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Presented bythe Austin ]ilm $ociety

AUDITION will mess you up, and that's no lie..lt gnaws on your mind like a iutnish.d lurua *d you cm fully expect to have a rough time of it later, whtn you close your eyes.and try to.sleep That,s when the drems will likely arrive, md why not? AUDITION, a horror.film masquerading as a_deepl,v disturbine meditation on the war between the sexes, is itsel{ more dream-like thm real. Like the best of David Lynct, yJu're never quite sure if what you're seeing is really happening, oI if it's some aw{ul hallucinatory episode, a sklpping reiord lodged in the protagonist's warped and stuttering mind. Miike was a Cames {avorite mth AUDITIb\ ind h.'s o riajor mover in ihe lapmese tihn industry but he's virtually unknown stateside AUDITION should help alleviate that sorry situation. Apart from the film's cming willfully surreal atmosphere, it's also beautiful to look at (up mtil the scene
Japmese director Takashi Miike's

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lVith this ouhageous fmily crimedran4 bad-boy Takashi Miike takes a
5rnple rr\entr stury and efiortles.l) tra[J{ormb lL rnlo lhc one o[ dre mott brnod); preposterous and dowruighi entertaining action epics to hit the screen in vears. The crime outlit 'b1 lirr Fudob lmrll has headed up
ruled solidly for years, but shit is about to hit the fan. When Fudoh is forced to decapitaie his own son as a sacri{icial

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THE HAPpINESS OF THE KATAKURIS is a joyously demented musical-conedy built on a macabre ioundation, like THE SOUND OF MUSIC with a kickline of corpies. On a remote country plot nestled mong rollinghiiis and mountatn peals, the Katakuri Iamily pusues its sfared dream o{ opening a quaintuesthouse for tourists. They

a rrral

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ht

tleir {omer lives; but their bad fortme gets worse when_ their first guest commits suicide, Iollowed shortly-by the death ol a Sumo wrestler looking for a good time with his underage girlfriend. Rather than call the police and roin their new business, the Kataliuis decide to quietly dispose o{ the momting pile of bodres. Against this grim backdrop, Mrike's hdomitable characters burst into {mtasy md song, swept llnnn bv a sumi-side opti-riism that's cheerfully oblivious to a dire set of cirmmstmces. Miike isn't exactly Stanl"evbonen, 6ut his simple md mrefined choreography has m element of spontaneity that's consistently -litt'ered with msightly obstacles, he makes it one worth surprisilg md delightful. Even if the rcad to happinesiis
each haveieason to escape

youngest son vows revenge. An armv of children and trenage prosiihrtes, through stringent orgmization under ihe guidance of the revenge-driven fuli. .tnre to bring about the famrly'.

downfall

in a mmer

be{itting

bloody Shakespearian tragedy. This is a fairly early ef{ort by Japan's most prolific auieur; that said, it is still the

14th {ilm

in his impressive

md

of work. All the Miike trademarla are here: the exaggerated camerawork, gtls
con{ounding body shooting poisoned darts out of their vaginas, spraying blood, flying brain maiter - you know, all the good stuff. Do not niss it. (Kier-La Janisse)

GITY

CITY OF LOST SOULS (AKA HMARD CITY) is another tour de force lrom Japm's premier visual stylist o{ the moment, a turbo-charged piece of blood-drenched gmgster lunacy set against the backdrop of Rio, okinawa and Tokyo's Shiniuku distrlct. Loosely adapted fron the novel by Seishu Hase, ClTY..plmges straiSht into the action in lr4iiket om inimitable style: our hero Mario is mleashed from jail md sets out straight away on an airborne

0r 10sT sou

mission bv hehcopter to retrieve his Chinese moll from a busload oI illegal aliens on their way to being dePorted. Once back in Tokyo the hvo get caught in the crossfire between a cocaine smuggling Chlnese Triad md a sadistit "his henchmar in a brutal stmd-o{f that will ultimately leave the streets of Shinjulu strewn with Yakuza boss and corpsesbefore the fiJm's grisly resolution. Therc'sno prctense as to whatthis filn's all about, afast-Paced actionel wi$ its rongue Irrmly plilled in cheel. (\{idniSht Eyel

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If David Lynch moved to Japan md started making yakua gangster thriller:, the resull miBht be COZU. The latest film 6om T.pm r one-man fjlm factoru Tal.ashi Mirl<e could be the {atherless offspring o{ some illicit midnight mion between Lynch's BLUE VELVET and Muke's om DEAD OR ALIVE triloev. Opemng witl a scene in which crazy

Ozaki mistakes a Chihuahua for a "yakuza attack dog", md then neuhalises the tlueat with himilable overkill, GOZU takes no prisoners. It focuses on the hadihonal yakua movie themes of loyalty, camaraderie, and a blood-soaked code of honour, witl Miike taking Minami on a joumey into his gultridden psyche as he's forced to kill the man he calls brother Trapped in a psychotic town where no one is what they sem while semching for Ozalc's nissing corpse, Minami is pursued by a lactating woma& a trmsvestite coffee shop owner, an American who reads the Japanese dialogue off gimt oe cards, md a $ostly minotaur's head (the 'gozu' of the title). Miike's filrns have always been edgy affairs, blt none hive seimecl as rich or as perve"rse as this. A one-way iicket to Weirds'ille, GOZU Proves that Miike is
one of the most consistently

imovative md unpredictable directors in the world. (Jamie

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THE BIRD PEOPLE OF CHINA is a shmge, lyrical comedy drma that has much in common with the nagic realism of Wemer Herzog. Masahiro Motoki plays Wada, a Japanese businessmm who is sent to rural China to seek out some rare jade for his compmy. As he and his guide Shen begin their journey into the mourtains, they arejoined by a tough Yakuza whose gang is owed money by Wada's bosses. His mission is to make sure Wada delivers the jade into the hmds of the gang, but finding themselves shanded in a remote village, both men are slowly chmged by their surroundings. In mmy ways the director's most accomplished work. (The Spinning lmage)

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FULL METAL YAKUZA is part ol Miike's extensive oeuvre of direcfto-video films. To this day, as intemational critical acclaim for his work increases, the director continues to make {iims for both cinema and the more exploitationai video market. In Japan however, this market is on a notably higher level o{ quality thm the DTV arena in the US or Europe. It is a market that allows gilted yourg filmakers a good momt of {reedom to experiment. liltered through Japmese sensibilities, the premise of Vcrhoeven's ROBOCOP is applied to the yakua genre md grven a shong psycho-sexual mdercurrent. In addition, chmbara swordplay (in expertly directed action sequences) replaces gunfire md situational comedy replaces ROBOCOP's more dark and serious overtones. Highly recommended. (Midnight Eye)

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1999 105 min. but unable to get a passpoft, half Japmese/half Chinese Ryuichi heads for'Iokyo with his buddies Shunrei md stuttering dimwit Chang. Upon arriving in the Shinjuku red light dishict, they pick up the hooker Anita md stari peddling toluene (m industrial solvent that gets the user high when snif{ed), in a desperate effori t0 raise enough cash to escape to Bruil. Miike uses random bleeping of irnocuous dialogue to make it seem dirty, md censorship ol legally forbidden sights is done in the most obnorious way possible by scraiching the emulsion off of the film. Now, imagine all of this acconpanied by a lmgely accordion

Desperate to leave fapan

release, the engrossing SHINJUKU TRIAD SOCIETY centers aromd corrupt police officers cracking down on a thiwmese triad gmg called The Dragon's Claw Society which operates a black mmket hade of children's organs to affluent fmilies.

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2000 114

min

score!

