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When the original Alamo location in downtown Austin was still the only Alamo location in town, Monday night was $1 Night."Every week couples would come into the theater together and upon learning ofthe incredible deal'

Andthenwhentheyfoundout oneofthe"mwouldalwaysjoke,"Hey,I'llgettheticketsifyoupayforthefoodl" that sodas and pop.or., *.r. only a dollir, too, well, that would set them off chuckling all the way up the stairs mct into the thiater. Now, after an almost yearlong hiatus, we're pleased to announce that Monday night is once for again $1 Night at the Alamo Downtom. Every week on Monday night you can once again get into the theater

low, pra"ctically non-existent cost ofone American doliar. We'll have different Alamo classics screening every week, to;, so yoo'klo* you'll be getting more than your money's worth. Whether it's a favorite gem fiom deep in our archives or or" oi oo, .""Jndy produced original productions back for an encore presentation, $1 Night will always be offering a little something for everyone at prices that leally and truly can not be beat

tie

DOLEMITE 1975, D. D'Urville Martin, 90 min' R

Monday,

PRETTY THINGS: THE RISE AND FALL OF

GI,AMROCK
2003, D. Lars Nilsson and Kier-La fanisse' 60

April5,7 PM

assaulting the future audiences. Ary other 3-D film ever made will seem completely flaccid a{ter your first taste of DYNASTY. Knives, knees, elbows. artows, rocks. crazy scissorkaratechopping hmds of steel and more, more, more will be in your face md around your neck Sure, there's a storyline to DYNASTI nasty Eunuch Clm slaughters the Ming Dynasty nobility save for the leader's son, son trains and returns for viscous bloody revenge. You've seen it before. But what you haven't seen before is the sheer volume of full-tilt, pedal to the metal, nitroburnin' ludicrous 3 D insanity. Beyond the shadow of a doubt, Dynasty 3-D, the first kung fu 3-D film ever, is an undisputed masterpiece.

min, Unrated

In this fust of a series of lwo Dolemite filmq

Moore's chuacter finds himself having been locked away for two years of a twenty year sentence. For what, you may ask? Stolen furs md loads of nucotics, baby... stolen furs md narcotics. Of course, our man Dolemite wouldn't be caught dead with any of that shit' he's the owner (or former owner at this point in the film) of an established night club chock-full of ladies of the evening. Queen Bee (played grippingly well by newcomer Lady Reed) is the madme of sorts who has been begging the warden to release Dolemite because, you guessed it, he is innocent. Apprently Dolemite has been framed by low-down, dirty, rat soup eatin', jive talkin', mutha fucka Willie Green who, for all intents and purposes, is the chump that is to keep the locals in order for the wicked Mayor. \4hen it becomes aPParent to the warden that some corrupt cops maybe involved in the whole deal, Dolernite is released in order to bring down Willie and the bad cops. (Ken M. Wilson)
DRUGSTORE COWBOY 1989, D. Gus Vm Smt, 100 min, R Monday, April5,9:45 PM

Monday, April 12,9:45 PM

bladed kung-fu death machines,

Pretty Things stilted out as a video clip show that evolved hto an orighal documentary that chronicles t}re rise md fall of the 70s glitter fad. Back in December, Lars and I - with the indispensable help ofou friends - plmned on

compiling rare videos md interviews md presenting them for hard core fans of bubblegum excess. As humorous as this
prospect was, we realized that some historical context might be in order, to help illuminate bands such as Mud or Wizzud who have not enjoyed the lasting street cred chilacteristic of

(Tim League)

the NY Dolls. Beginning with clips from The Crazy World of Arthur Brom od the Bee Gees' obscure. made-for-TV Cucumber Castle as a sign of the excesses to cone, Pretq'- Thhgs features clips from The Sweet, Slade, Roxy Music, Bowie, T Rex, Suzi Quatro, Spuks and much more. Prepare to be whisked through a

I'VE COME TO TELL YOU I'M GOING; Serge Gainsbourg md the French
Erperience

PoP

HIGHER QUALITY
ADDEDI!!

- NEW MATERIAL
nin. NR

D. Various, Multimedia Approx' 80 Monday, April 26, 9:45 PM

glittery whirlwind of

glm fads - hits and

nisses alike! (Kier-La lanisse) THIS FILlvl IS

SPONSORED BY 33 DEGREES. 3D - $l extra for 3D glasses 1976, D. Mei Chung Chmg, 95 min, R Monday, April 19, 7 & 9:45 PM

DfIIASTY

Drugstore Cowboy is about copping -- md keeping -- a dangerous buzz, whether it's morphine sulphate, crystal meth or Dilaudid.

It has been said that the French cant rock. And buzz-band ,vet you'11 rarely find a contemporary that doesnt owe a certain debt to the Gallic visionary Serge Gainsbourg. Alternately considered one of the ugliest men in music and one of the sexiest men in nusic, Gainsbourg rvas the mastermind behind the French ye-ye
fad ofthe 60's, and his magnetism won hin the attention of a stable of gorgeous female singers. His influence has been comprehensive,

Western filmmakers drawn to (or forced into)

But if you think this '70s allegory

daily, frenetic things you "have to" do,

about

the exploitation genre of 3-D Iilmmaking usually ended up making the sme hm-

pharmacy-raiding junkies isn't for you, you must have overlooked your own habit: Those

thatbmal

maintenance ofyour own euphoria. But don't worry: The finger wagging's all mine. Neither federally admonishing nor irresponsibly romantic, "Cowboy" stays high without being highhanded. This isn't Just Say No, it's Just Say Whooaa. (Desson Howe, Washington Post)

handed genre fllms they were used to churning out, but with a few 3-D effects peppered in, almost as an a{lerthought. The Chinese, however, seemed to hone in on the needs of audiences lured in by the tantalizing 3-D ad cmpaigns. In the production of DYNASTI for exmple, everlthing that wasn't nailed down on the set was hurled at the dual lens polarized 3-D

extending through
Stereolab

to modern bmds like md Air Come bask in the glory of Serge as we pull out some of his rarest scopitones and television appearmces.
Highlights include the scandalous video for Lemon Incest (sung with pre-teen daughter Charlotte), his propositioning of a shocked Whitney Houston on live television, and the
infamous Melodl, Nelson TV Special

cameraman

for the

express purpose of

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LEMANS
1971, D. Lee H. Katzin, 35mm, 106 min, G Monday, May 3, 7 PM

SEX&ZEN 35mm,90 min

Monday, May 10,9:45 PM Very loosely based on the erotic Chinese tale The Carnal Prayer Mar (published in 1634), Sex and Zen follows the adulterous odyssey of Mei Yang (Lawence Ng). When his equipment is found to be lacking, he has a rather advanced transplant operation involving a horse and ends up as a cross between John Wayne Bobbitt and Man o War tthe transplant scene. by the way, if the stuf of cinematic legend!). Sex is a

CONTORT YOURSELF: WEASEL WAITER,S NEW YORK NO WAVE TUTORIAL Monday, May 24,7 PM The Alamo Drafthouse is extremelv thrilled to have Weasel Walter -- best known from the

