhaps fated to trip over themselves, hilarity ensues when said buddies all try to help Adam find a boyfriend. Parker Young (“Arrow”), Chord Overstreet (“Glee”), Jon Gabrus (“Younger”) and Kate Flannery (“The Office) co-star.
4TH MAN OUT director Andrew Nackman, actors Evan Todd, Parker Young, Jon Gabrus, Kate Flannery and producers Lauren Hogarth, Lauren Avinoam and Jed Mellick will participate in a Q&A moderated by Alonso Duralde of TheWrap after the 7:40 PM screening at the NoHo 7 on Friday, February 5th.
L.A. Times Trio of Great Film Critics of Yore on the Trio of Taviani Classics at the Ahrya Fine Arts
Today begins our one-week mini-retrospective, A Taviani Trio, which features three of the Italian brothers’ best-loved films, Kaos, The Night of the Shooting Stars, and Padre Padrone. Today, the L.A. Times published excerpts from their original, glowing reviews:
“”Padre Padrone” (“My Father, My Master”) is a work of art, a poetically realized piece of social realism that stands in the same relation to conventional movie entertainments as Picasso’s “Guernica” to a war bond poster.” (Charles Champlin, 1978)
“”The Night of the Shooting Stars” is a jagged, amazing film, both breathtaking and satisfying at times…the Tavianis seem to have transcended their own material…to create an extraordinary film, both as harsh as that sunlit battlefield and as fanciful as a child’s imagination.” (Sheila Benson, 1983)
“In “Kaos,” Paolo and Vittorio Taviani make us feel that they have revealed the very soul of Sicily in their superb rendering of several tales by Luigi Pirandello…In collaboration not only with Guerra but also composer Nicola Piovani and cameraman Giuseppe Lanci, who contributed such glorious and stirring images and music, the Tavianis have revived the timeless pleasure of storytelling for its own sake.” (Kevin Thomas, 1986)
The Laemmle Monica Film Center Opens Friday, January 29th!
UPDATE 1: Online tickets are now available. Go to and bookmark http://www.laemmle.com/theaters/3 for titles, showtimes, and more.
UPDATE 2: We’re open!
The wait is nearly over! After almost two years of development and construction, the all new Laemmle Monica Film Center opens this Friday, January 29th!
The Monica Theatre on 2nd Street has been a fixture in the Santa Monica arts scene for 44 years – first as the “Monica Twin” and since 1981 as the “Monica 4-Plex.” Now, after a complete rebuild, the venue’s storied past projects to an even brighter future.
The Monica Film Center now has six auditoriums, all with digital projection, comfy seating, and optimally proportioned, intimate viewing. Adjacent to the two auditoriums upstairs is a mezzanine lounge. In a first for us, visitors will soon be able to order beer and wine from the concession stand.
Later this year, Flower Child will open in the ground-floor restaurant space. A second restaurant, to be announced, will open on the rooftop deck.
Online tickets are available now. The films opening Friday are:
THE 2016 OSCAR-NOMINATED SHORT DOCUMENTARIES
ANOMALISA
THE LADY IN THE VAN
MUSTANG
THEEB
Thank you for your patience! We think you’ll agree that it has been worth the wait!
Be sure to follow @laemmle and @laemmlemonica on Twitter. You can also find us on Facebook at Laemmle Theatres and Laemmle Monica Film Center. Let’s not forget Instagram where we’re @laemmletheatres.
We will update this post with pictures, more details, and links to buy tickets soon!