Allegedly based on a number of true cases, THE GUYS FROM PARADISE is a prison story in the Phillipines against a backgromd of comptioo dng haffi&ing md paedophilia. This being a Takashi Miike film however, the results re far from conventional. It's es*ntialiy a fi1m of two parts: the first set in a prison nmed "Paadise" where a srnall commmity of Japanese prisoners led by veterm riminal Yoshida mjoy a life of relative freedom and privilege, the second the story of their exploits outside prison walls with police and a deranged Yakuza on their hail. (Midni$t Eye)

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min. Chuji is m avid music lover Playing his hamonica pari time at a blues night dub, Chuji drems of becoming a big-time musicim. But his rvork doesrft quite pay the bills andhe becomes a smalltime drug dealer to make ends meet. His life soon tums upside dom when young Yakuza member Kenji collapses in the alley behind the nightclub where Chuji works. Kerli and Chuji soon become friends and Chuji is introduced to dre "true" world of the Yakua. Chuji's chaisma soon starts him climbing up the ranks in the mderworld . . . a rise not without consequences as it breeds jealousy and hatred, even among friends. (AZN Filng

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Bad circumstances back home {orce Yakuza loot soldier Yuji to

se)ftxile in Taipei. Desperate for casl1 Yuji is reduced to perfoming hits {or local triad boss Ke. One day, his life is merpectedly chmged by the arrival of a son he didn't know he had. While he hitially ignores the boy (who is mute), the teminally lonely Yuji eventuaily acknowledges his existence md even brings him along when he travels across country to perform mother conhact killing.
endure miserable

The film follows the story of a Yakua gang that finds itself in houble when, upon losing an argument, their boss Mr Muto gets into a serious amomt of debt to some Yakuza bosses from rival gmgs in the area. On the eve of a plamed assassination, Muto's life is saved when he's arrested on cirninal charges md shipped off to prison for two yems, but while he's in the big houre, his hvo second-in-commd gmg nembers, Seiji (Riki Takeuchi) and Yoshifumi, decide to take cae of business in his absence by taking the war to the streets md into the hornes o{ the opposing Yakua gangs who were targeting their boss. (D\D Maniacs)

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.h" culturat ghetto it was boxed into, and to heal gives Austinites m outstanding opPortunity to expedence piays m exemplary role by filling the cinematic vacuum of Alrican cinema in the U.S, It fit*io.l.ty on.. ^ore Airt.; musr nor be lelt behind. Notwithstmding thetilt of the lineup of this fikn series towards west Africa, the its richness, complexities *d ,eurons
cinema and the news' o{ Africa,"a iar crv from the stereotlpes, clich6s and oversimplifications of colonial

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90min' NDEYSAAN (THE PRICE OF FORGIVENESS) - TUES 1 Feb 7:00pm D. Mmour Sora Wade 2002 mist hangs over the waters for in a mvthical pre-colonial village fishurg village on the south coasiof Senegal, a shmge ocem *.rt , uoa *'d 16*t tishemen liar to go"out to"sea. One son of a wise elder, after his {ather's death, decides to take his boat onio ,etu*s when the mistilift with a fulI catch. He has become a hero, md has won the hemt of the prettiest gdin

th.

uila!., but hur ulso won the envy of his best friend, who covets the girl. Mren the friend murders the hero, md drags_ttre tellshim l"iyi"!.",."*.*thevillageexplicitlyaccuseshim.Heimnediatelymarriesthegirlthey'dbothloved,butshe
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that she imts no se^ual relationship, and.that he will raise his victim's son as his own m the price of {orgiveress. piinful as her pdce hms out to be, that is not enough for the ghost o{ the victin.

thuirn ir p*gnrnt,

PIECES .L

8 Feb 7:00pm - D' Mweze Ngmguta 1998 97min' md a hiUul ki"g havels to Brussels in search of his longJosffavorite.daughter,and.customs. officials, the police, gr*Jy'*tiqu.r aeater"all try to strip him of his headdress md other regalia held sacred by his people. Arnong the film s mmy hope, despair, md cultural Fnuinir i, iti u.tit. aepktioir of 6migr6 life h Europe; Ngangua lovingly shows the exuberance, thieves, racist club aisi*ction of tn etiim quarter, wiiere the ptoud fuog.i.coi*ters an aiiortment of eamest studmts, Petty

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D'IDENTITES (PIECES OF IDENTITY) - TUES

owners, md African nationalists

min CTANDO (CTANDESTINE) - TUES 15 leb 7:00pm - d Jean-Marie T6no, Cameroon, 1996,35m, color,95 computer job. Althorgh apolitical Sobgui has relucantly become a glpsy cab driver (a clmdo) after losing hrs highly prized by undercover h. u"[o."d unti-gou.mment actiu]iti to use the copy machine in his office, for which inlraction he wm arrested but in a ug."tr 1.f*a*ti.. ttremselves) and thrown into pilson.'lAhen the govement changed he was apparendy set free, but the official tuis md ffi.iy .f*J*tn. manner. With no ;ob, he repairs hs cur md beconc an unlicensed taxi driver, narrahve shucture full of a coos ionstmtlv tlueaten him. Veteran iamerooniil djre(t0r lem-Marie Teno masterfully hmdles flalhback from Cermmy to Cameroon, so that Sobgui's fullstorybecomes increasingly cleuer with time. KARMEN GEI - TUES 22 Feb 7:00pn - D Joseph Gai Ramaka 2001 86min' liorp., fuf"ti-Aar novella and Bizet's celebrated opera sees its 53rd filrn adaptation with this musical from Senegal. Like every lmguages, t}re Carnlen, KARMEN CEI is about the conflict between in{inite desire lor fieedorn and the laws, conventions, h*^ ii*itutio*.hich constuain that desire. Since this is an Alricm Cmen, Ireedom necessarily has a political dimmion.

ffr. op*ing

ir set in a women's prison on Goree Island, site.of the notorious slave castle. Karmen and dte women in the so often been the case "an orjson usc dance md music ,, u r.upon of resistance agairot dehumanizing regimentation m has 'tf,r""gh"", tt'. Diaspora. Kariren literally hansfo-ms prison life into a musical production number celebrating the triumph ol her sexuality md that of the other women

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pursuing filmaker Diaz, 2003,103min, uroated) Fomer Philippine first lady Imelda Marcos has been and hagic documentary IMELDA. ifamona S. llu" ttrough the courts, hymg to halt screenings of Dial's hilarious Mmy Filipinos i*uraul- rr,. or trr. 0,0"00 or 200 pairs of sh"oes, depending oin whom you b_elieve - shouldn't bother.
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intelliSent hard delided hero"lne in the mode of Blmcie DuBois. Altemdtely Pathehc. charismalic, shikingly your eyes otf' steel and (seemingly) diagnosably insane, she's certainly a figure you can't take

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Nlb;;k i; on. ol the good ones. A iormer prolectionist ard mystery bookshop orvner rvho pioneered-a whole new hlm'exhibition with his iegendary micro-cinenras'lhe Pike Street Cinema (Seattle) and The Lighthouse Cinenra (NeW york), Nyback has thrilled and beludclled audienc.s ihe r"orld over rvith his vast and obscure collection oi l6mm lllm, From educational lor two niglts films'io tllevisiorr commercials, trash to bubblegu n, the de riguu'to tbe disposable - he s got it all. Nybackjoins us in person of eclectic programming, which consists of his.-signature coirbled-together compilatiotts_rtrnnits]!: qllr1!litT Billy Holiday to Mickey NIGHT! Mouse and beliond, and"- at our enthusiastic request a reprise of his legendary MAITCIA BRADY F'ETISH

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the Blues" from 1944.

This could be called "lVhat did you do in ihe war, uncle?" For mosl of his long career Ted Geisel (Dr Seuss) rvrote hugely popular dildren's books. Early in his career he wrote for humor magazines and made money in advertising. For a brief time jn the 1940s he was in the US Army making gung ho propaganda and army haining fiims. Is there a correlation behveen attracting young readers and influencing the minds of adults? With this program you cm examine Dr Seuss' adrrlt oriented work and make your own decision.

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The Reagm years were the Golden Age of_teen movies. Wjth a massive disposable income, adolescent spending power dictated that Hollywood direct all its energies to fleshing out tle fantasies of aater-faced, homy fourteen-year-olds, since tley were the gumanteed demographic for my given multiplex. T|e goal of these filrns: to overcome class shatificatio4 get populm and get laid. The most superior efforts inevitably suffered from lower box-office. Only Iohn Hughes managed to ride that wave

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md pro{ound rsith anv commercial success. But rather than deconstruct tle era's artistic pretensions (or lack thereof) lett take a few weeks to wallow sentimental excess. As an added bonus, we'll have hundreds of VHS videos to Eive away FREE from the I Luv Video archives at every screening in this series!

RIVER'S EDGE - Monday, February 21, 7 pm - $1 tix!