An American race car driyer (Steve McQueen) returns to competition a year after an accident leaves him badly injured. As he prepares to face his chief rival in the famous Le Mans race. he also begirs a new romance ruith the wife of a driver who died in the same accident that nearly killed him. Often considered the best racilg filrn eyer, Le Jfans captures on fiLm the personal intrigle and death-delring

bands Lake
Luttenbachers

NO WAVE tutorial. No Wave was an artistic

movement cenlered in New York's Lower East

of Dracula and The Flying - as our guest for the ultimate

The

Side in the late 70slearly 80s_

sportsmilship of tie rvorld's most tamous and dmgerous racing competition. The 6lm is laced with intermittent dialogue. but the focus is on

dilicult, time-consming and

the rachg, rvhich is nothing short

spectacu.lu. As

of

bit Of a vmifF proiect for -\lcQueen. he insisted on doing

-l/aru.
a

Ie

rru

exhausting business in Sex and Zen, employrng ladderl braces, ceiling mounts, loaves ofbread, musical instruments, and positions only a chiropractor could understand, or treat.

neighborhood, long a hive of artistic activity, became home to countless punk rock bands and radical artists, and soon began producing
its own unique brand of decidedly noisy, harsh music that was a hybrid of punk rock and experimental jazz. Weasel will be presenting rare high,quality video clips from his extensive (and exclusive) collection, with commentary between each clip to provide context and
The

most of his orla

dririlg

on the 8.5 mile course,

often exceeding 100 mph. Showcasing the strrming cils of the era, Ie Mans also boasts fust-cics motor sport cinematography and
editing, r-hich is accented further by Michael Legrand's outstmdirg orchestral score. Subject to disparagrng reriev-s upon i1s release, the film hro gone on to enjov significant cult status, and is considered one of the most realistic dramatic portrarals ofthe racing circuit ever made.

YOU'RE GONNA MISS ME: CASUALTIES

OF ROCK

2004,

D. Lars Nilsson, Anne Heller

and

history. Featuring performances by

Kier-La fmisse, 110 min. NR Monday, May 17,7 PM

Contortions, DNA, Teenage Jesus and the Jerks, Von LMO, 8-Eyed Spy, Bush Terras,
Lounge Lizards and Raybeats, as well as clips from the films Ron e '78, Vortex, Letters to Did, Black Box, G-Mafl, Ecstatic Stigmatic and,

ISLA}ID OF FIRE 199O, D. YinPingChu, 35mm, 96 min, R

Mondan May 3,9:45 PM

]ackie Chan plays a shrewd cop who

goes

undercover with a team ofmercenaries when a man he put away two years before commits a murder. The film features the great Sammo Hmg as well as the terrific Tony Leung Ka Fai. lnside the Big House, poor Inspector Wei is tenorized by every prison cliche imaginable and discovers that the truth behind the madress goes deep into the penal system.

In the tmdition of Pretty Things: the Rise and Fall of Glam Rock, You're Gonna Miss Me is a program dedicated to the shining stars of popular music who left us too early for our liking. Rare videos and television performances are interspersed with historical commentary in m effort to examine the rock stereotlpe of dying young (which has oft been used as evidence that rock and roll is the devil's music) and in reverence ofthose unique voices that are
Karen Carpenter, Johnny Thunders, Gram parsons, Harry Nilssen, Nico, Richard Manuel, loe Meek, Ian Curtis, Mama Cass, Keith Moon, Epic Soundtracks, Bon Scott, Ace Kepher,

morelll THIS EVENT IS

SPONSORED By

THIRTY THREE DEGREES.

EROTIC CHINESE GHOST STORY Mondan May 24, 9:45 PM

sorely missed. Featuring clips

of

Darby Crash, Klaus Nomi, Brian

Jones,

THE I(IDS ARE UNITED

l6m,60min.
Monday, May 10,7PM

docmentary on the i978 Reading Rock Festival is so rue that even fans of the bmds
existence. Featurirg performances and interuiews by The Jm, Shm 69, Penetration, early Ultravox and

Originally titled Kids Like you and Me, this

due to personal trauma. The ultimate rock trlbule, You're Gonna Miss Me is part of the
Alamo's ongoing musical education program
(see also Pretty Things, I've Come to tell you I'm Going and. Contort Yourself: Weasel Walter's

Jobriath, Stiv Bators, Tom Evans/pete Ham, Wendy O. Williams as well as the holytrinity of Janis, Jim and Jimi and many others, Yoa're Gonna Miss Me also includes a small section on those visionaries who dropped out ofthe scene

witten by Pu Songling during the eing

the success of Tsui Hark's 1987 supernaturally-themed Hong Kong period film, Chinese Ghost Story, filmmakers on the island became infatuated with the idea of making similar period pieces culled from mcient Chinese folklore, but none were ever quite as bizarre as Erotic Ghost Story. Loosely based upon both a series of ghost stories
A1ler

Dynasty and The Witches of Eastwick with fack Nicholson, EGS chronicle's the temptations

from carnal pursuits to maintain

mortality. But when

md transgressions of three buom sisters--who are actually fairies given human forms as a reward for their good works--must refrain

their handsome strmger

depicted scarcely know

of its

(strmgeiy) The Pirates, the film even shows Shm 69's over-emotional limmy Pursey breaking dom in teats on stage. "The concert docmentary's chosen headliners represent
U.K.

New York No Wave CIip Show). Special Thanks to Mike Peccuci and Kent Benjamin. SPONSORED BY THIRTY THREE DEGREES.

enters their lives, all three are unable to abstainand supernatural sex chaos ensues.

KING OF BEGGARS 1992, D. cordon Chan

Monday, May 17,9:45 PM
Stephen Chow is hands down the most famous

OPERATION SCORPIO 1991; D. David Lai, 35 mm, PG-13 Monday, May 31, 9:45 PM Yu Shu is a misfit youth in i920's Hong Kong who dreams ofbeing a super hero and lives oui his fantasy by drawing comic books. When he stumbles upon Hsiao lu, a maid beilg sold into prostitution, Yu Shu intenenes, incurring the wrath of her new owner and his son, Sunny.

puk's

all about songmting and artistry,

alread,v-divided soul: dre |am are

whereas

Sham 69 (once gloriousi,v described as "the

archetypal working- class ramalama dole-queue band, deliverers of socio-poLitical bromides over blazing guitars") f,v the flag for "art" free youth soLidarity md rebellion. Interviews with their respective leaders, pretentious Paul

Weller and charisnatically not-so Jimmy

Pursen underline that separation." (Dennis Harey, SF Bay Guardian,\

actor in Asia, the equivalent of Bill Murray, Steve Mutin and Eddie Murphy all rolled into one tightly wound ball of comedy. Find out why this fanbase is deserved as Chow portrays the real life Chinese legend So-Hat-Yi, the King ofBeggars, as he transforms from ne'er-do well layabout to master ofthe lazy, layabout sleeping kung fu fist. King of Beggars earned HK Film Awards nominations for Best Picture, Director,
Screenplay and Music.

After

escaping with the help of Jean pol, a massive boxer, Yu Shu is kicked out of school and his father sends him to work for Uncle yi

(Lau Kar Leung),

Ultimately, it's up to Yu Shu and Uncle yi to rescue the maid and defeat Sunny with his
vicious Scorpion technique.