A Taviani Trio Opens Friday at the Ahrya Fine Arts Theatre
From Variety, Monday, January 25:
Italy’s Taviani Brothers On Selected Works And What A Gentleman Ettore Scola Was (EXCLUSIVE)
By Nick Vivarelli, International Correspondent
Italy’s revered filmmaking duo, the Taviani Brothers, Paolo and Vittorio, emerged way before the Coens, the Hugheses and the Wachowskis and are amazingly still active, well in their 80’s. They spoke, in unison, to Variety about their three classics “Padre Padrone,” “Night of the Shooting Stars,” and “Kaos,” which will screen in L.A. as part of a Taviani tribute, and also about their more recent works “Caesar Must Die,” the 2012 Berlin Golden Bear winner, and “Wondrous Boccaccio” which opened the Beijing fest last year. The Taviani tribute will be presented Jan.29–Feb.4 at the Ahrya Fine Arts Theatre by Cohen Media Group’s Classics of Cinema Film Collection.
It’s well-known that Rossellini loved “Padre Padrone.” He presided the Cannes Jury that awarded it the Palme d’Or in 1977. It’s also known he was a great inspiration to you when you were both very young. Can you talk to me a little about that?
We were high-school students in Pisa. We walked into a movie theatre called Cinema Italia, which no longer exists, and there was a film playing called ‘Paisà’ that we had never heard of. There were only a few people there, and when we saw these images they really blew our minds. We had experienced the war as kids, and very deeply. But what we were seeing on screen made that reality so much clearer for us. This movie was telling us things about ourselves that we did not know. So we said to ourselves: ‘If cinema has this strength, this power to reveal to ourselves our own truths, then we will make movies!’ We decided to become filmmakers right there, on that day. Years later, when we went to Cannes with “Padre Padrone,” the thought that we had started making movies thanks to Rossellini and that he was awarding us the Palme d’Or was for us like the closure of a splendid luminous circle. It’s an extraordinary memory.
The other big contender that year for the Palme was Ettore Scola’s ‘A Special Day’. There was a very heated debate over whether Scola’s film should have won the prize instead of yours. Did you ever talk with Scola about this?
Rossellini believed in a certain type of cinema. When he found films that explored new roads that fascinated him, as was the case with ‘Padre Padrone’, he really wanted to make a statement to support them. Ettore sent us a telegram which read: ‘The best film has won,’ I must still have it somewhere. He was very affectionate and kind. When we talked about it, he said: ‘That’s what Rossellini is like.’ He was very generous about it. What happened is that Scola’s extraordinary film – his greatest – was sacrificed on the altar of the type of cultural statement that Rossellini wanted to make. When we talked about this with Scola, that is what we would always say to each other.
Like “Paisà” “The Night of the Shooting Stars” is about World War Two. But it is also autobiographical and has fablelike and poetic aspects. I know you worked on this film with the great Tonino Guerra, who besides being a screenwriter was a poet.
We went to Tonino, who we had known for years, with an already written screenplay. He read it, really liked it, and then we started talking. That’s how we worked. He would read our script and say things, some of which were extraordinary and some of which were not, in which case he would say: ‘ok, I take that back.’ It was a marvellous relationship, but not in terms of strict writing. We would always write the screenplays first and then have these dialogues with him that brought us extraordinary poetic ideas.
Of course you also worked with Guerra on “Kaos,” which was based on Pirandello.
After “The Night of the Shooting Stars” we went to Tonino and said: ‘Tonino, we have a new idea: we want to do these Pirandello short stories’ He said: hold it! You guys are crazy. After what you’ve achieved with ‘Padre Padrone’ and ’Shooting Stars’ you want to put yourselves under Pirandello’s heel, but he’s going to crush you. I refuse to work on this. It’s a mistake. So we decided we would think about it. A few days later we went back to him and said ‘we’re doing Pirandello’ And he said: ‘great! I was just testing you guys. I wanted to see how determined you were.’ And so we started working.
Many years later you made “Caesar Must Die,” which is about high-security inmates acting Shakespeare and won the Golden Bear at the 2012 Berlin fest. How did that come about?
We were invited to see a play at the Rebibbia jail in Rome, and we were shocked and awed. That day an inmate with a life sentence was reading a canto from Dante’s Inferno: He said: ‘I don’t think anybody in this room can understand this verse the way we do. We know what it’s like not be able to love a woman. His passion as he read Dante in Neapolitan dialect was such that we turned to each other and were both crying. And we said: ‘we have to make a film about this!’