(d. Tim Hunter,1986,99mi4 R) TimHunterhad already written the mostnihilishc teenmovie inexistence with OVERTHE EDGE (1980), but mmaged to one-up even himself with this one. We're taken to the river's edge at the begiming of the fihn, where a big slab of a guy named Samson sits beside the naked dead body of the grrlfriend he hm just decided to

strargle. His impetuous act has a galvmizing effect on his coterie of desensitized wastoids. ln the mind of the group's speed-freak leader LaJne (Crispin Glover, firing on all si-r), the murder is a good thing a test of the kids' mettle to which he will rise by hiding the body md protecting Smson. Matt (Keanu Reeves) is initially mbivalent, but later confides in pal Clarissa (lone Skye of SAY ANYTHING) that he's being shuck by the unfamiliar pmgs of something that could be called a conscience, md sets about trying to make things right. (Jonathar Bemstein) 7 pm - $1 tix! (d. Herbert Ross, 1984, 197nin, PG) FOOTLOOSE m one of those films that's both appallingly bad and completely watchable at the sme time the story of a city kid (Kevin Bacon) who moves to a midwestem Bible Belt town with his parents - a tolvn where pretty mudr everything is outlawed" especially dmcing md rock music. Bacon's Ren imediately hies to chmge their backward ways by launching a campaign lor bmds like Men at Work (smple dialogue: "Wlere do they work?") and The Police. Despite a love affair with the grotesquely unathactive Lori Singer, Bacon carries this movie with an unending series o{ dance moves that have never be{ore or since been perfomed by a heterosexual man. (Film Critic.com)

FOOTLOOSE - Monday, February 28,

- $1 tix! md JuJiet is upgraded for the 80s in this time-wom taie of two kids in love from opposite sides of lhe tracks. Collms me up, bikinis ae flamted, best friends m fickle and bad music abomds. But what set VALLEY GIRL apilt from tle rest were its linguistic liberties: not since A CLOCKWORK ORANGE has the screen
(d. Martha Coolidge, 1983, 89min, R) Roneo hosted such a shameless bastardization of the English lmguage. Your eyes may su{fer from the glaring fashion faux-pas (compared to the Vals even the quincy punks look cool), but you can be certain the film is brimming with inspired dialogue

VAttEY GIRI - Monday, March 7,7 pm

like: "Fuckyou Julie! Iuck you, for sure, Iike totallyl" As short-iived as it was, the Valiey girl phenom has an enduring place in pop culture; my 50-year oid mother still says "grody to the max" with regularity. (Kier-La Jmisse)

WIID IIFE - Mon, Mar 21,7 pm fof $1 & FRI,3/25 WITH IIAN MITCHELT-SMITH! Art Linson, 1984, 96min, R) Cmeron Crowe's follow-up to FAST TIMES AT RIDCEMONT HIGH is an ofloverlooked slice of 80s post-graduation melodrama. Nice guy Eric Stolz (who's made every effort to cbange that typecasting with recent roles) stars as Bi[ a slacker who can't decide what to do after graduathg, dnd is disillusioned byboth ]ife inhis new badrelor pad and his ex-girlfriend's affair with a cheesy married cop. Beer-guzzling dolt Chris Pem constmtly humiliates his nerv wave girlfriend (the underused, mderpaid, md underappreciated Jenny Wright) while her geeky boss Rick Mormis tries to woo her to no avail. But the enduring star of TIIE WILD LIFE is undoubtedly IIm Mitchell-Smith, who plays Stoltz' Vietnam-obsessed 15-yea old brother Jim. Jim glides tluough the fi1rn like nobody's business, untouched by the angst that is crippling all his graceless md embmrassing co-chmacters. His idol is a neruous junkie Vet played by Rmdy Quaid, who is ironically nmed "Charlie". Ever the stickiers for realisnr, Linson and Crowe even went so far as to hire Eddie Van Halen to score the film, citing that "Vm Halen already creates the soundtrack to mmy kids' Iives." (Kier-La
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WEIRD SCIENCE - Mon, Mar 28,7 pm for

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Johr Hughes, 1985, 94miq PG-13) WEIRD SCIENCE has everything that an eighties comedy ieeds: At least one hot girl, a {ew actors who are no longer acting or who do anything that will come along plenty of dashing threads, a comy-as-hell eighties somdhack (and Oingo Boingo is as comy md eighties as they get), and plenty of cheap fumy jokes. (imdb user coment)

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womm they created on their computer, he needed to find ubemerd. Enter llan Mitchell-Smith, the dark-haired member of the geeky duo who is still remembered as "the other one" nexi to his better knom costar from the filn. Hall went on to be a geek in other teen movies before finally making his big comeback by plafng the biggest geek of all, Bill Gates, in PIRATES OF SILICON VALLEY But what happened to Mitchell-Snith? Tums out that he left acting in 1988 so he could foliow his true passions in academia, and today he teaches medieval studies in a nearby college. But he's agreed to relive his teenage glory years with us one more time as rve present his two best-loved per{omances in one mazing double bill. Join us at 7 pm for THE WILD LIFE, and stick around for the 9:45 WEIRD SCIENCE, witl Ilm Mitchell-Smith live in person {orboth!
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A{ter Black Sabbathwhy dm anybody ryenbother with the mtanic metal sfitick anlmore? Who cm possibly top this? Seriously, take acordian lesmns imtead. When youre looking for the real deal you need Black,Sabbadu ongmat bneup. l\oDooy 6 m reaKng neavy Jue yuu co.,ld dtlok a bottle of ough slmrp and listen to you

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OK we've all got that one friend who REALL) knows I

party. But even that friend has to tipli s pointy hat to thr Nelsory whose 4th ur July plcnlcs navc Dcert ULE utultalt LL itrfo*ut 1* t"t"ion clotlting-optlonal hoedom md testing gromd for the most poient strairo of .uoiubit known to mankind And when Willie Nelsor?s rowdy friends pop in for a few drinks, a few tokes md a few trmet things start getti.g pt"tty U"ely. These aren't yoru standud-issue pmty uni;uis. Th;s is *aylon-Jemings, Leon Russe[ Ray Wylie Hubbard, and more. These good oid boys knw as much about Pdtying as Marie Curie knew about radium. Very rare 35mm print.

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Ouincv. And if yori cae to remember purk rock, then you've never forgotten Qir-"y punk Rock episode. IA/ithout exaggerating its oltural or histoical rilevmce it can b^e said that "Next Stop Nowhere" has remained a kind of inside ioke or seffet hmdshake; the tem "Quinry Pmr"' became oart of the vemarulr almost ovemight. Tonight we celebrate the bastardizaton of punk rock bv clueless TV exeruiives, with a dazzling array of clips includiig the CHiPS punk episode, the Afterschool special-'.Thg Oay Went Puik" md the legendary Quincy episode that started it aII CIIRAIED

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wasteland, postwar German kids set about alchemising the 50 s revolutionary spirit into somd and" vision. Wildly radical then, highly inJluential now, Kraut Rock generally rfers to C,eman prog./art rock of the '70s, and indudes bands like Can" Neu!, Faust md s;mth-pop pioneers Kraftwerk.. Kraut Rock was more experimental thm

other Prog foms; it was

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deconstructionist sometimes minimalis! and employed innovative electronic/synthesizer somds and techniques. This in-house compilation looks at the bands, the trends md - most importantly - the music whose iilluence is ubiquitous today.

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Early on in the wonderful new movie SIDEWAY$ the hero, Miles (PauI Giamatti), does the Times mossword puzle while driving his Saab on the San Dreg9 Fr.eeway. Sharp details are not enough in themselves to make a movie greaf sti[ when Miles props his pape"r up on the steering wheel, it's clear that the filrnmakers know what they ae rp to. Miles, a wme--loving failed novelist in tiir earty tortiei, is, we quickly.discover, the.kind_of guy who seizes everyopportunity foi trivial brarua (he doei the crossword in ink). Iwo years earlier, his wife, who shared hjs love of wine ("the best palate of any woman I've known " he say$, le{t hirn flaq at the moment, his seven-hundred-md-fiIg_-page experimental novells forlomly making its way aromd the New York publishing houes. He has no choice but to kill time. When his old college buddyJack (Thomas Haden Church), a washed-up TV actor in Los Anieles, armomces that he is finally gettng manied, ihe two set off for seven days of prenuptial wine-tasting and gof in the gold-and-grein Santa ynez Valley As the week goes on, the adventures of the two men become more md more absurd and dangeroui, and by ihe end of the movie we knowwhat holds them together At the end of the joumey, redemption awaits each mm; eaclr, in his own way, will drink the Cheval Blanc before it begms to fade. (David Denby, The New Yorker)