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ACADEMY AWARD N()MINEE!

The first 10 minutes of Sylvain Chomet's animated featur e The Triplets of Belleville constitute one ofthe eeriest, most inventive and loveliest animated sequences I've ever seen: Rendered in the style ofold black-and-white Mu Fleischer cartoons, a group of decked-out swells stream into a swanky nightclub. The women are

dimond-draped giantesses further enlarged by the pufiy furs they're swathed in; their swains are grasshopper-skinny, clad in twig-size tuedos.
The performance inside the club begins: We see m insouciant Diango Reinhardt plucking away at a guitar (he uses his toes as well as his hmds, simply because as

a cartoon, he can), a moony-eyed Charles Trenet cuddling up to a cushiony

ballad, and a kinetic Josephine Baker, iopless, wiggling and.jiggling in a flirtatious banana dance. But the stars of this magnificent performance are the three stringbem-thin, rouged molls who cluster around a microphone to perform a strange and manelous song based on improvised street rh1'thms. Their fingers snap, their heads bob. Their voices have a crackling, built-in echo, as if sailing forth from the speakers of an old cathedral-style radio. When the performance is finished, we realize that we're watching a cartoon within a cartoon: Chomet pulls back to show us an old woman, Madame Souza, and her young grmdchild -- he is klown only as "Champion" -- who are watching this strange relic on TV. We're not in a Parisian caftoon niShtclub circa 1930, but in a small house somewhere in mid-'60s France This is the setuP for The Triplets oJ BeIleiIIe, a slory about the Tour de France, feisty old ladies, and one big fat dog, perhaps not necessarily in that order.

Sure, Bernardo Bertolucci's latest Parisian tango, "The Dremers," is as adolescent as they come. Fully desering of its NC-17 rating, it's every American boy's fantasy of a French idyll, loaded with sex, nudity and intellectual pretension. The tumultuous political lmdscape ofParis in 1968 senes as the backdrop for a tale about three young cineastes who are drawn together through their passion for film. Taking as its cue one of the inciting preludes to the wider protests - the governnent's sacking of Henri tmglois, the beloved founder of the Cinematheque Frmcais - the moyie is an ode to the kind ofdiscerning, obsessive movie love that flourished at the time md has never been matched, before or sirce. Even erudite cirematic intoxication is held up here for what

it fundmentally is: a way to avoid or idealize engaging with the trawas of real, mature life. A period-perfect somdtrack - Hendrix, Joplin, the Doors - enhances the formal pleasure for viewers of a certain age who renember when films rvere brave enough to try mlthing ... and you could believe, naively but fenently, that they would forevermore live up to you highest
expectations. - Bob Strauss, Los Angeles Daily News

FREE CREME BRUTE

WITH TICKET!

Perhaps the most charming movie of alltime, AmAUe is centainly one of the top 10. The title charaiter (the bashful and impish Audrey Tautou) is a single waitress who decides to help

other lonely people fix their lives. iler widowed father yearns to traYel but won't, so to inspire the old man she sends his garden gnome on a tour of the world; with whispered gosip, she brings together two cranky regulars at her caf6; she reverses t}re doorknobs and i"progru-r the speed dial of a grocer who's mean to his assistant. Gradually she realizes hei om life needi fixing, and a chance meeting leads to her most elaborate stratagem ofall. This is a deeply wonderful movie, an iliminating mix of magic md pragmatism. Fansof the directofs previous films (Delicatessen, The City of Lost Children) wili not be disappointed; newcomers will be delighted.

P! 6

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Salvage Vanguard Theater is a nonprofit arts organization located in Austin, Texas, committed to fostering a dlnamic exchange between visionary artists and audiences new to their work. To that end, Salvage Vanguard Theater seeks to combine explosive energy with expert technique, creating forms which dety theatrical traditions urd d"fin" u ,J* American avant-garde. we've invited some of Austin's coolest experimental media artists to create lO-minute {ilms in honor ofour 10th anniversary. The exhibition will take place on two nights and will incorporate live and recorded performance. Salvage Vanguard Cinema brings together local filmmakers Dirya Srinivasan (Waking Lik): Ada;Bork (Earthpig), fustin Hennard (multiple shorts), Cory Ryan (Flicier- Austin), peter Stopschinski, Darin Murano (Household Names), Lance Fever (animator), LB Deyo (fiu magazine), and Ryan Harper Gray (SVT company member md videographer) with composers Graham Repolds (Golden Arm Trio), AndyHadaway (The Innocmt, packof Lies), Adam Sultm (The Adam Sultan Monent), Buzz Moran (Folelvision), Conrad Keely (Trail of Dead), Chad Nichols (The Transgressors), and Jeff Keaton (The

Transgressors). This is one show not to be missedll!

This pivotal video exposes how the foreign policy interests of American political elites--working in combination with Israeli public relations strategies exercise a powerfirl hfluence over news reporting about the Middle East conflict. Combining Americm and British TV news clips with obseruations of analysts, journalists, and political activists, Peace, Propaganda 6 the Promised Land proid,es an historical oyeryiew, a striking media comparison, and an examination of factors that have distorted U.S. nedia coverage and, in turn, American public opinion. Interviewees include Seth Ackerman, Mjr. Stav Adivi, Rabbi Arik Ascherman, Hanan Ashrawi, Nom Chomsky, Robert FisK Dr. Neve Gordon, Toufic Haddad, Sam Husseini, Husseir Ibish, Robert fensen, Rabbi Michael Lerner, Karen pfeifer, Alisa Solomon,

md Gila Svirsky.

"I cannot recommend this documentary too higNy. It should be required viewing for every student, for every lupayer who is subsidizing the Israeli nilitary machine, for every citizen in the United States." - Robert McChesney, University of Illinois

Between 1964 and 1973, the United States conducted a "secret" war, dropping over two million tons ofbombs on the mountains md jungles of Laos. Many of these bombs - especially a newly developed weapon called a "cluster bomb', -_ failed to erplode when they hit the ground, leaving the landscape littered. with millioni of unexploded bombs, as dangerous today as whenthey ftI 1"-- the sky three decades ago. Dubbed "bombies" by Laotian villagers, these eye-catching but deadly orbs, as brightly colored as exotic fruit, are still found by children playing in shallow dirt, in the clefts ofbamboo branches, or in the furrows offields where farmers still till the soit Uy stili<iirg tle earth with a hoe. In the last three decades more than 12,000 people, many ofthem children, have been kiiled or in]ured by bombies or other unexploded ordnance (weapons). With an estimated 90 million cluster bombs dropp.i on Laos, many experts consider Laos to be the most heavily ordnance-contaminated country in the worlcl.

