With this year’s Academy Awards nominations finally announced, perhaps you’re planning to devote your three-day weekend to all the prestige pics you didn't have a chance to watch in 2014. Or perhaps you’re so incensed by Selma’s snubs that you intend to stick it to Hollywood by only seeing horrible movies. If you fall into the latter camp, E Street Cinema is your destination: Friday through Sunday, the theater screens 2003’s The Room, the film Entertainment Weekly dubbed “the Citizen Kane of bad movies.” The movie, a romantic drama dubiously reclassified as a black comedy, stars Tommy Wiseau—who also served as director and producer—as a San Francisco banker who gets royally screwed over by his fiancée, his best friend, and the concept of continuity in storylines.
Like the film itself, late-night screenings have become a cult favorite, and E Street is throwing in the bonus of a chance to meet Wiseau. The auteur will attend all three screenings to answer questions about his film as well as his new TV series, The Neighbors, which will also screen. But—fair warning—asking him too pointed of a question could result in him calling you a prick. Tickets for the screenings (Friday and Saturday at 12:15, Sunday at 10) are $21 each and include, according to the theater, a very special pair of The Room underwear. Sounds like a pretty good deal to us.
The Alamo Drafthouse Cinema in Ashburn says it will screen the hacker-inspiring comedy The Interview starting Thursday after Sony Pictures decided to release the controversial film after all. The Interview, if you've been living under a rock for the past few weeks, stars Seth Rogen and James Franco as American television journalists who land an interview with North Korean dictator Kim Jong-Un and are then asked by the CIA to turn the scoop into an assassination mission.
The plot summary inspired a massive data breach at Sony, which federal officials believe to be the handiwork of real-life North Korean operatives. Sony had planned to give The Interview a wide release on Christmas, but shelved it after the hackers behind the Sony attack threatened to attack movie theaters that showed it. Most major cinema chains canceled their screenings of the film, even though there were never any credible threats against US movie theaters, according to the Department of Homeland Security.
The Interview—which, if Rogen and Franco's previous works are any guide, will probably just be two hours of weed and dick jokes—came off the shelf following an uproar from independent theater operators, including Tim League, the founder of the Austin, Texas-based Alamo Drafthouse brand. West End Cinema owner Josh Levin also spouted off on Facebook that he signed his name to a petition from independent theaters willing to show the film.
Screenings of The Interview begin 10:20 AM on Thursday. Tickets are available on the Alamo's website.
UPDATE, 6:32 PM: Good news, fans of global intrigue-stoking comedies. You no longer have to drive all the way to Loudoun County to see The Interview. West End Cinema's Josh Levin confirms in an e-mail that his theater will also start playing the film on Christmas.
Levin, who was one of scores of independent cinema operators to sign a petition to Sony, there's a "certain irony" that his 75-seat theater will be one of a handful of movie houses to debut a $44 million, major-studio picture that was supposed to be released on thousands of big-chain screens.
"An ultra-wide release is now getting ultra-limited release," Levin says.
West End Cinema will run The Interview at 2:30 and 8:20 PM for eight days through January 1, with the possibility of it being extended. Tickets will be available on West End Cinema's website.
Find Benjamin Freed on Twitter at @brfreed.
So you want to see a scary movie on the big screen this Halloween. Great! Only problem is, your big-budget horror options range from the mediocre (Before I Go to Sleep, a Nicole Kidman/Colin Firth thriller currently rated 53 percent on Rotten Tomatoes) to the laughably bad (Ouija, clocking in at 10 percent—proving once again that Clue is the best and only board-game movie you need) to the pretty much inexcusable (Nicholas Sparks’s The Best of Me*).
Instead of shelling out for yet another bland studio slasher flick, head to one of Washington’s independent cinemas to catch ’60s classics, foreign films, and a daylong marathon, all on Halloween itself.
Psycho and Spike at the Angelika Pop-Up
Friday, October 31, 7 and 9:30 PM
The Union Market theater screens the classic slasher film—the original, not the best-forgotten Vince Vaughan version—two times Halloween night. Everyone who buys a ticket will get a Spike Mendelsohn-curated goodie bag stuffed with exotic-sounding things like chocolate bacon and sushi popcorn. Definitely a step up from the usual nervous-eating movie snacks.
People’s Choice at Union Market
Friday, October 31, 8 PM
The popular drive-in movie series concludes its fall series with a Halloween screening—and wants you to pick the movie. Visit Union Market’s Facebook page by Friday to vote on your choice of Ghostbusters, The Addams Family, or Edward Scissorhands, then follow the usual drill on Halloween evening.