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(2004, d Marc Forster,35m, 106min, PG) FINDING.NEVERIAND is glorious entertakunent. It shimers with the promise of mchantment that lost boy Peter Pm brought to_the earthbomd Darling children (Wendy, Michael and John) when he spririkled them with Iairy dust and flerv them off to N-ewland. B-ul its the lost boy in James Barrie, conveyed by Depp without sugircoating, that comts. Directed by Marc Forster (MONSTER'S-Iap) $s fdwardian p,eriod piece picks up in 1903, wh;n Bilrie's pla:y "Litth t4ary,, flops in London. His producer (a solid Dwtin Hoffmm) isn't worried. But Bairie is. At horne, he takes little comfort in his childless nmiage to Mary, plaved by the beaufrful.Radha Mikhell with a gathering frost, The plot kicks in when Banie meets yomg widow Sylvia Llewelyn Davies (Kate Winslet, a radimt force o{ nature). Her vitality attracts him, But the magnet is her four sons, in{ichiel (Luke Spill), George (ltlickRoud) Jack{m Prespero) md Peter (Freddie Highmore). Soon Barie is indulgLgir rheir gmes. The {ihn sparks

with comic life, md Peter Pan

- the solem liitle"boy whoian't accept his faiher,s thanlrs to the interplay betrren Depp md Highmore, a child actor oi exhaordinary gifu. ',1'm not Peter Pm he is, says the boy as Depp's face becomes a window into Barrie's soul. It's too early to speculate on how depp, - 41, will Srow as an actor Based on FINDINC NE\ERLAND, it's not too eilly to call him a great one. (Peter Trivers, Rolling Stonei
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(2004, d. iean-Pierue Jemet, 35mm, Subtitled, 134min, R) From the director md star of AMELIE (Jean-Piere Jemet and Audrey Tauiou) comes a very different love story based on the acclaimed novel by Sebastien Japrisot. The film is set in Frmce near the end of World War in the deadly trenches of the Some, inthe gilded Parisim halls of poweg md in the modest home oJ m indomitable provincial girl. It tells the story of this yomg woman's relentless, moving md sometimes comic search for her fiancde, who has disappeaied. He is 6ne of five

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(2003, d John Duiligaa 130min) Author Charles Bukowski was one of those rare wdters whose work created a myth of epic proportioro around its creator over the years, the name "Bukowski" has become rynonymow with rwng, drinling md fighting seedy banooms md foul-rnouthed prostitutes,low-paying lobs and roicl-infested hotel rooms. For readers, Bukowski has come to personi{y the lower depths ol hurnaln-existence; in a direc! powerful and very personal style, he wites about an unthinl<able but very real degradation-degradation based on his-om li{e experiences. BIJKOWSKI: BORN INTO is the first comprehensive dorumentary of-Charles Bukowski (T920-1994) and while longtime fans will find conJirmation of the Bukowski they'd always imagined, there me plenty of surprises in store. The film haces his extraordinary life, from an abusivi childhobd thrdugh decades of poverty and alcoholism; nmerous menial jobs and turbulent relationships; through 14 years as a pojtal employee; and his eventual intemtional celebrity as a poet, novelist and mdergromd cult icon. In his li{etime, nuior.i'ski becane most widely known as the screenwits md real-life model lor B"arfly, the featuie Iiln based on his earlv life. Feafuring interviews with sean Pem, Hrry Dean stmton, Barbet schroedel, Tom waits and Taylor HacKord-

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first decided io bring everyone's favorite vampire slayer to the big saeen back in December, we knew that there would be a lot of fais excited about the idea. But we didn't realize how incredibly popular the show would be, or how fun ii would be for people to corre back md experience it over and over again. A{ter the first nrght of silting in a sold out theateiwiih 200 other Buffy im"ipg;ng md blowing bubbles and tluowing un"d.*.r, ariund, though, we knew that we had to do it again And again md again md again .fhis SING-A-LONG is bach so everyone who missed it the first time can have Februry, the BLFFY THE"VAMPIRE come a chance to come out and see how great it is, and everyone who already experienced the show once cm back {or another dose. There'}I be ail new hivia, more bubbles, and a couple of other surprises as well, so don't niss this chmce to be a part of our interactive screening of "once More with Feeling." Be(ore_the sing-a-long. we,ll start each night wiih a dif(erent episode from the Buffy ardrives, because we understmd that a bunch of you might wmt td come out for all three nights, md while "Hxsh".is certainly a great episode, we want to try io get sime scenes with Angel md Oz up on the screen, too. (Hemi)

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love cartoons. We always have, ever since we were little kids, waking up early or Sarur. day moming to check out all the old-school mimation on dnmel99. But we're grown-ups now md we need tlat exha spice that we cm only get from cartoons that are totally, ludicrously mong. Our depraved tastes have led us dom the dmkest allevs of'Hollvwood to find the most eiheme,tasteless cartoons ever made. We're talking about all the sexual suggestion, ali the racial and ethric stereotypes, all the gomy stuff the studios would love to puge from the naf,inal comciousness forever. We've worked very hmd md spared no expense to create a Program of animated skeletons from Holllvood's closet that will make all previous tasteless cartoon festivals look like "Strawberry
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We,renot legally pemifted to show actual pom with the sex scenes intact, but let's face if the sex scenes are only hatf the fun"o{ a porno movie. When you take out the actual sex you're left with some of the most entertainingly bad acting, direction ard dialogue imaginable. So we've asked writer and pop-culture mchivist Ken Lieckto compile Jprogram o{ the best ion-sex iroments from the porno knockofls of big Hollywood !!:ryYftt:-Si nsteua oiiOitp Op THE RINGS we'll bring you tihllating swordplay from WHORE OF THE RINGS. THE BLAIR WITCH pROJECI becomes THE BARE WENCH PROJECT Instead o{ WALKING TALL_you'll see midgets cavorting lewdly in WALKING SMALL. And you cm probably figme out what those fiends have done to EIWARD SCISSOTfAXOS. Ifls a very fmny clronological joumey through filrn history that also featutes of MEN IN BLACK A CLOCKWORK ORANGE, SNOW WHIIE, CINDERELLA the skin-flick

'ersions M-A-STI,GONEWITHTHEWINDmdmanymanymore.

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Since 2001 the Alamo Drafthouse has been hosting a unique series of exploitation classics culled from private collections, abandoned watehouses, even dumpsters. We present a peerless selection of horror, sexploitation, action and more, mostly from the golden era of the '60s and '70s. Many of the films are so obscure that little or nothing has ever been written about them. Some of them a.."bud, ull of th.rn

film fans, a heaven-sent

areenjoyable,andararefervare_mind-blowinglyamazing. Bestofall,it'sabsolutelyfree. Wethinkofitasacommunityservicelorjaded escape from the crushing lameness of the real world.

FIB[UlffY 2: S01l 0t B10B (1e72 d. Larry Hasman) ln the years before."DalJas", Lany Hagman was best known as the button-down astronaut who dreamed ofJeannie. ButtecretlyhehadawildstreakhighandwideenoughtolandaT4Ton, I4rhenhewasn'ttoastinganorheisunrise with,his next-door neighbor Keith Moon or dropping orange sunshine with David Crosby he waiworking hard to get this, his dream project, made. It's a very stiange, very loose sequel to the 1958 teen holor classic THE BLOB. Tle free-wheeling.performances and absurdist humor are unlike any other movie we've ever seen. Hagman was obsessed withmaking this movie, often going without sleep for diys on end, deeply worrying his frlends and associates. Unfortunately ihe lilm was critically ignored upon release and Hagman retreated t"o tlie forest where he lived like an animal for several years before accepting the role of j.R. Ewing and returning to the forefront of American consciousness as the man you love to hale. More popular than ever] he was nonetfieless a scorned and broken man whose one-of-a-knd film-making genius has never been fully appreciated. Until now. Join us for this veryrare screerung of Larry Hagman's one and only film as a director, starring Robert WalkerJr., Burgess Meredith, Godfrey Cambridge, Marlene Clar( Genit Graham, and Bud Cort. (Lars) EBIUIBY 9: $IGREIS SWIIr l0 (rszs a. Ernst Hofbauer) Cerman sex films have their own.sperial_appeal - a certarn air of goofiness where the ooh la la meets the oom pah pah. Imst Ho{bauer was the D. W. Griffith-of German sex films,-tlie pioneer whose "schoolgirl Report" films got
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ff