It's amazing what talented minds can do in a few minutes ofscreen time, and here's your chance to see the movies that were the tie-breakers at many m AcademyAward office pool. The live action category includes Germanys "The Red Jacket." Directed by Florim Bmeyer, this 18-minute film-charts the journeyof a coat as it tr;vels from a German garbage can to war-torn Sarajevo, md back agair via UN peacekeeping forces. Along the way, the coat is present for a great deal ofviolence, much ofit directed against children small enough to wear it. From France comes "Squash", Lionel B;illiu's 27-milute story of power in the workplace, as a ruthless boss md his fast learning emplnyee play out their office conflicts through a r*.uiy--urd eventually bloody--gme of squash, where "winner takes all" menta.lity spins out of control. Also on the list i; "(A)Torsio.," a i5-minute Slovenian film directed by Stefan Arsenijevic, about a choir in Sarajevo that gets caught up helping a forlorn farmer with his injured cow. The aninated category features the terrific "Haruie Krumpet" from Australia, a witty lo-ok at a common man's life. He staggers aimlessly for decades approaching inner peace. Combining claymation and computer graphics, this _before 22-minute film directed by Adam_Elliot includes a beautifully written voiceover delivered by Geoffrey Rush. Alio ihowing is Chris Hinton's "Nibbles", a Canadian film about a simple fishing trip that employs rough sketches and clever transitions to make its point about fathers, sons and male bonding. - John Petrakis, Ch icago TiibuneP0gc t
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PLEASE TBACHTRI --

iIOT FOR TEACHER

ADV presents PUNI PINI POEMI-DVD R.ELEASE PARTY! D. Shinichi Watmabe 2001 2 episodes - total runtime

D. Yasutrori Ide 2002 PG-13 100 TUES, MAY

nin.

ll,9:45 PM

60mh.
TUES, APR 6, 9:45 PM

ln the tradition ofErcel Scga, and sportirg the sane

crew, this raunchy spinofi tbllolvs the adventures

of

h)?eractive Poemi, who translorms into a costuted magical-girl superhero to frght cotrquering aliens. If you revel in comedy that takes no prisoners ald promises to offend the neak-hearted, then this anime is your perfect match.

THEATRICAL WORLD PRIMIERE!!! ARZAK RHAPSODY : The Complete Series D. |ean Giraud (Moebius) 2003 14 episodes total program length 56 min. Subtitled Unrated TUES, APR 27, 9:45 PilI - DOWNTOWN THEN ALL THE NE]iT iVEEK AT ALAMO YILLAGE
Famous French artjst Jean Giraud, better klown by Moebius has the name he adopted in the 60s

Witness the unique relationship between an 18-year old high school student, who has not aged in three years due to a cona that stunted his groMh md a teacher whose possesses a secret that only this student knows -- she is an alien sent by the Galag' Federation to observe the Earth. As the sole human being ivith howledge of this secret, Kei Kusanagi, must marry this alien, Mizuho Kazami. Homework, clating and a gorgeous alien wife - going to school has never been quite this fun!

been a unique voi.e in illustration and production design for the last 40,rears. A decade after his breakthrough lvestern comic Blueberry, he and a

group

oi

fellow French illustrators founded

MOBILE SUIT GUNDAM: CHAR,S COUNTERATTACK 1938, D. Yoshiluki Tonino, |apanese Subtitles, in glorious 35mm TUES, APR 13, 9:45 PM

magazine that $,ould change comics forever. It was callcd .l/ercl Harlanr krown in the US as Heary ]Ist{/. He has since collaborated on comics with Topo) done ,\leiandro Jodorowslq production design for lilms such as Alien and The Fiith F.lanent. Arzak Rhapsocly is a TV series based on his comic character Arzak, who first appeared in

(El

md

English

the debut issue of Heavy Msfal. The series is

conprised of 14 three minute episodes that follow .\rzak through a parallel worid situated on the iiontier of dreams and reality a world that could
oni,vt,e born out ofMoebius' fertile imagination. The

MY IIFE AS MCDULL D. Toe Yuen Hong Kong 2001 75nin. TUES, MAY 18,9:45 PM
Based on characters from a successful series ofcomic books by co-creators Alice Mak and Brian Tse, the film is told in voiceover by the mature McDull, a piglet in a world populated byboth cute animals and humans. The narrative is constructed from several

Set 13 years after the odginal MOBILE SUIT GUNDAM, CHAR'S COUNTERATTACK brings
the epic rivalry betweer Char Aznable and Amuro Ray to a close. In UC 0093, a neu'Zeon army has gained strength, led by the infamous Char Aznable, and has begun to threaten the Earth once more. Hoping to turn the Larth into a barren wastland

Alamo Dralthouse is proud to be the place chosen tbr the exclusive theatrical rvorld premiere of the

onlr aninated

series written, dirccted (and

intertitled set pieces involving McDull's birth,

education, and training as would-be Ollmpian, with excursions to his mother's TV cooking show, the Maldives, and other bits ofwhimsy. Its surface level "cuteness," however, sweetens a core of acidic bite. Also features a very catchy song about pork bunsl

voice actedl) by the legendary Moebius.

with nuclear weapons, the Neo Zeon arlty ooce again faces the Federation and its Nu Gundan
mobile suit.

WONDERFUI,DAYS D. Iloon Saeng Kim 2003 90 min. Unrated TIIES, MAY 4, 9:45 PM
SPACE

TR{VELERS
125

OSEAM

2003

, D. Baek-yeob

Seong, Korem

w/

Englsih

subtitles
TUES, APR 20, 9:4s PM

By the year 2142, the Larth has been devastated by pollution; the once blue sky has been obscured behind thick black clouds. A self'sustaining city, dubbed ECOBAN, is crealed which draws uPon the pollution fbr fuel. ln theory, this should clear up the toxins, bui greed takes hold ofthe city's inhabitants.

D.

Katsuldti Motohiro Japm 2000, R'

mins

TUES, MAY 25,9:45 PM

Oseam makes

its points not through visual

ofplot that
is an

Tliough the main draw

gorgeous,

extravagance, but through a technique

almost akin

to

method acting: where

accumulation of incident and detail, rather than a prefabricated plot, ddve what lve see. The ending of Osean, one ofthe most shattering things i've seen in a movie, is made doubly astonishing by horv ihe rest ofthe film never seems to be leading up to it.

is certainly the filns lush aninated visuals, I was surprised to lind myself as drawn in by the fi1m's plot anil characters as I was by the sunptious eye-candy. Reportedly the most expensive animated fiim in Korean history, WonderJul Days sets the bar to new
heights, both for animation abroad, and in the West,
as

'lhree otakus walk into a bank with plans for a five-minute perfect heist. Wren things go horribly 3n'ry, a hilarious scenario ensues in which the hostages join their assailants and name themselves aiter the popular TV SciFi animation series Spcce
Travelers. Space Travelers religiously relers to its anime namesake, both in the dialogue/story and by incoryorating anime into the film. Starring Takeshi Kaneshiro from Chung King Express, and Academy

Award nominee Ken Watanabe, this

is

an

u'ell.

entertaining and visunlly stunning frlm with a twist.

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Cinema Asia is Austin's first international film festival devoted entirely to Asian Cinema, showcasing over thirty films, including new featwe releases, independently produced films, documentaries, experimental and short subjects. The festival will also include Q&A sessions with various directors md producers- Please see w.cinemaasia.org for complete film/scheduie and venue hformation.