AFI Silver Theatre’s Horror Marathon
Friday, October 31, multiple times
Skip your office's awkward costume contest and head to AFI for a day’s worth of scary flicks: At 3 PM is Tim Burton’s Sleepy Hollow, followed by his animated short Frankenweenie at 5:10. The evening brings the ’80s cult hit Beetlejuice at 7, the “rom-zom-com” Shaun of the Dead at 9, and Roman Polanski’s iconic Rosemary’s Baby at 11.
Shaun of the Dead at Arlington Cinema & Drafthouse
Friday, October 31, 9:30 PM
Virginians get a separate chance to catch the adventures of pasty Brits/unlikely heroes Simon Pegg and Nick Frost with this screening. Bonus for folks with kids: Between 5 and 8:30, check out a family-friendly haunted house hosted in the main theater, done up to look like it’s been through a zombie outbreak. Admission is $2 and includes a tour, a treat, and a free pass for a future movie.
Night of the Living Dead at Angelika Mosaic
Friday, October 31, midnight
Schlock-horror king George A. Romero cut his teeth on this 1968 zombie flick that spawned several gruesome sequels. This one’s in black and white, so you can tell your parents you did something arty for All Hallows' Eve in addition to all those Jell-O shots.
The Monster Squad at E Street Cinema
Friday, October 31, 11:59 PM
Time to get meta: This 1987 horror comedy is about a group of adolescent scary-movie enthusiasts who find themselves battling Count Dracula, Wolfman, and other beasties for control over the balance of good and evil. I’m guessing the truly frightening part is leaving the fate of the world up to a group of teenagers (no disrespect to Buffy and the Scoobies).
Friday, October 31, multiple times
The supernatural thriller based on the book by Joe Hill (son of horror master Stephen King, responsible for the most terrifying clown of all time) stars Harry Potter as a guy who’s both suspected of killing his girlfriend and growing magical horns on his head. Reviews are a bit mixed, but Daniel Radcliffe’s performance has been getting good buzz.
Friday, October 31, 5 PM
Maybe The Ring scared the pants off you when you first saw it, but it’s lost that initial punch. Frighten yourself anew at the Freer, which screens Ringu—the somehow-even-scarier Japanese film on which it was based. The movie starts at 7, but get there early to learn about spooky items from the museum’s collection, make your own Halloween mask, and try food from the Tokyo in the City truck.
Bonus: Saw 10th Anniversary Re-Release
Friday, October 31, multiple times
The film that begat an impressively long-running torture-porn franchise turns ten this year, and returns to select theaters—including AMC Loews Georgetown, Regal Gallery Place, and Regal Ballston Common—for a one-week run starting Friday. If you’re itching to relive Saw in all its dismembery glory, check theater websites or Fandango for showtimes.
*Yes, I realize it isn't a horror movie—what's scary is how Nicholas Sparks keeps making people shell out to see the same story over and over (and over) again.
Find more ways to celebrate in our Halloween Guide.
David Fincher’s Gone Girl finally hit theaters last weekend, after what felt like months (and months) of internet hype, and immediately rocketed to the top of the box office. If you’ve already re-read Gillian Flynn’s book and gotten your fill of full-frontal Ben Affleck—but are still looking to scratch your itch for stories about, ahem, unusual relationships—this weekend offers plenty of options at theaters around Washington.
Opening Friday at E Street Cinema is Only Lovers Left Alive, Jim Jarmusch’s vampire love story starring Tom Hiddlestone and Tilda Swinton. Before you cry Twilight foul, know that this flick involves zero werewolves, and the main characters’ lust runs more to exploring the vast realm of art and culture than each other’s undead bodies. An eternity to stay ahead of the cultural curve? It’s every hipster’s dream.
Also opening Friday at E Street is The Disappearance of Eleanor Rigby: Her and Him, two separate films that explore a couple’s crumbling marriage from each party’s distinct perspective. Them, the third version of the story Ned Benson created, was the only one to get a wide release, but critics have reviewed both gender-divided versions more favorably. Decide for yourself which half of the couple is in the right.
October 10 through 16, the Goethe-Institut puts on the Film Neu festival, featuring new works from Germany, Switzerland, and Austria. The lineup this year includes Love Steaks, a partially improvised film about an unlikely friendship between a pair of hotel workers (the supporting cast members are all actual hotel employees rather than actors); and Age of Cannibals, a “German Wolf of Wall Street” about two ruthless business consultants at war with each other. See the full schedule of films online.