One thing that I found really interesting about your latest film: “Wondrous Boccaccio,” an adaptation of “The Decameron,” is that it opened the Beijing Film Festival last year. Also I wonder: what was it like going from jail cells to Boccaccio?
The film was hugely successful in China. In talking to film students there we realized that in China they love historical and fantasy movies. As for why Boccaccio? Actually the two films spring from the same emotions. In jail there is horror and suffering, so Dante or Shakespeare really speak to them and when they act they put all their passion into it. Thanks to Shakespeare they save themselves. It’s like a mass escape. Art saves them, even if only for a moment. In “The Decameron” it’s the same thing. There is the plague, horror, suffering, desire to survive. How do these young people survive? Telling each other stories. For a few days they manage not to think about death, or to think about it only sporadically.
A rare chance to see all five Oscar-nominated foreign language films before the Academy Awards.
The Academy Awards are many things: entertaining, infuriating, moving, boring. For foreign films, our bread and butter, the Oscars can be quite effective at bringing attention to worthy movies from abroad. That done, the next challenge for cinephiles in the general public is to find a way to see them as they were meant to be seen: on a big screen with an audience in a movie theater. In a typical year, the five nominees for the Foreign Language Film Oscar include one or two that hit theaters months earlier, one or two that are currently in theaters, and one or two that may come out after the big night. This year, that night is February 28 and as luck would have it all five films have or will have Laemmle engagements between now and the Academy Awards ceremony.
The nominees are:
EMBRACE OF THE SERPENT ~ from Colombia, with its first nomination. We open the film February 26th at the Monica Film Center, Playhouse 7 and Town Center 5 and March 5 as a weekend morning show at the Claremont.
MUSTANG ~ from France, with its 37th nomination, its first since A Prophet in 2009. France hasn’t won this award since Indochine in 1992. Now showing at the Playhouse; opening Friday at the Music Hall and February 5th at the NoHo 7 and Claremont 5.
SON OF SAUL ~ from Hungary, with its ninth nomination in this category. It has won once, in 1981 for Mephisto. It’s now playing at the Playhouse and Town Center and opening January 29th at the Monica Film Center and February 12th at the Claremont 5 and NoHo 7.
THEEB ~ from Jordan, with its first nomination. Opens Friday at the Music Hall with weekend morning shows at the Playhouse and Claremont.
A WAR ~ from Denmark, with its 11th nomination. Denmark has taken this prize three times, including for Babette’s Feast in 1987. We open it February 12th at the Royal, Playhouse and Town Center.
Avail yourself of these terrific films before the Oscar ceremony!
Win VIP tickets to the BREWS & BROS Draft Beer Festival in Upland
Our friends at the BREWS & BROS Draft Beer Festival are offering Laemmle customers a chance to win VIP tickets to Dale Bros. Brewery’s 13th Anniversary celebration. Proceeds from the festival benefit the Claremont Educational Foundation!
BREWS & BROS Draft Beer Festival takes place from 1PM to 5PM Saturday, 1/23 at the Cable Airport on 1749 West 13th Street in Upland.
Features:
– 80+ Craft Beers
– Cider, Wine + Craft Soda
– Gourmet Food
– Live Music
– “BicyclePalooza”
The pair of VIP TICKETS gets you in an HOUR EARLIER (12pm) so you can avoid lines and sample rare beers that won’t be available to the general public (after 1pm).
The pair of VIP TICKETS is worth $120 and includes:
– Unlimited Pours and Keepsake Glass
– Bottle Opener
– Free Preferred Parking
– Rare Beer Hour from 12pm-1pm
Also:
– VISIT THE LAEMMLE BOOTH. Say hi and get some free popcorn!