WEDNESDAYAPRIL 14: 7PM: UNTOLD SCANDAL (Korea, 2003, producer in attendance) Developed from the French novel "Dangerous Liaisons" by Pierre Choderlos de Laclos, Ilntold Scandal follows an I 86 century playboy as he tries to seduce Madm Suk (jeon Do-youn) who has been defending her chastity for 9 years. All he tries to do is instigated by his first love - his aunt Madam Jo (Lee Mi-sook). 9:45PM: FLYING WITH ONE WING (Sri Lanka,2003) A vadation on the themes put fomard in Boys Don't Cry, this offering from Sri Lmka is a bold md qmpathetic portrait of a transgender woman who passes as a mm within a very macho culture. Flying with One Wing i.s abrave, moving
love story.

THURSDAYAPRIL 15: 7PM: BLIND SHAFT (China,2003) As seen in this month's Giant Robot! Harsh md compelling, Li Yng's Blind Shaft has the focused intensity of a vintage B movie. This sometimes shockingly direct accout of greed and murder in China's illegal coal mines is part neorealist exposd, part noir thriller*a film with no wasted scenes md a steadily increasing tension. (f. Hoberman, Village Voice) MIDNIGHT: TWILIGHT SAMURAI (Japm 2003) Based on the best-selling novel by Shuhei Fujisawa, and dtected by Yoji Yamada (fmous in Japm for lis Tora-san series), Academy Award Nominee Twiligftf Samurai is one of the best contemporary samurai moyies. With a wonderfirl cast of characters and a touching story ofa mm outcast by the changing times he lives n, Twilight Samurai
is a surprising piece

ofart. (KFC Cinema)

FRIDAYAPRIL 16: MIDNIGHT: A TALE OF TWO SISTERS (Korea, 2003) Two sisters, Su-Mi and Su-Yeon, come home after recovering ftom a long illness, but thet new stepmother is one disturbingly odd bird. One dan Su-Mi cm't find her sister anywhere. She looks all over, only to discover bloody stains on the floor... Producers in attendance! SATURDAYAPRIL 17: 7PM: UNIOiOWN PLEASURES (China, 2002) Two unemployed slackers, neither with job prospects nor motivation, hang out in sheltered town in China trying to make sense of tieir aimless and ucertain futues. "A concentrated evocation of contemporary China's spiritual malaise." (J Hobeman, Village Voice) MIDNIGHT: OASIS (Korea, 2002) To the disapproval of both their families, a mildly retarded ex-con molests then falls in love with a young woman who is severely afilicted with cerebral palsy.

Cine Las Americas Media Arts Center presents the 7th Cine Las Amdricas International Film Festival, showcasing contemporary films fiom North, Central, South America and the Caribbean. Since 1997, the Cine Las Americas International Film Festival has established itself m the leading Latin American film festival in the southern United States. Cine Las Americas breaks new gromd by brhging Native and Latino films and filnnakers from throughout the Americas to a diverse public in Austin, TJxas, a city recognized for its outstanding vitality in film and the arts. See ww.cinelasmericas.org for complete screening information.

these stringendy politically correct times, what chance would there be for a movie about two larcenous |ewish guys who hire a flamboyantly gay director to helm what both producers hope is a sure-fue Broadway flop musical celebrating Hitler's Gemany? Think about it for a split second. The mswer: None, no chmce, no way. Yet 34 years ago, Mel Brooks' exuberantly offensive comedy made its way to theaters and, despite mixed reviews, into the funnybone marrow of moviegoers. The picture's path to hottest-seat-in-tom on Broadway ofthe newlyborn 21st century prompts a return theatrical engagement for the vintage film behind the current stage blockbuster. Fabulous. Why, fabulous? Because this shmelessly low-brow, fealessly satirical Brooks movie may just be Hollywood's ultimate satire, a furiously witty "reductio ad absurdum" worthy of the great Augustms like Pope md Swift. The chance lo see The Producers ot the big screen again is a golden opportunity. Grab it. - Susan Stark, Detroit Nerrs
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Mmy years ago in a far otrland (1960's Detroit to be exact), a group ofyoung crusaders emerged frm the morass ofworking class mediocrity, intent on changing the world through their art. Theywere the mighty MC5, the original rock and roll revolutionaries, and for a few short years, they laid waste to thJpop music landscape, assaulting everyone's sensibilities. Although commercially unsuccessfirl, the 5 esiablished a reputation for kicking out the jams in more ways than one, and proved to be hugely influential to countless bands following in their footsteps. For three decades, the story ofthe MC5 has been told onlyin sporadic articles and video clips, and the fading memories ofthose who experienced
the 5 firsthand. Until now... Indie filmmakers David Thomas and Laurel Legler spent the better part of seven years researching every knom fact, investigating every rumor, and intetriewing every possible source associated with the 5. Their exhaustive efforts have culminated in a remarkably crafted I 19-minute history lesson that chronicles the rise and fall of one of the greatest bands of all time. The MC5 were not a bunch of disenfranchised hippie kids, or some garage band exPeriment gone awry. They were an extremely proficient musical unit that genuinely lived their lives according to the credo, "Kick out the jams." In an age ofpeace, love and flower power, they embodied rebellion and anarchy, walking it md talking it lik-e very few before (or after) them. They naively thought that they could take on the world. armed with only their instruments, free spirits and the power of possibility. They created an amazing, if small, catalogue of recorded material, in addition to playing countless incendiary live performances, many higltlighted in the liim's rare video and home movie footag"e. The filrn tells a story that needed to be told, not only as a significant piece in the puzzle ofmusical history, but also as a means ofclosure for mmy involwd. The 5, as everyone krows, ultimately imploded under the weight of their own political, social, and musical exPectations. Successes were overshadowed by failures, culminating with the band's demise into a haze of drugs, disillusionment and desPair. A True Testimonial remembers a musical justly moment not to be experienced again. More significantly, it gives meaning to t}re efforts md exploits ofa band that never really reaped the rewards it so
deserved. So, buckle up brothers and sisters.

- Adm

Williams, Pop Matters

Mark Moskowitz's award-winning

documentary

about the joys ofreading novels and tracking dom an obscure novelist. "A novie like no other, a chamingly digressive but foruard-moving mystery about one-book authors and the director's [felong rommce with literature. Enormously affectionate, gloriously

self-indulgent

championing ofgood books. '

and unhesitatingly heroic in

,g9

JohnAnderson,Newsday

Co-sponsored by the Austin Chronicle RTF Depaftment.

md the UT

"Criss-crossing the country in the hours before the millenium, A DAY IN THE HYPE OF AMERICA manages to draw a rolling portrait of the zeitgeist iust behind us. What is daunting is that these filmmakers -- Brian Quist and Tl Martin -- are so youg, too young to have pulled of this feat of assemblage. Ranging from a ranting actor-preacher in domtom Manhattan to a drop-out community in Arizona, to a pow-rcw in South Dakota, to a group of musicims in New Orleans, the film captures some of the ticking last seconds of the last 20th century (the century above all of dreamwork) md tle door-opening ffiiety of the beginning of the 21st. The film manages to be an X-ray portrait ofour time -- funny, irrational, ego-mad, undone -md a virtuoso work about a time that brims with promise and self-destruction. " - Lyall Bush, Washington Commission For the Humanities

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,'BIZARRBIE!!!''

wi*r the band tonight." The "liberated" Barbie said, and I particular\ like this one, ,,Dead men tell no lies." The mainstream media, after some prodding, latcired on and a legend was born which continues to be retold, recreated and augmented to this day.
sing