Showing through Thursday at West End Cinema is Fort Bliss, which stars Michelle Monaghan as a hyper-competent Army medic returning home and attempting to reconnect with her young son and ex-husband. Written and directed by Washington local Claudia Myers, it’s a film that translates the idea of work/life balance through the lens of modern war to heartbreaking effect.
On Friday, the Angelika Film Center in Fairfax offers a late-night screening of The Shining, Stanley Kubrick’s famous adaptation of Stephen King’s novel about a family trying to survive the winter—and a serious case of cabin fever—in a terrifying Colorado hotel.
Sick of thinking about bad relationships? AFI Silver Theatre provides some even scarier subjects. Its annual Spooky Movie International Horror Film Fest, running October 9 through 18, includes titles such as the pulpy Call Girl of Cthulhu, the Iranian vampire flick A Girl Walks Home Alone at Night, and the Australian haunted-house film The Babadook.
Summer movie season is starting up and, as it does most years, this year’s crop of blockbusters features plenty of wide-scale, special effects-driven destruction of Washington.
The latest spectacle, X-Men: Days of Future Past, will bring mayhem to Washington circa 1973 when it opens Friday. In a clip released this week, Magneto (Michael Fassbender), drops into RFK Stadium and uses his power of manipulating metals to rip the coliseum from its foundation and send it flying into the air to presumably nefarious ends.
The scene appears to have all the makings of an iconic Hollywood wrecking of a Washington landmark, and it’s long past time for the old football stadium to join the ranks of the White House, US Capitol, and Washington Monument as prominent locations to have fantastical destruction visited upon them. (Washington was also prominently featured in Captain America: The Winter Soldier, but the most explosive scenes took place at a Height Act-violating office tower in the middle of the Potomac River.)
Like the Captain America sequel, the X-Men flick actually did shoot around the District without the promise of financial incentives. Besides RFK, the X-Men crew spent its time in Washington shooting along the Mall, outside the White House, and from a helicopter, which it secured after getting special flight permission from the Transportation Security Agency. In total, the production spent about $63,170 over five days, according to a film permit application filed with the city’s Office of Motion Picture and Television Development.
There’s just one thing about the RFK scene, though: When Magneto drops in, the stadium is occupied by a groundskeeper painting foul lines on a baseball diamond. However, the Washington Senators vacated the stadium in 1971, and baseball did not return to RFK Stadium until 2005. The Washington Diplomats soccer club did not arrive until 1974, meaning the stadium’s only tenant in 1973 was an NFL team that happens to be fairly jealous about its trademark.
On Wednesday, the AFI Docs film festival announced its full slate of 84 films, screening June 18 through 22 at AFI Silver Theatre and various locations around DC. The selection includes four world premieres (including the opening-night film Holbrook/Twain: An American Odyssey), as well as four Catalyst Screenings, featuring post-film panel discussions with filmmakers, experts, and policymakers.
Several of this year’s films have local connections. The world premiere How I Got Over tells the story of 15 formerly homeless women from DC’s N Street Village center for addiction recovery who together create an original play based on their stories to be performed onstage at the Kennedy Center. Bronx Obama follows Louis Ortiz, an unemployed single father from the Bronx who began to get noticed in 2008 for his resemblance to then-presidential hopeful Barack Obama and launched a career as a professional look-alike. Art and Craft looks at the case of Norfolk, Virginia, native and diagnosed schizophrenic Mark Landis, who is one of the most skilled and prolific art forgers in American history—but doesn’t do it for the money. Marshall Curry’s Point and Shoot, which took home the award for Best Documentary Feature from this year’s Tribeca Film Festival, tells the story of a young man from a Baltimore suburb whose quest for adventure leads him to join the 2011 revolutionary efforts in Libya. And What’s an Epi is a short film by 18-year-old Shelly Ortiz about the troubled upbringing of her father, Epi Ortiz, that appeared alongside that of 15 other young artists in the first White House Student Film Festival, held this April.
Featured as Catalyst Screenings are The Internet’s Own Boy (in its East Coast premiere), the story of internet wunderkind Aaron Swartz; Ivory Tower, which explores the mounting cost and burden of student loan debt; The Homestretch, a look at three homeless teens’ journeys through the Chicago public school system; and The Newburgh Sting, which delves into FBI anti-terror investigations and post-9/11 mistrust of the government. Other films cover topics ranging from a look at the trial of infamous Boston mobster Whitey Bulger ( Whitey: United States V. James J. Bulger); to Cary Bell’s Butterfly Girl, about a teenage girl dealing with an incurable skin disease; to Dinosaur 13, about the struggle between landowners and the federal government for custody of “Sue,” the largest and most complete T. rex skeleton ever found.