– Kids under 12 are free
– Food must be purchased separately (not included with ticket)
The winner will be selected at random on Friday at 2PM and will receive tickets via email. Good Luck!
CONTEST IS CLOSED
Back by Popular Demand: Benedict Cumberbatch as Hamlet! What’s more, Orson Welles as Falstaff in CHIMES AT MIDNIGHT
Last month the thought of seeing Benedict Cumberbatch, one of the most exciting British actors of his generation, starring in the new West End production of Hamlet, crowded our theaters with people eager to see him take on the ultimate role in English-language drama. Thus, some encore screenings are in order. We’ll screen it again at 7:30 PM on Wednesday, January 27 at our Fine Arts, Claremont, Playhouse and Town Center venues. Click here to purchase tickets.
Writing in the New York Times, theater critic Ben Brantley wrote of Cumberbatch, “For the monologues…he is superb, meticulously tracing lines of thought into revelations that stun, elate, exasperate and sadden him. There’s not a single soliloquy that doesn’t shed fresh insight into how Hamlet thinks.”
https://www.youtube.com/watch?v=P5JZbeFvTZA
Equally exciting news for fans of the Bard: on February 3rd at those same theaters we’ll have Janus Films’ beautifully restored version of Orson Welles’s Chimes at Midnight. The crowning achievement of his later film career, Chimes has been unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend to King Henry IV’s wayward son Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero played by Welles with towering, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, which he called “a lament . . . for the death of Merrie England.” Poetic, philosophical, and visceral—with a kinetic centerpiece battle sequence as impressive as anything Welles ever directed—Chimes at Midnight is as monumental as the figure at its center.
Dean of film criticism Pauline Kael wrote of the film, “[Welles] has directed a sequence, the Battle of Shrewsbury, which is unlike anything he has ever done, indeed unlike any battle ever done on the screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.” And Welles was very proud of Chimes, saying, “If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up. I think it’s because it is, to me, the least flawed . . . I succeeded more completely, in my view, with that than with anything else.”
https://www.youtube.com/watch?v=OAs2bL4Sasw
New Year’s Resolution: See More Movies, Spend Less Money
‘Spend less money’ always ranks high on those annual lists of top resolutions for the New Year. And, no matter how many films we see here in Laemmle-land, ‘see more movies’ always sits atop our list. Using a bit of our own movie magic we’ve combined these seemingly incompatible resolutions and outlined how you can see more movies at Laemmle for less money!
Laemmle Premiere Card
With a Laemmle Premiere Card you receive $2 off movie tickets and 20% off concessions. Plus, every Thursday Premiere Card holders get a free medium popcorn. You can buy a Premiere Card online or at the box office for $100. Use it for all your Laemmle purchases and when it’s running low, reload it for as little as $50. Think of it as buying a gift card for yourself! For more information and the full list of card-holder perks, click here.
Senior Wednesdays
One of our most popular discount programs is Senior Wednesdays. If you’re 62 or over, all tickets before 6PM on Wednesdays are $5. Yes, five dollars. We also offer a Senior Concessions Combo (Small Popcorn & Fountain Drink for $4.50) that’s available ANY TIME.
Student Sundays
Catching a flick may not be an ideal study habit, but you sure can learn a lot from the movies. Students with a current ID can nab $8 tickets and a $1 small popcorn every Sunday for films that start after 6PM.
Frequent Movie-Goer Tickets
Pay only $7.50 per admission when you purchase a block of 20 tickets. Our new Frequent Movie-Goer Tickets are now available at theater box offices and online.
Group Activity Tickets
Many local organizations use our Group Activity tickets to reward their members but there’s nothing keeping you from participating in this amazing deal. Pay only $6 per admission when you buy a block of 100 tickets! Group Activity Tickets can only be purchased online.
To learn more about ALL our discount programs, visit www.laemmle.com/discounts.
Certain restrictions apply. Specific terms are detailed on each program’s web page.
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