OPERATION NEWSPEAK - The Barbie Liberation Organization is an morphous group of activists and media intetrention superstars, whose most famous action involvei switiiing the voi* boxa in 300_Talking Barbie dolls and Talking G.I. Joe dolls during the christmas seasin of 1989. The goal ofthe action was to reveal and correit the problem of gen?er-based stereotl?ing in children's toys. The "corrected" G.I. Ioe doll said things rike "I love sihool Don't you?" urii ',r'"tt

SUPERSTAR: THE KAREN CARPENTERSToRy - with Barbie dolls as the principal actors, Far Frm Heaven director Todd Halnes'superstar portrays the life ofKaren carpinter and her battle with anorexia.

woven throughout are interyiews with Ruth, Elliot and their daughter Barbara, Barbie,s namesake, who reveal the history and fantasy behind this 20th century icoi. As their tale md several others who have bought Barbie, refused to buyher, or who customize her, builds to a climu, it's clear that Barbie Nstion is not just about a doll. It's about people's deepest longings and fears. And it,s about what it means to be human in an increashgly artificial, mass-produid world.

from Bubie conventions to anti-Barbie demonstrations; from San Francisco,s gay parade to croatia's bunkers. Barbie fans, foes, md fetishists are all here. At the center ofthis cllorful storv is Ruth Handler, the woman who invented Barbie md with her husband Elliot founded Mattel, I'nc.

BARBIE NATI0NT AN UNAUTHORIZED TouR - Asian sweatshop Bubie? s&M <lress up? Barbie painted gold md nailed to a cross? This provocative documentary blows the roof off tire world's most popular toy. Investigative journalist -turned -filmmaker susan stern takes you deep into the Barbie doll world,

care in the least about the history ofelectronic music, it dosn,t matter, because Philip Anagnos docmentaryabout composer Bruce Haack is so good you,ll shityour pants. I'm not kidding. Using animation and every technical/visual trick he could dieu- up to compliment the bizarre sounds of Haack's music, Anagnos creates a perfect match of mediums. The film kicks off with Haack s seminal appearance on Mr. Rogers, Neighbourhood with longtime collaborator Esther Nelson (Haack and his roster of stringe machherywere so far out they made Mr. Rogers seem normal), and follows him through tie creation ofDimension 5 Records and the myriad commercial disappointments that pl;gued him until his death. Specializing in records for children, his musii ms thematicallf coimic and unconstrained -- like Joe Meek s 1 Hear A New world times renl with album iitles like The Way out Record For Children, Electric Lucifer, Cqptain Entropl and the nihilistic Haackula' it's kind of surprising that Bruce was even allowed near clildren. stiil, one can only wish they had a mentor like Bruce Haacb a dude so cool his swan song was a rap collaboration with Russell Sinmons. - Kier-La fmisse, Rock n' Roller

Ifyou don't

approaches a film on this topic with a sense ofhumor; surely it couldn't have anlthing other as st/? clzb D/s inches ever closer to its conclusion, it becomei more and more disturbing, until you are choked-up with a combiration ofcontempt and pity for those who would playthe tunes at your loca.l peeler bar. It turns out that the DJ is the nene center for the whole operation: not onlymusthe spin the discs, he must also arrange who has the rights to certain songs. quell unrest amongst the dmcers, and act as security guard to ensure that iire vlp room hasin't turned into a bawdy house--unless, ofcowse, he's bein-g tipped to look the other way. But the film is more than the nuts-and-bolts of the operation. rhe i"tewie- subjects tre unifirmly jaded: they've seen too many disgusthg goirgs-on (and maybe participated in them) to view the job as anlthing other than something to get away from, md theii mixei emotions are palpable by film's end. The environment, with its easy sex md plentiful drugs, is cond.uctiye to ali-ann., of self-destructive behavior; one DJ has acquired a coke habit that';already given him a heart attack. As such, it's guuanteed to make you look askance at the very idea of a sirip club (assuming you don't already). - Film Freak Central

thm good ribald laughs. But

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10 Under 10 isa collection ofshort documentary 6lms by

UT Doc Fihn students,

co-sponsored by the Austin Chronicle and the UT RTF Department' At the time of this printing, we're not sure what willbe screening in this *onih', prigt"-, but keep checkhg austinflm org for

utdiot't miss the best docs in town.

opd"t.r,

thii

special screening of some

of

legend, the Russian director Pavel Klushantsev' A fascinating portrait ofthe life and times ofan unheralded filn fiction genre while wJrking-.at th:,"ti1i",t",Si:f-t-t":tl::q..(*:1 Klushmtsev was a pioneer it tf,.,"J* ten vears berorei(ubricks 2001: A spa,ce odvssev' that i; lt,ott.d in filming the stars and planets, as well as creating the r"t.*t"g (whose set design "lrrriqoes ifl".l"". rp""?,r"r.l "rd i.ightlewres's. It was with the releasi of his film Road to the Stars "f cast into the spotlight. Initially dismissed as was almost plagia'zed in 2001\) in 1957 that Klushentsev was ofSputnik and subsequently, the meanineless bv the authorities, it was iollowed shortly therea{ter by the launch space prcgram. ;;;;; p]|;. s;dd;nly Klushanrsev,s 6.lms came to be regarded as_ documentation of the Soviet bought by AIP, (1961) - were Sarllv. several of Klushantsev's films - including the phinonenal Planeta Burg i" i"a"a" ."qri"t.., *i h voluptuous females' and released on the drive-in ffiiil';J;;;;rii"ri^a tale of a fantastic imrtor and circuit, while Klushantsev ,"..ir.J io credit for his work. An enlightening the whims ofthe Soviet ar"*"r, *hor. a"stiny was intimately -- and tragically -- Iinked with the Space Race and frlms as well as rare, of his unreleased dictatorship, The Star Dreamer alsi features"stunning footage moving account of a man who died blind and behind_the_scenes examination of his technical wizardi. e penniless, but whose cinematic legacy cannot be underestimated' ^Preceded by a fantastical array oI sci-fi shortsl

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film! The Alamo Drafthouse presents An ULRICH SEIDL just try to show it as it really is." ;i ,ot tt . or. o makes the world shocking and unbearable, I

*t

Ulrich Seidl

The searing, challenging films of Austrian director

critical praise, md controversy,

Seidl have rarely been shom in the U S ; but the name only' Seidl's engrossing' often "* ideals of portraiture He makes you share the loneliness and qrotesoue works draw on "lght..nth-.3tttry attacked for shocking, at times obscene images, but at their aequently

tllrich

gto*i"g Docmentaries in

;;;#;#;,;i"4,
iore

."ii.lJLi,

such images expose a diseased society'

once comical and disturbing' One of This Dortraval of animal lovers in the director's home country is at on a controversial films (even the trailer was banned in Austria!) focuses ;ffi;;idi,;';;rn".r"rs-"ra Animal tot"ty"p.opt" *tto turn to their pets for emotional love and physical affection' ;;;;';i;;.;;,dy noble_and redeeming than any Torl"'i, ununrelentingly difliculi 61m that depicts all mimals as being more "I hav! never looked so directly into hell in the cinema " - werner Herzog ;;;;;"ti.t.