For the complete list of films, showtimes, and events, visit the AFI Docs website, and check back in with us for more coverage.
While Washington-set TV shows focus on the drama-laden machinations of Washington politicians and spies, the nearby tourist haven of Ocean City gets a decidedly lighter treatment from Hollywood in the form of a summer coming-of-age film.
Ocean City native Michael Tully’s Ping Pong Summer was a Sundance Film Festival selection this year, and it tells a familiar story: Boy goes on vacation with family (his mom is played by Lea Thompson). Boy meets girl. Boy gets bullied by girl’s Billy Zabka-esque boyfriend. Boy meets boozed-up town black sheep (Susan Sarandon), who teaches him courage. Boy earns admiration and potential love by defeating said bully in some form of activity (in this case, table tennis). Life lessons abound for all.
Here are a few things we gleaned about Ping Pong Summer from a look at the trailer and a bit of internet digging:
• Requisite time stamps from the decade abound, including but not limited to: arcade halls, cassette-tape boomboxes, failed attempts at breakdancing, short shorts, and unrequited teenage love.
• The characters seem to have sprung from the greatest name generator ever—think monikers such as Rad Miracle, Lyle Ace, Randi Jammer, Stacy Summers, and Teddy Fryy.
• A character dramatically unfolds a table-tennis board as if uncovering a 1970 Dodge Challenger.
• Judah Friedlander and Amy Sedaris are featured in the cast, so prepare yourself for the funny.
• Characters threaten teens with a dead fish and spout comebacks such as, “Inseminate him.”
• The movie is set in 1985—the same year Thompson played another mother, Back to the Future’s Lorraine McFly.
• The soundtrack sounds heavy on power ballads and hip-hop. Don’t be ashamed to do the robot in your theater chair.
Ping Pong Summer will be in theaters June 6. Check out the trailer below.
Washington has something of a starring role in the latest comic-book blockbuster to hit the big screen, Captain America: The Winter Soldier. Most of the action takes place in the nation’s capital, where S.H.I.E.L.D. headquarters is located. Metro police officers engage in a shootout, Metrobuses turn up as collateral damage, and the Mall provides the backdrop for the film’s opening scene, in which Natasha Romanova (Scarlett Johansson) pulls up beside the cryogenically preserved super-soldier and quips, “Anyone know where I can find the Smithsonian? I’m looking for a fossil.”
Thanks in part to the challenges of shooting in DC—a maze of security regulations and no tax incentives—most of the exteriors in the movie were actually shot in Cleveland. But the real National Air and Space Museum appears in the film as the site of a Captain America exhibit: Steve Rogers (Chris Evans) checks out a gallery containing uniforms from his service during World War II. Though the exhibit was built elsewhere on a soundstage, the establishing shots of the Air and Space Museum were filmed on location last May—less than a minute of screentime that took months of planning. NASM communications director Claire Brown and pop-culture curator Margaret Weitekamp explain how the museum’s big-screen moment came together.
According to Brown, the process of coordinating the film shoot began in January 2013, when a location scout for Captain America sent a proposal to the museum’s communications office. Requests to film at the museum come in as much as six months in advance, she says. Staff members then review the proposal to determine whether the shoot is technically feasible and whether the project is consistent with the museum’s mission. NASM only considers films that are appropriate for family audiences, with MPAA ratings up to PG-13. (The last feature film to shoot in the space was 2009’s Night at the Museum: Battle of the Smithsonian. Before that, Transformers: Revenge of the Fallen filmed at the museum’s Udvar-Hazy Center in Virginia.) A curator checks the script for factual inaccuracies or concerns about the museum’s depiction, which can be grounds for denying a filming request. For Captain America, one of the year’s most highly anticipated films, NASM staffers were only permitted to see three pages of the script—the parts that involved the museum—and were required to sign confidentiality agreements. Once the museum signed off on the project, the filmmakers were cleared to shoot on May 16.
The film crew loaded some of their equipment into the space the night before and finished setting up on the afternoon of the 16th, a few hours before the museum closed at 5:30 PM. Parts of the central gallery, Milestones of Flight, closed early, while extras prepared in hair and makeup outside. A collections staffer and a curator were there to walk the film crew through the space, help them set up the shot, and—most important—make sure they didn’t bump into any artifacts.