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rolling. Made in docudrama fashion with a priest or sociologist commenting grively 6n the sad stite of morals in the world today, the_films.were in fact merely excuses foi wall-io-wall skin. Fa"sipaced and very funny, the "report" films have garnered a cult {ollowmg. This is a late entry in the series. By this hne both film-makers and audiences had become numb to the usuaf situations (i.e. schoolgrrl tums tricfts for lunch money etc.) so Hofbauer_and company cooked up.this nasty dose o{ cinematic sca& griaranteed to pacify even the mosihopeless
the whole ball sleaze junkie. Get ready for a hard-hitting (complete with wacky musii and sound ef?ects)look at rape,

pedophili4
tove'iy Uui

devil-wophip, and -1ou u*g{Iot^if

F:;,#

:.f,!,w

deadly Cluistina Lindberg (THEY CALL HER ONE EYE). (Lars)

:- ggs.n showers. Whai's

next

- necrobestiality? Featuring the

tlryts{4h{kent
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MDDERWOMAN, sequel to very good response but I iound m.yself in the lobby afterwards telling everybody howmuchbeftertheoriginal is. Nowit's.timetoproveit. Here'stheoriginalPREACHERMAN,oneoitheb'iggeJt drive-in hits ever, a movie that played the Carolinas and Georgia sumirer after summer for the better pari[f a decade. It's a hicksploitaiion classic that deserves to be better known outside the stock-car circuit. Writer/Director Albertlioiaplays Amos Huxley, a travelingpreacher whose hankering for womenfo( moonshine, and gambling (hereafter re{erred to as "the finer things Ln life") keeps him on the move from one tiny dogwater hamlet to"another] usually at the point of a double-baneled shotgun. fhis is pretty old-school stuff - Viola'knows his Boccaccio and Chaucer - but it works. It's a very funny, very well made filnr, loaded with sex, sacrilege and good-natured depravity. (Lars)
PREACHERMAN, and it got
a

(1e71 d. Albert T. viola) Last calendar we snuck in a lasfminute substitution called PREACHERMAN MEETS

tIBIUAIY l0: PnIAGllIBitAll

,,
;,

ffBRUAnY m: milililY flnEGtr0Ull (rszs a. william Castleman) Johnny Firedoud is Billy Jack minus the lTilgT._Ixploitation movie pioneer David Friedman shrewdly recognized that a whole segment of the vast BILLY JACK audience walked out of the theater a little disappointei that Billy Jack hadn't sliced off the bad guy's scrotum and crushed it under his boot heel. So the master sliwman

HSllllY-,

.'&'.

UB

unveiled Johnny Firecloud, a semi-supematural angel of revenge who's still just a wee bit sore about the systematic destruction of his people by the white man Witl gallons oI _ !e put.nted Friedman blood and ample nudity. Featuiing Sacheen Iittlefeather (she accepted Marlon Brando's Oscir for THE GODFATHER), who reilly shouid have waited for medical science to perfect the whole breast enlargement thing cans of Fix-A-Flat. (Lars)
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B[nI il0ullillll (ts6z d. tee proso 2: ll0U$t If we ever build a Weird Wednesday Hall of Fame the first thing visitors will see when they walk through the door is a golden viewlinder and pen to commemorate the great writer/director team of Lee Frost and Wes Bishop who made the world a better place with such classics as BLACK GESTAPQ DIXIE DYNAMITE, THING WITH TWO HEADS, and (as co+cripters) RACE WITH THE DEVIL. Here, on the big screen for the first time in many years, is their first collaboration, a movie that combrnes nudity, monsters and much more. Well O( mainly nudity and monsters. That's what we call one+top shopping. Screw that running from theater to theater to get both monsters and nudity. We'lI give you both on the same screen. And for free! And while the monsters may be some of the cheapesf least convincing monsters you'll ever see, the naked women are unbelievably bodacious in that fullbodied, pre-Atkins diet, swinging '60s way that rve all know and love. Is it awesome in here or is it just us? (Lars)
0: UP Y0URS - [ n00Kil' C0tml! (tszs a. lohn Hayes) We'd love to provide you with a complete dossier on this lilm with sidebars on the historical importance o{ LrP YOURS -- A ROCKIN' COMEDY and its place in film history rvith essays and frame-byJrame analysis by Americas most respected movie critics but we can't. We do know that it's directed by John Hayes, who brought you the family favorites JAILBAIT BABYSITTE& MAMA'S DIRTY CIRLS, and HAYSTACK HOOKER. Plus we know it stars Dyanne Thorne, who gave you that tingly feeling all over as ILSA, SHE-WOLF OF THE SS, and Cindy Morgary who produced similar physiological reactions in her greatest performance, as Lacey Underall in CADDYSHACK. Hmm. I'm rockin' already. (Lars)

il

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]ill$Gll 23: lilil0m] IAlt$

lrsTq a. walerian Borowcyck)

An amazing thing happened in the early '70s. Art films and sexploitation mated. The similarities were there already: the low budgets, the often brutalist technique, the dank, subterranean venues haunted by the ineffable smells ol urine and marijuana smoke. It's hard to say who made the first move - sex or art. Most of the adult theaters had started out as arthouses, then when Brigitte Bardot hit inthe mid'60s exhibitors found themselves with lines around the block. Within a few years WILD STRAT{EERRIES had been usurped by the likes of CHERRY
HARRY AND RAQUEL. But the art-mongers were taking notes too. Emboldened by the more liberal social climate, their films began to reflect more fiankly erotib themes. And unlike American sex-films with their "all-scar" casts of scabrous teenlage runaways, the new Euro-sex movies featured some of the most beautiful actresses on the plane! free of clothing as well. Thus the stage was set for award free of puritanical American mores and, hey look winning Polish film-maker Walerian Borowcyck to create his masterpiece IMMOML TALES. This film is classical smut. The openurg montage armounces its place in the secret history of ideas, with a dizzying assortment of erotic

Immoml Tales
starring [hloma Picasso

art and ephemera from throughout history And then on with the show, an anthology of four tales designed to shock, offend and arouse. Incesf erotic bloodshed, unsanctioned use of fruits and vegetables, and serious papal misconduct are all served up on a beautifully embossed silver platter Starring Paloma Picasso and a few dozen
other naked Euro-lovelies. (Lars)

ill8Cll

30: lflllllAPPtD C0t0 ftsTo d. Frederick Friedel) In the '70s, Times Square was a seedy open-air sex and drugs marketplace. And the real hofspots were the 24-hour "grindhouse" movie theaters where double features of kung fu, horro4 and sex films unreeled 24 hours a day ior audiences composed primarily of bitter, sociopathic males. Think Travis Bickle from TAXI DRI\ER and you're on the right track. It was an audience for which no extreme was too extreme. The audience of "popeyes" would sit through showing after showing of gory horror, amputee pom and worse, sniffing glue and smoking dirt weed. There-was enough existentiai nausea in any given foot of Times Square to make jean Paul Sarhe toss his crepes in
the nearest clogged and overflowing urinal. So KIDNAPPED COED must have hit Times Square like an artillery shell. You can imagine the smell of record cleaner in the theater; you can almost hear the sound oI the butterfly kniues clackng shu? as the crowd watches in rapt admiration. Not'since the films of Jean-Pierre Melville had there been an antihero quite like Jack Cannon, a self-loathing kidnapper whose victim is stolen arvay from him by the mob, leading to a bloody showdown. This is powerful stuff rough around the edges but pnmal. If it had been made in France it probably would have been acclaimed a masterpiece of postwar alienation. Thank God it wasn't made in France. (Lars)

u&$fuP**ffistw

KIDNAPPED COED is screening asthe secondhtlf of aTimes Square doublebillzaithT$EDEUCE: NEARLY1OO YEARS OI TIMES SQUAKE, see page 23 for more details.
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"e "it yer emclent seruers/ and watch ou breathtaklngsilver screen With the shows on this page,you becme yetefficientreruers,trdwatchourbreathtaking:ilverrcreen. Withtheihonsonthi\page,yoube(omeaniniegralpnttofrheaar".,rfr.rf,.ir*,r..",itliinnu.horr.r", an integral part of the actioq whethei you,re conhoiling a character on the sueen in Halo Havoc or putting your high school drma skills to work on stage lir videot<e. We invite y"ou stop watching ihe

t ou

the

be,a partof something. Yealr. we leel like that sometimes, too. That,s why we,ve be a Part 0f someth ing. Yeah, weleel thatiometimes, too, in ou r ertremell co'mforta ble :eats, hc rved by ou r incredibly a ttracfive and

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All-American couple Brad Majors (Barry Bostwick) and fiance6Janet Weiss (Susan Sarandon) decide to visit their old professor Unforturately, their car breaks down outside a-sinister house, and they are forced to stay the night, Inside the house Brad andJanet fincl a world filled with subversive sexuality. ihe film itselfis filled u,ith great tunm and a slightly loopy plot. So it's just like y-our common-or-garden musical in that way. Where the 6lm really takes off is inits subversion of iexual mores as Brad md Janet break free fron their normality. And if you,ve seen it so many ti me" that you re tired ot singing slsng you can gain new tluill< by seeing it at the^cnema and entering the world of audience participation. Dress up! Throw ricel Squirt water pistolsl Shout at the screen and ents conversations with the characters in ihe filml After alf the audience participation is the true essence of the Rocky Horor experience, and the film itself merely ar excuse for the mayhem.