RARE - RIDIGAL - RIGHi;OUS A ma;$ine collection of film on [}VI} & vt-ls

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enablehim to jump t}re St Lawrence seawayfrom the USA into Cmada. He should have just used the Ambassador Bridge. The events that we watch unfold become a comedy oferiors m a scale so monumental it practica.lly lobbies for a renaming of Murphy,s Law in honor of Carter.
The pitfalls carter experiences are best left undisclosed here, but his quest is a captiyating story. A great cast of 'supporting characters' drift in and out of the filh, a[ promoters oi

that truth is stranger (and funnier) thm fiction. Stu of the show is ,Mad Canadian, daredevil Ker carter, whose speciality is jmping cars. His drem is to go one better than Evel Knievel's famous leap over the snake River canyon and build a rmp and car that will

You might think this docmentary is a put-on after the first ten minutes - the kind of thing stunt-comedian 'Super Dave' Osborne might come up with - but it,s further endorsemeni

stunt performers (including Knievel himself) with their own opinions of Carter and his harebrained stunt- Taking central place among them is Carter himself, congenial all the while (compre him with fellow stuntman Ken powers near the fllmis end) and maintaining an optimistic perspective while he suffers one setback after another. Carter remains equaninous throughout the entire project, proving that he is either a nice guy or just plain nuts (he's probably too fixated to get genuinely ang4r). Born to hustle, he ihares with his adrenaline-hooked buddies an unfortunate tendency to deliver one clumsy aphorism or mixed metaphor after another - even his last words are a misattribution of a Crosby, Stills md Nash song - but at least this proyes that Carter is the kind of everyman that we could easily root for.
The preparations for the costly stunt stretch out to months, then years. Like Carter, we too

never know what is around the corner, and become just as frustrated as the players

is very effective) until the tension ir the lilm's final reels is unbearable. Guaranteed to produce laughs and gasps from the audience, there's no reason why this obscure gem shouldn't become a regular on the festival circuit. Don't even try to guess the real-llfe tivist ending!

fi1m who keep waiting for something to happen. Film-maker Robert Fortieiwings every last drop ofexpectation out ofus, seruhg up one false alarm after another (the use o=fmusic

ir

the

In memorim: Nina Simone, 1933-2003 In honor ofthe great Nina Simone, The_Almo Drafthouse presents this extraordinay, rarely seen docum ent of a 1976 Pads concert. Simone's artistry defies classification. From the 1950s until her passing away iast spring, she continually collapsed musical boundaries, roming across classical, jazz, blues, folk, pop. *d so-ol -ori.. The urique perspectives md social.protests-in her songs hm inspired generations. And of course there is her voice - a potent instrument unmatched in soulful emotion and deep texture. The 70s was a turbulent time for Simone. Embitter^ed by racism, war, and music industry_greed, Nina renounced her homeland in 1969 and becme a wmderer, roaming the world. The mny musical moods of this legenday songstress are captured in this riveting performmce. foin us ii celebrating the often unpredictable md always breathtaking High priestess ofSoul. - peter Lucas "This isn't so much a concert as a work ofperformmce art, one ofthe best l,ve seen. Jonathan Rosenbaum,
Reader

On the 11th April 2002, the world awoke to the news that Venezuelan President Hugo Chavez had been removed from oftcc and had been replaced by a new self-appointed "interim" government. New-s report after news report caried storiesofthe mayhem in Caracas, where 1l people had been kilGd in what were alleged to have been bioody street batdes between ChaYez supporters md m opposition march. Viewers all over the world-rere led to believe that Chavez had ordered the killings, and had therefore been forced to resign. What in fact took place was the first coup of the twenty first cntury, md probably the world's lirst media coup. Venezuela is the world's ath largest exporter of oil, and the third highest supplier to the United States. In 1999 Hugo Chavez had been democraticalli elected president by a lmdslide majoriry promising to end corruption and re-distribute the oil revenue to the 8070 of the population who lived in poverty. But from his first day in ofice Chavez faced powerful enemies both inside and outsidJVinezuela. Just over 12 months ago two Irish documentary-makers, Kim Bartley md Donnacha O Briain travelled to Venezuela to make a film about this charismatic and unorthodox world leader They met with Chavez md secured his permission to have firll access to film, what was t3 b3,.m.ul-.9lose and_personal profile.F, It tuned out to be something completely diferent. "The Revolution Will Not Be Televised" is a thrilling insight into Chavez, charting the last seven months in the ru up to the coup and his drmatic return to power some 48 hours later. Never has suchl range offootage of Chavez, the new icon ofthe left and the thorn in the side ofthe US Administration, been assembled in oie documentary.
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THE FA|RWAY OF SHADoWGTEN OOIF COURSE tN MANOR;iX FEAIURING A LIVE CONCERT BY THI }'UPPIE PRICKS!!! GOIF BEFORE OR AFTER THE MOVIE!! The Rolling Roadshow is kicking off the 2004 season with a whopping shot of Vitamin G, as a_vcritable dremteam (a 'triple birdie', if you will) of 80s-conedims - Chery Ch.am, Bill ng{ef Dangerfield - head up what is undoubtedly the greatesi {ug.af, golf movie oI all lime! The Alamo Drafthouse is teming up with Shaiowglin Golf Course in Mmor (dubbed 'Bushwood Comtry Club' for our our purposes) to 6ring you the ultimate synthesis in golf, beer ard movies! The movie starts a[g:30pm. Theri'are
four ticket options:
1)

ftiAY

UI.TIT,IATE TADNY$IAGI(
l, oN
Admission to the movie and a Baby Ruth Caldy Bu. pRICE - g10

EXPERIET'IGE

2) Admission to the movie ald 30 minute session with a large bucket of balls at the chiving range (and lomer dubs if needed) md a Baby Ruth Candy Bar. Driving range activitim this option begin are staggered al approximately S:30p+ b:15=pn, -& _for 7:00pm.(Click on your prefened time when purchasing tickets). pRICE - $15.

t holes of golf before the movie and a Baby Ruth Candy Bar Includes cart rental! (note, golf will be shotgun start, all fouisomes will start
3) Admission to the movie,

simultaneously on dif{erent holes). 9-hole golf starts approx 4pn. pRICE - g25.
4) Admission to the movie, 7 holes of

night golf afler the movie, 2 glow in the dark golf balls, cart rental md a baby ruth candy bar. Carts will be available for use with ihis oq!o1 ,ln{ lemenber - golf carts are better than caddies because they can't count,
criticize or laugh at you. PRICE - 939

filAY 8: THE OENERAT ATONG THE RAILROAD TRACKS lN BURNEL TX

"[Keaton's filmsl have such a gracefirl perfection, such a meshing o{ story character and episode, that they unfold like music." - Roger Eberi, CHICAGO SUN-TIMES We'll be taking a 2 hour hain ride out into the boonies on the vintage Austin Steam Train. Duing the hip, we will seroe you a southem barbecued pork picnic (veggie options available) ard a glass of wine. We will then disembark from lhe train, sittle into a rural pasture in Bumet and wait for the sun to set and the show to begin. Guy Forsyth will be perfoming live his score for a pristine archive 35m print of Buster Keaton's pimacle film achievement, Tlrc Gnnal.