The filmmakers wanted a shot that swooped across the entire gallery space, establishing that Steve Rogers was visiting the National Air and Space Museum. A camera, mounted on a crane in the museum’s main concourse, would make an arc from the Spirit of St. Louis to the center of the space. Weitekamp was with the camera operator the whole time to keep an eye on where the crane was swinging. “They were very cautious,” she says. “They made a point of saying [that] the camera itself is tremendously expensive, so they were equally invested in not banging it into anything.”
The scene was set during the day, so the crew had only a few hours of sunlight to get the shot. Once it was set up, Weitekamp recalls, “they were able to do the same arc over and over and over as they reset the extras to get different flavors of the shot that they wanted.” After less than three hours of filming, the crew wrapped around 8 PM and packed up for the next shoot of the night, in Dupont Circle. All told, the Smithsonian shoot took ten hours to produce a couple seconds of film.
Weitekamp didn’t get to meet any of the stars of the movie, but she did get a sneak peek at the fake Captain America exhibit. It contained approximately 35 objects, mostly memorabilia of Captain America’s World War II unit, and covered 12,000 square feet—more than double the size of NASM’s largest gallery. “The designer had the luxury of not being constrained by any of our physical space,” says Weitekamp.
Though the museum has curated pop-culture exhibits in the past, Weitekamp says it has no plans to produce any tie-in programs with the Avengers series. “Our focus is on spaceflight, and this is a very earthbound film,” she says.
Didn’t get enough Bill Murray at the Oscars this year? Never fear: The incomparable actor and all-around exemplar of awesome is the subject of a film series at the Angelika Mosaic this month. Every Friday and Saturday night at 11:45, the Fairfax cinema screens classic Murray movies: Stripes March 7 and 8, Groundhog Day March 14 and 15, Lost in Translation March 21 and 22, and Caddyshack March 28 and 29.
By chance (the series has been planned for months, according to the theater) three out of the four pictures also offer a chance to appreciate the work of the recently departed and greatly missed Harold Ramis, who appears in each of the films except Lost in Translation. Tickets ($7) and more information are available through the Angelika’s website.
At a movie-star mecca like the Sundance Film Festival, where celebrities strolling up and down Main Street or clogging up traffic in Lincoln Navigators are ten a penny, you wouldn’t necessarily expect Washington lawyer Ted Olson to be fending off requests for selfies. And yet, thanks to a new documentary by Ben Cotner and Ryan White, Olson spent much of his sojourn in Park City, Utah, surrounded by fans eager to take pictures with him and thank him for his work.
Olson is one of the stars of The Case Against 8, which won the Directing Award for US Documentary at Sundance Saturday night and has garnered enormously positive reviews since it premiered January 18. The film focuses on how the formidable (if unlikely) same-sex partnership of Olson, a conservative, and David Boies, a liberal, fought for marriage equality by working to overturn California’s Prop 8, the state amendment banning recognition of same-sex marriages. Washingtonians might remember the pair from their adversarial roles in Bush v. Gore; it was then, Boies tells the camera, that they first became friends, because everyone else was sick to death of discussing that case with them.
Over the course of five years spent filming the lawyers, the four plaintiffs, and the case’s many developments, Cotner and White capture scenes of wrenching pathos, including one in which plaintiff Kris Perry breaks down in a conference room as she tells Olson about having felt all her life like a second-class citizen. While we know the film has a happy ending for all involved, the suspense leading up to the Supreme Court hearing is still remarkably taut. Olson, by contrast, often makes for exceptional comic relief, whether he’s staring confusedly at a catered lunch of tacos or reading e-mails out loud in which strangers declare him “an honorary lesbian.”
Human Rights Campaign president Chad Griffin channels some of the general sense of skepticism about Olson’s involvement in the fight for marriage equality when he states that Olson “has been on the other side of everything I’d ever done in my life.” And yet Olson’s reasoning for same-sex marriage—that it strengthens families and defends all American citizens’ fundamental right to happiness—becomes the key argument Boies and Olson take to the Supreme Court. “Marriage is a conservative value,” says Olson. “We should want people to come together in marriage.”
This argument might not fly with Rush Limbaugh, who’s shown bemoaning on-air the fact that Olson “used to be one of us,” but it wins him a whole new fan base nonetheless. At one point in the film Griffin tells Olson to get ready because he’s going to be in parades in Dupont Circle and West Hollywood. Judging by the scores of people eager to meet the Gibson Dunn partner at HRC’s party for the film, they’re going to need a bigger float.
The Case Against 8 screens on HBO in June. For more information, visit the movie’s website.