HALO 2 just may be the $eaiest video game ever invented. When we try to play for a couple of hous online at home we end up bleary eyed and rvelcoming thi dawn without noticing thai nore than fifteen bliislul ninutes have passed. fhen

rve take the gme and link two trlbores rogether {or an 8 player free-{or-all toumament on one ofour movie screens at the Village, we stand $ere hypnotizecl

Itt

sucked into just WATCHING the game, even if rve don't get to play in every match. magical. IIALO HAVOC is the first video game toumment we,ve ever hosted

at the Alarno, md iI you haven't made it oui yet, there's still time - barely. On Saturday. Februan 12$ we re hosiing the FINALS. where all the top playeri from the past 1 I weels wrlJ lace ofI against each other lor their chance at the grard prize - a hip for two to E3 in Los Angeles. The frags should be fast and fudoua that night, md you will believe that videogames can be a truly athletic endeavor (Henri)

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'Ihe premise: we play a clip from one of your favorite movies on the screen behind vou, and vou act alons to it rvith the subtitles provided on the moniior ir lront ol you. what you do from there is up to you. some p?opte get on stage md chamel the proiessional actor within or do a spoi on impre.sion of $e chrjcter on the icreln. ( )t hers take I he m ir rophone ard wri te thei r ow n original d ia logue to the icerre, rvhjch ran ejther be reallv furnv

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j he tr'ey

is to jump

jnfo ycur performance 110/,, and

as

judges and a final round, md a wimer every nighr who goes home with fabulous prizes. Admission is freg so checkit out, Trust me, it's ablast. (Henri)

go.rlongfortheridervilhyou. WerunourVideokelikeaba.tay65lsp-ch114of AMERICANIDOL,tm,'riitir

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ll0lll[T0Wll: Iuesday,
21

22

*luesday, B/2S

in (orjust sit back and revel in) the OFFICIAL Austin Air Guitar champijnship. contestants choose a track with hot licks, crank on the fog machine, grab their airaes and.RocK ourl Fabulous prizes, a tophy with m actual air guitar on the top and the gien )ight with flod<s of air-guitar groupies are yours if you win. Details on the contest-cm be fJund oriline at wwwaustinairguita.com. check it out and start practicirg your skills today, Lick it up, baby. Lick it up.
The Alamo is proud to offer you your ctrance to compete

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00tTllI0Wt llrursday lo[ruary ll:
(1949 d. Carol

lm
meet his school chum

nin.) This magical, flawless film is the result of many iop flight talents working at the peak of their powers. Whenever the subject of TIIE ITIIRD MAN aises among fiLm buffs the word "perfect" is never far behind. Written by Gmham Greene, directed by Carcl Reed md
93

Red

stauinS Joseph Cotte& Orson Welleg Alida Valli and Trevor Howarcl it also boasts one of the mosi evocative scores (played entirely upon the zither) in movie

hisiory Cotten

Plays

Holly Mariint

writer of pulp weste.ns who arrives in poshvar Viema to

Hary Line {delles)

about a job oniy io be informed that Lime has died under mysterious

cimstances.

Suspicious, Martins navigatei his way tluough the moral

Martiro finds out that looming

facades

twilight of the devastated, divided city to find out the truth about his friend. With tle help of Lime's lover (Va1li) md a British Major (Howmd! the buth was {ar worse ilan he could have suspected. A shattering excoriation of moral ambigui$ Visually astonishing the

ad

rain-washed cobblestones possess

shadowy grandeur that can only truiy be appreciated on the big

scren. This nay

be

your

only drmce to

see

this rare 35mm print. (Lars)

BRIGHTO]I RllGK
D0t{llilWil Tlrul$dor lGlruary 2f r llm
(1947 d. John

Boulting

92

min) A superb new print of the film voted the greatest British Noir of all tme by
as vicious teenaSe gmgster, Pinkie, a

The Guordianl Loaded

with gloomy menace,

BRICHTON ROCK is one o{ Britain s most powedul fiim noirs. slashing away the seaside's boozy bon}romie to reveal a sleazy criminal underbelly. 24"year

old Richard Attenborough gives the performance of his life drinking but
has no qualms about cold-blooded

wihrcss is Rose,

razo!-wielding sociopath who can't abicie smokhg and prottrhon racket on the racecourseg htimidation becomes murder and the only a naive waitress who loves sadistic Pinkie. Krowing a wife cm't give evidence against her husbmd he maries her, but murder is sti11 on his

murder Whilst

ming

nind. Made with

nade
a

a raw

energl by the Boultint brothers, BRIGHTON ROCK enbodies

the

blea(

seedy Englishness of pubs, bank holidays and B&Bs. They

film shocking in its bntality, the

fore]mer

of hard-boiled gangster classic CET CARTER and morc than a match for LOCK STOCK AND TWO
classic novel, the corrosive soeenplay was co-written by Tenence a failen angel, psychopathic Pinkie believes

SMOKINC BARRELS. Adapted by Graham Greene from his Irom the book
s themes of Catholicism, sin and

Rattigm md doesn't flinch

gaze never wavers

redemption. Like

in damation and his icy

from the rcad to hell. Phkie's cruelty won't end with the final credits; the lasi

scre

has

ru

thlesly cynical sting in the tail. (Brihsh Film lnstitute)

]IIGIIT A]III THT CITY ilillll0tlll Tltundry llarclr 3: Inm

{1950 d. fules Dassin, 96

mi+ 35mm) "You've goi it alL Hary Fabian- bui you're

a

a dead

man.' Richard Mdmark gives

an excepiionally does

fine,

ridrly textured

perfomance in this faustim tale of

local mob, conholled by

h{o-bit American hustler in London who devises

a scheme to control the wrestling

racket. This

noi ended him to

the

tle

Kisto (the always reliable Herbert Lom). The hvo cone to blows by proxy in a match between Kdsto's father Gregoriou, managed by

Widnark,

Harry Fabia& and Kristo's star wrestler The Strangier, played tenifyingly well by familiar Hollywood tough match ends in tragedy Fabian has to ru for his life. Director Dassin qeates a nightmarish labyrinth of shadows and grime
as

py

Mike Mazurki. When

brutal

as Fabim flees tluough the suddenly very ufriendly streets of London. Featuring the beautiful Cene Tiemey. Dassiry director of the influential heist film RIFIFI, had fled Holllvood to escape Senator joseph McCothy's HUAC witch tnals. (Ldt

GTI GARITR
!0IIilT0Slll llrunday ilalclr
(1971 d.

