This Week At The New Beverly: The Godfather Trilogy Plus Vincent Cassel as Mesrine!

Posted by phil blankenship, December 22, 2010 06:12pm | Post a Comment
This Week At The New Beverly

Our full upcoming schedule is available online:

Wednesday & Thursday, December 22 & 23

And speaking of Christmas counterprogramming, the New Beverly initiates a week of pre- and post-Christmas and New Year festivities designed to make sure your cinephile heart stays merry and bright with a two-part tale of personal ambition, and that you strut into 2011 alive with the hopes and dreams of one of America's most celebrated families coursing through your spirit. Get warmed up for Christmas on December 23 with a chance to catch one of 2010's most heralded performances-Vincent Cassel as real-life Gallic gangster Jacques Mesrine in a two-part chronicle of the criminal's nearly two-decade-long dominion over the French underworld in director Jean-Francois Richet's MESRINE: PUBLIC ENEMY #1(2010) and MESRINE: KILLER INSITINCT (2010). This is probably your last chance to see Cassel's magnetic work here, in what will surely be an important performance in terms of year-end attention, perhaps also as an interesting point of comparison to how Bronson handles similarly themed material.

This Week At The New Beverly: Jean-Luc Godard, Michael Mann, Alan Ormsby, David Carradine, Woody Allen & More!

Posted by phil blankenship, December 3, 2010 09:06am | Post a Comment
This Week At The New Beverly

Our full upcoming schedule is available online:

Friday & Saturday, December 3 & 4

Celebrating Godard's 80th Birthday!

BREATHLESS  (1959; Jean-Luc Godard) The word "masterpiece" has been tossed around so often in this age of movie hype and hyperbole that it has all but lost its meaning. But the word "landmark," while perhaps not implying as much about the work, is much less frequently heard. Why? Because it cannot with any seriousness be bestowed upon a work of art absent the passage of time. In a culture of instant gratification that seeks to package movies as consumer product, where the formats in which a movie is available are often more important than the movie itself, a word or phrase requiring patience is a much less attractive one. But there is little doubt that for a generation of critics and filmgoers Breathless was a turning point, the unveiling of a new directorial sensibility where the iconography and attitudes of old Hollywood met the cresting soon-to-be-dubbed French New Wave. Breathless brought with it a whole new attitude about contemporary society and film architecture that could be folded into the most familiar of genre tropes with bracing, shocking results that continue to resonate within the grammar of films made 50 years after its initial release. (One need only imagine Breathless, in which Jean-Paul Belmondo co-opts the image and insolence of Humphrey Bogart on a crime spree with the lovely and reticent Jean Seberg, on a double feature with last week's Bonnie and Clyde to get a sense of how Godard's movie created waves that are still rocking the boat.) This print is the beautifully restored version on view in theaters this past summer, struck to celebrate the 50th anniversary of a movie that, alongside subsequent complacency-shattering films like Psycho, Bonnie and Clyde and The Wild Bunch, demarcates the emergence of a singular vision signaling the end of the Production Code and the breaking down of walls between "high" and "low" culture. Few films made after, say, 1962 could be said to have not at least registered the presence of Breathless along the timeline of film history. That it is such an integral part of the D.N.A. of most of those films, consciously or subconsciously, only speaks to its status as a true cinema landmark.

This Week At The New Beverly: Roger Corman directs Vincent Price, Hatchet I & II w/ special guests, tributes to Tony Curtis, Arthur Penn & Dede Allen plus MORE!

Posted by phil blankenship, November 26, 2010 11:26pm | Post a Comment
This Week At The New Beverly

Our full upcoming schedule is available online:

Friday & Saturday, November 26 & 27

Tribute to Tony Curtis

Sweet Smell of Success
1957, USA, 96 minutes
directed by Alexander Mackendrick; screenplay by Clifford Odets and Ernest Lehman; original music by Elmer Bernstein; cinematography by James Wong Howe; starring Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner
Fri: 7:30; Sat: 3:10 & 7:30, Watch The Trailer!

This Week At The New Beverly: Michelangelo Antonioni, Disney Fantasies and More!

Posted by phil blankenship, November 18, 2010 01:47pm | Post a Comment
This Week At The New Beverly

Our full upcoming schedule is available online:

Thursday, November 18

Absolutely GORGEOUS 35mm prints of both CAR WASH and USED CARS! Used Cars director of photography Don Morgan will introduce the screening & take questions following the film, schedule permitting.

Car Wash
1976, USA, 97 minutes
directed by Michael Schultz, starring Darrow Igus, Otis Day, James Spinks, Antonio Fargas, The Pointer Sisters, Richard Pryor, George Carlin
Thurs: 7:30, Watch The Trailer!

This Week At The New Bev: John Cassavetes, Scott Pilgrim, Samurai classics, Car Wash & Used Cars, Grindhouse Film Fest & More!

Posted by phil blankenship, November 10, 2010 11:27pm | Post a Comment
This Week At The New Beverly

Our full upcoming schedule is available online:

Thursday, November 11 - Final Night!

Two Starring Marilyn Monroe

Cinephiles, especially those who frequent the New Beverly Cinema, may come to feel after a while that they've seen it all, or have at least come close to it. But that claim doesn't hold up if you haven't seen Jane Russell and Marilyn Monroe as just two little girls from Little Rock (and if just that idea doesn't slay you, you need to cheer up!). You're in need if Russell knocking "Ain't There Anyone Here for Love" out of the park while surrounded by a gym full of muscular and hilariously, um, indifferent dancers is a musical number you have yet to witness. And certainly if you haven't gazed upon Monroe completely owning "Diamonds Are a Girls' Best Friend" on the big screen, then your cinematic education is sporting a gaping Technicolor hole. But it's your lucky week! There's a brand-new print of Gentlemen Prefer Blondes (1953) in town ready to fill in that hole - The New Beverly's got it, and it's a must-see. Hawks stages and films the musical numbers with a dazzling confidence, which makes all the more room for the cast's terrific chemistry and comic timing. Russell is the tart in the blend, while Monroe serves up the cream, and the two go together splendidly. But superb supporting help from the likes of Charles Coburn, Elliot Reid and little George Winslow, whose dry delivery makes it even easier to steal the scenery right out of Monroe's clutches, make for the very best diamond-encrusted cherry on top.

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