10:

l[m

min & 35m) With the recent resurgence in British crime movies it seems like a $eat time to revisit the first really importmt UK gmgsts movie, md in our opinion, still &e best, Prior to Hodges' groudbreaking work the idea oi British gangsters just seemed ludicious.
Mike Hodges,
112

Americms - sure.
models

Italim -

of couse. But the British seemed too rcserved to make effective criminals. Hodges' solution was to ignote all the previous

md foos on the lower-class slms of Newcastle and a stratum of society that was rarely depicted in British popular entertainment wiihoui

Picturesque Dickensid trappings. It's a bleak settin& md Jack Carter, as played by Michael Caine, is umistakably a product of his surroundings. Carter is a big mm in the London mderyorld who retums home to Newcastle to find out the huth aboui his brother's death. Cahe is brillian! playing the character with such resemes of strcntth md emotion that when he finally breals it's devastating. Featuring

Im Hendry and Britt Ekland. (Lars)

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Bidrlbam_are the yes Men. They're a couple of prankter activists who, as seen in this firm prorue, Deoeured the world hade organization, even though the wro wasn't listening. Armed with a fake 111o Web site, they have been invited around the world to provid"e comments md present leciures on behatf of the ll.fO. Dresred in thrift-store suits - and at one lecture, a seveial-feetlong inJlatable p;nislike

M{: B:"luq,lq,tuly

Dm Ollman, Smah Price & Chris Smith 2003 35m 83min. R

flRr

Tgg

xn$*.

q:r]ryd lol T-lg*r ro keep an eye on their disrint workfoice _ rhe pair bring absudsm t0the task o.f debunking cultual monoliths md corporate gimts. Thefu lectures - hk! the one in FidanJ at wtuch they showcased that ultimate "leisure.suit"_- cm.almost pass for the real thing, and often do. It becomes fascinating to see what people will put up with, md how fm they will go as the yes Menl r"ctur., beco." mo* aod more absurd. The filn also showcases i university lecture in whichiheir fake WTo ,.pr.*ntu6u., Hunt Hrrau unruh (Bidrlbam), tgams a 1p_wi*r bogm McDonaldt representative to amomce *i-iil.i.riut Jir""rgl ri tecycling (with PowelPoint slides md everythhg). reconstituimg humm buger waste into several more generftions of Big Macs. Before they teamed up as the yes Meru Bonmo ind Bichlbalim individually worked dsum6s as media hicksters: Bonarmo fouded the Barbie Liberation organization, which "p:;p;;;ri;; switcted ttre dolts, voiceboxes with those of G.r, Joes, md also mmaged the take George w Bu;h web site rhat car*d ,r;h ;-u;;;; during the last election; BidrJbam maaaged to_sirbshrute swishy ilen hugging i", tr,. uig-ui.'Jjil;;r;;,; backgromd of a major video gme. Dirmtor clns smith (the hilarious io'.*.nt*y aMrrucAN Mo!,lE) here a coupie of his reguJar collaborators, sarah price md Dm ollmm, io firrn the y., u.n,r *ticr.

li:[$l

tentacle that houses

a,*.itn.rmi

Gl .u*

!:TT iprrth (Marjorie

TllI
D.

tsamgarten, Austin Chronicle)

Sm Martin auto ?lmt had bem dormmt until its former employees take action. TLJ; movement of workers who re ocrupying bmkrupt businesses ild ireahng job: in the ruii, *'*. r"ii.a i"it.R *:t.f.r: struggte is rr.agansr the diamatic_ backdrcp of a criiiar prcsia."r.i .r".ti"" effitr"r,', :ll.ty^,.{S. archltect wtuch the ot the econonic collapse, Carlos Menem, is the Front-rumen His aonies. the forrier factoru omos, re circling; rf he wiro, they lJ take back the compmies that the mor ement has worked so hard t; ;;r;.. Amed only with slingshots ild abidmg.faith. m shop-floor democrary, the workers face off against the bosses. bankem, md a legaj sptem that sees their beloved factories as nothing moie thm scrap metaj lor s;je. h THE TAKE, drector Avi Lewis md writer Naomi Klein (author ofthe intemational bestseller, No Logo) combine the stories ofthe workers and theh families, stories of their shuggle for jobs and digniry with comments from factorv omers, politiciansmdiudges,andmexaninationof themicro+conomicpolio"esof g)obalizat. nr"t r"riirr.i*p.1i-rg

rolJ out sleepine mats t9.l.ru:.Ax they want is to re-start the silent machines. But this sinple act - ' the iake' - tlueatens io tum the globallzatlon debate on its head ln the wake of Argentina's spectacular econonnic collapse lrr 2001, Latin America's most prosperous niddle dass finds itself in a ghost town of abandoned factories and mass memoloment. The Foria

- llffi|tom: HGdncsday il0tcll 30 & I[ulsd0y, ilarcl 31, Avi Lewis & Naomi Klein 2004 87min. Beta Sp Uroated In suburbm Buenos Aires, thirty memploled auto-parts workers wall into their idle factory

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A proynm of hislorir and arthiual short films aboul flu former qleaze cnuilal world, New \ork'sTines Square. Guesl'curated b! kte'pnlin.

of

the

It can be agred that Times Square is not what it usd to be, but when has it ever beenl lvlost attenhon is paid from the hansformatjon from the mttv Deuce o[ the 70 s to the Guilani/Disney version that exists todav. bit the history of 42nd Street has always been one of change. h her esiay Tines Cnp:rle, Maitlmd McDonough writes "ln the 193-0s, the wet bianlets moumed the legitimate theaters, degraded into movie houses. In the '40s, tfey yeamed for the burlesque venues Mayor Fiorello La Gumdia shut down. In the '50g_they remembered the honJcy-tonk vibrancy of the war years; in the'60s, they lamented the creeping crud gradually replacing the sheet's friendly seediness. In the '70s it was a 24hour camival of uice"tt ut
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r..ritiry 'limes Squae (ne Longacre) on film. "f Mutoscope/Biograph docment fronl 1905, these experinertal md docmentary worlc conjure ghosts of the pasl resident

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the rery first time for the SXSW filrn festjval. We re proud to once again open a new Almo Drafthouse
locahon

with a

wit} Ausiin's piemiere film festival. Now in its 12th year, the South by Southwest Film Festival md

poet/vikingJr4oondog, peepshows, the impmmptu V-E Day ceiebration md "the iirst radical arts show of the 80's". Finally, erquisite static imgery of the empty lheater marquees in the late-eighles md closing of v'ariou

lmdmarks.tsti$r to whit we have lost. Mike it a Times Sq"ure double

Ieature

m mual celebration of fiIm - a weeklong opportunify to view, disrus, md erplore all aspects o1 llm 1reqtion and production, frbm screnwritlng thrcugh dishibution. Check sxsw.com for the scheduli
Conference is

with Deuce classic KIDNAPpED COED, saeming lree it Midnight.

and showtirnes of SXSW movies playing at AND south Lamar!

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No submission process. No censorship. Anything goes. Two Note Solo's OPEN SCREEN NIGHT is quickly becoming the siuff of legend. What began as a way of sharing dreesy movies we made in high school has grown into a springboard for up-and-coming filmmakers and a place where experienced video producers can experiment with new projects with the benefit of an eager

audience. One group of regular OSN contributors has gone on to find fame and maybe some eventual fortune at Atom Films, anoiher was recently hired io produce video content for MTV, another team landed the animated short they debuted here in this year's Spike & Mike festival, and the show has also helped groups of filmmakers eam their very own showcase nights at ihe Alamo. Of course, if you don't take yourself that seriously, you can still show us your high school video projects. Either way, if the audience likes what you bring to show us, they'll reward you with $100 in cash, and iI they're bored by it, they'Il probably gong your movie off the screen. The crowd demands constant entertainment, and we've fomd that most OPEN SCREEN NIGHTs deliver thai in spades. For more in-formation on how the show works, or to check out some of the movies that have shown there in the pas! check out wwwopenscreennight.conr, and start planning out what movie you're going to show

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GET THE SCRIPT TO WOODY ALTEN (D. Keith Black, 17min.) Based on a real incident in which Bmokly'n math teacher Keith Black tracked down his idol to a Marhattm jzz club md slipped hin the script of "l Wtll Suruive," a fikn that chronicles Mr Black's houbles with women. The famed director took the script, smiled meekly and trotted off. That was three years ago. Mr Allen has yet to call. KRISTY (D. Stephmie Gray, 7min.)- It's 1980 and you're a kid with a hagic cruh on Kristy McNichol md parents who know befter thm to let you mywhere nem LITTLE DARLINGS. Cut to just a couple years later, when cablevision md that chain-smoking Toni Basil-crmkhg babysitter who always disappears with her boyfriend join forces to make the long-fmtasized screening a reality. The plot confuses, the R-raturg disappoints, md Tatum O'Neal brays, but the True Icon delivers. (Spencer Parsons) PAUI SCHRADER'S BAG (D. Jmon Simon, 1Onin.l After finding esteemed screenwriter & dilector Paul (TAX DRIVER) Schrader's bag in the sheet, {ilmaker Jason Simon wavers between good citizen and obsessive {m by trying t0 retum it - while at the smb time mcrupulously filming its entre contents. THE LAST DAYS OF SID VICIOUS - probably the shangest and most disturbing lilm in this program, German undergrourd classic THE LAST DAYS.,.porhays the muder of Nmcy Spungen and Sid's subsequent overdose - with both chmacters played by babies! MY BROTHER IS IAMES CHANCE fmie Levinson, 25min.) Milwaukee native, David Siegfried, is the brother of late 70s No-Wave music pioneer Jmes Chmce. Whjle James went on to an influeniial career in New Yor( David stayed behind in the Midwest opthg for a degree in microbiology. Nearly 20 yems later Chance, experiencing resurgence in populariiy, was invited back to perform in the Midwest. He enlisted Chicago-based Watchers to be his backing bard Ior a brie{ tour Given the gmgraphic divide, Chance enlisted his brother to rehearse in his place. Interot with {mtage from the tour md rehearsal process David reminisces about his days h mmic to his cument occupation as a vending machine salesman. As David sayt "Everyone wants to be like their brother" (Chicago Underground)

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Flicker is a bi-monthly fihn festivat that features short films by loml filmnakers and all other enthusiasts who dare submit via mail. Everythhg sceened at Flicker must origmate on fiLn md be mder 15 minutes in len$h. Flicker guarmtees m may of prcjects md intriguing juxtapositiom at every show, with linem nanatives butting up against radical experiments, polished productions followed by emest fust efforts. Come lot your chmce to win your own free roll of Super 8 md see which local filrnmaker wins the next Flicker Film Grmt! For more in{omatioq pleme go to m.flickeraustin.com

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'7N.ABSORBING DOCIIMENTARY.The smimlpunkband'shistory is traced inexhaustiae detait,Theclninthat the roll nay finally notbe t'ar of the wk." - StEin HoIdm,Ny Times A visnic snnpshot of the ently
days of

punk."

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Gteibman, Entefiainnent Wukly

Granaglia and Jim rields, 110nin, NR) In 1974, the New york City music scene was shocked into 1g'1 consciousnessby the violentlynew and raw sound ofabard ofmrsfits from Queens called The Ramones. plavine bar to a small group bf fellow shugglng the bmd shuck a chord of disha#on| T 1 rocked the fomdation rysicians, that of the mid-ieventies musiJicaie. This quuit.t of unlik.ly ro.t rt*r ttuu.f.J u*or" the comtry md aromdthe world comecting with the disenlrmchired everywhere, while sparking a movement that wou-ld resonale with two genemtions of outcasts across the globe. Although the band riever re"ached the top of the Brllboard,charts. they mmaged toendure by.mmtaining a rigorous tourirg schedule for twenty-two yeari. After a long uphill battle {or the filrnmakers, md the death of t}ueeof their subjeits, the ultimate Ramones ioc is here at the Alamo to blow our minds and our speakers with equal vigor The seminal punk bmd,s 20+ year career is docmented in exhaustive detail, with rre archival footage md interuiews.
(2003 d Michael

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lhe future of the Austh Mmic Nehvork may still.be cloudy, but one thing is certain: over the years this mique cable channel has helped shape and forge the local music scene and been a true force to reckon with. This March we're turning over the theater to them for a sprcial showcase of the very best that has come out.oI AMN in the past year They'll be grving awardito musicians, video producers, and more, and il you've never even watched a sngle hou of progrming on AMN, thii is tle perfec introduction. No one caa say what the rest of the yea holds for ou local chamel that carries way more music than MTV does these day+ so come out md show some
supporf now, while you still can.

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Independent music videos have come a lonq_*uy.I the past 35 yeam md finally there is the IMW (lndie Music Video Festival) to celebrate them. Far_from.beng just disposable calling-cards andmarketing tools, the music video is probably the most accessible exmple of purely formalist filmaking in dre world, There is a syrcluonous beauty in the matching bf rnusic md vision, and the resultmt music videos are labor-intensive experimental 61ru that should be treated'as high art rathei than as a roften symptom of rampant comrnercialism. There is currently no other Iestival in the world dedicated excluively to music videos. Festivi direcors Marcus Rogers, Nicole Steen and Frank Yalu{based in Vmcouver Cmada) started the IMW in 2002 as a mears of hooking up musicbased visual artists with m-aPpreciative. aydjence,.m! n9w ihey've erpanded to Austin (they also have events in foroito,Calgary, Seattle, New York md even Malta!) to help bolster the local scene. See thi most stunning music videos the world has to offer, aionfsde a healthy roster of Austin offerings. For further program and submission info, see: wwlimvf.com

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A.clay statue is brouglrt to life in order to save the Jewish ghetto of Prague, but soon tums against his master in this German silent classic. A man brings an inmirnate object to life, m moral monster whom he hopei to use as a slave. The monster

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and.filn. One of its first cinematic expressions was n THE GOLEIM, made in Gemmy in i920. The film ir bused rrpon a $ medieval Jewrsh legend piague i] tS:t:^.Iry !g*" Sat is brought to life to.serue as a protectoi of the Jews who live in the ghetto in_the year 1580. THE GOLEM is a film o{ great powel as hypnotic ai a Germm Expressionist vision of life as a J waking drem. the dim light ard looming shadow were photographed by Karl Fremd, who also shot two Germar ExPressionist masterPieces: Fritz Lmg's METROPOLIS and F.W N{umau's THE LAST LAUGH. Fremd later emigrated to America and evenfually becme the head cmeraman {or I LO\G LUCY

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Commmdnenh too seriously when they ue tattooed, in Hebrew, on ihe meaty left arm ifhe then offers you a slug of slvovirz from his hip-flask and persuades fou - with a cheerful blast of bras - to forget all you ever thought you knew about the Jews md music. ' - (sophie Soloron, London I Daiiy Telegraph) 4 years ago, Mark Rubin and his stellar bard, the Rubinchikt Yiddish Eroemble, electrfied audimces at -.10.] the Almo with their score for DER GOLEM. At long last, we welcome back the retum of this perfect blend of film md
oI a 240,h Texan tuba player. Especially "Somehow it's hard to take the Ten

music to the Alamo Drafthouse for a long overdue encore

performance.

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Harnon Jones, 83 min, 35mm) How would you like it if a gimt rampaging gorilla jurnped oui of the movie screen and into vour lap? That's exactly what happens in COIIILLA AT LARCE through the miracle o{ 3Dl Most of us studiously try to avoid being pursued by marauding apes in our daily lives but GORILLA AT LARGE gives us the oppotmity to experience this pulse potmding thrill without the danger And all you need to do is shorv up at you friendly downtown Alamo Drafthouse and put on the speclal magic 3D glasses. Then sit back in you cozy theater seat and watch Coliath, a 900 pound gorilla as he terrorizes a camival sideshow We'll provide the glasses md the gorilla repellent. All you have to provide is youself. See you therel
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100mi4 35mm) Jonathan Swift's allegorical classic is brouglit to lfe here by l{alr tlrrrtnu,,rar,', groilndbreaklng spectal-etlects. Harryhausen s techdqoes reprcsented a huge step forward in visual effects. Builcling on the earlier work of Wllis O'Brien, Harryhausen developed entirelv new ways kr matte, animate md photogaph his eliects shots. His classics, THE SEVENTH VOYAGE OIr
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SINBAD, MYSTERIOUS lSt,AND, CLASH OF

THI TITANS and others have opened

new horizons of imagination to generations. While iodayt CGI effects may look smoother and more fully iniegrated, something has been lost. Harryhausen's rnodel shots had a warmth and depth o{ character that has yet io be replicated digitaliv. These films have a storybook look and feel that makes them a classic part oi our shared childhood. THE TIIREE WORLDS O! GULLIVER is an unforgettable mor ie and one that must be experienced on the big screen.

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Tlre Alamo is dressi ng up the fm this year Come prepared to compe te for incredible prizer ! Costune contest categories iriclude: Best Repli la of Previous Oscar Fashion Catastrophe, Most Glamorous, Mt st Recognizable, and I iest Fashion Plate. Practice up for participation in the Oscar Acceptanr e Speech Lnpersonation and tobe the one (or teil n)
to lead the Oscar So ng Singalong. Prizes hclude mov: e memorabilia, movie posters of all sizes, and g ift certificates. One luc <y wirurer will receive one year of mlimited Alm lo moviesl So come pr pared to participate in the fun and IMNII

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