BUSTER IATTn{ EXPERIHIIGE

UTTIt'lATE

plalng the sawblade... my god" I just started crying al the perfection of sound and silence..... Jusl so you know, I drank only pure spukling tap water tonitht/ no booze, no inebriation. I'm drunk instead on this experience. One o1 the greatest nights of movie going I have ever had. " - Harry Iftowles, A in't lt CooI Neas, after first witnessing Guy Forsyth's live score forThe General Guy generally
"When Guy begm perfoms as a quartet. This night, however, he will have a quintet, the fifth member being a 44 ton vintage locomotive, somding off on cue. This evening we gurantee will be spectacular. Seating on the hain is limited, so please book erlyl - Tim

We are once again proud to be providing special assistance for this spring's movies in lhe park series at Republic Park in Austin (4th and Rio Crande streets downtown). The movies are free and fun for the whole fmily. This spring we will be {eaturing a retrospective of the sublime Christopher Guest mockumentries.

il,loutEs ll\t THE piqnk

April 30th,
E.T. The Exhatenestrial (Special Friday

Time Wmer Cable Austiir and the Austin parks Foundation presents

Look for preshow fun before each film as well as vintage hailers and surprises! Movies begin when the sun goes down, about 8:45 in early May. Night Family Movie)

(BI!fi bike dmonshations)

Thursday nights/Christopher Guest Rehospective May 6th, SpinalTap May t3th, Wnititg E or Gufnnn May 20th,Best in Show (Dog show planned with a local best in show competition)
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it nothing more than a publicity stunt designed to generate extra web trafic in the month before SXSW? Or did they have noble goals, lofty ideals, like the pursuit of true cinema, or the desire to master a craft? Or are the four housemates from Indiana who collectively refer to themselves as The Late Train simply a little bit stupider than the rest of us? They refuse to answer my of these questions, and repeatedly deny requests from their loyal fanbase for some sort of explanation. But the fact remains that throughout the month ofFebruary (and into the elusive February 30ih) The Late Train accomplished the Herculean task ofmaking and uploading a new movie every day. Please, allow me to repeat that for emphasis: These guys made a new movie every day for a month. And now, the truly shocking part of the tale: with very very rtre exceptions, all 30 of the results are funny. In a
Was good way.

From the first film in the bunch, when the creators stare bleakly into the camera md try to uderstand the emotional and physical pain they're about to put themselves through, to their declaration ofFebruary 30'h as International Peace Day (no violence has ever occurred on that day ever!) these shorts will have you laughing, gufawing, and maybe,.just maybe, you'll learn something, too. No, you probably won't learn myhing, actually.
But thanks to this talent for creating funny streaming fideo content on the fly, the boys of The Late Train have begun to make a name for thenselves. Theyt'ere m official selection ofSXSW Interactive 2004. They've won the coveted S 100 prize at Open Screen Night. And some ofthem have girlfriends, too.

in the past if you wanted to experience the brilliant comedl of TLT you had to either watch it alone on your computer or show up at an episode of Open Screen Night and hope that they brought something to show. But now, at long last, Two Note Solo and the Alamo Drafthouse are proud to present The Late Train in their very own showcase show. Part DVD Release Parly, part theatrical premiere of the 6Lms from the Self InJlicted 30 Day Film Fesf, this one night only event will showcase eveq'thing the Late Train is becoming famous for.

"This film is not actually a scene-for-scene remake of the George Lucas landmark" although it shamelesslypirated the special efects footage from the 1977 original and tacked it into a feverish nightmare ofcelluloid dementia rvhich needs to be seen ifonly

to prove how fu the minds of lunatic

filmmakers can run. Long ago

in

Turkish-speaking galary far, far away, the universe is being imperiled by a quartet of evildoers: two bush-haired men wearing Mardi Gras costumes, a slutty babe dressed as Cleopatra, and a blue robot with an ambulance light on his head. Their fleet of spaceships go to war against the flying saucers of a heroic group of rebels, and for several minutes the screen is filled with F/X footage from a battered print of "Star Wars." There's no Luke Skywalker here, but instead we have two mrddle-aged space jockeys (Cunelt Arkin and Ayetkin Akkaya) who are leading the rebel attack. Unfortunately, there was no budget for a spaceship set here, so the heroes are photographed in very tight close-ups while footage from Star 14'crs pla,vs on a rear projection behind them." - FiIm Threat
The story follows some elements ofthe Lucas original (alwavs intercutting back to the original source material when marginally appropriate), there s a lovable robot, and mechano-voiced Vader guy, an imprisoned princess and some siormtrooper q/pes.

But there are also mummies, paper mache monsters, a trul1'rvacked out rock punching training regimen, literally dozens ofbloody decapitations, gratuitous use of
trampolines, rubber-suited monsters, and a space gorilla rlith tinsel draped fingers who may or may not be a Chewbacca figure. Although thousands ofvideo junkies md fringe dwellers have seen the majesty that is TURKISH STAR \{ARS, I assune that an hfinitesimally small percentage of even these people have ever understood the dialogue (all video copies are in Turkish only). We have spared no expense, hired ACTUAL Turks, and transcribed this baby in its entirety. You wili not belierc your eyes, and no you won't believe your ears. Foleywision's TURKISH STAR WARS is the cinematic event of the new tnillennium, a true holy grail for all rvho crave the liner things in life. For the love of god, DO NOT MISS THESE SCREENINGS! - Tim

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"This is Folelvision (formerly Buzz Moran's Kung Fu Masterpiece Theater), another entry in that burgeoning new genre of Alamo Drafthouse piogru^s thai combine screened films and. live performmce, often for the benefit of a lavishly soused audience. .. But Buzz Moran takes the performmce aspect of these progrms even further, rescuing forgotten kung fu movies 1iom the grimy mists of the seventies and retrofitting them with new Jubbirg, music, and -ambitiously radio-play smnd efects, all performed live at the foot of the screen. While ihe Kung Fu Masterpiec Theater's closest comparable mtecedent may be woody Allen's 1966 fapanesJ spy spoof Wha{s Up, Tiger Lly?, Morm and compmy are actually doing something quiie diferoi here, deriving their humor not from overdubbed gags but fiom a coirbination o?virtuosic foley work and a poker-faced reading of the films' origi'al English dialogue, inscrutable trmslation quirks and all. And so, as the THEY perform an originallive score to the film, Moran and his fellowactors ALSO reverentially intone such awkwud lines as "He won't escape, not after I blast him with mygreat undefeatable sola ray!"while sim'ltaneouslyproviding sound etrects through such unlikely methods leaping up and dom in troughs of gravel, Jhaking huge sheets "of _as galvanized metal, md banging coconut halves on a thin strip of wood. ..1ire cireful work necessitated by such an essentially respectfirl approach to (the film) pays of, though, &om the very moment the projector is switched on; in the first shot of a lone warior brandi$hg a sword in a b.'.'lding-grore, the chirping birds, soft music, and light swooshes immediately-pull the viewer in to the charming world Moran and his collaborators have revived in this battered old print. Rote fights become exciting, character relationships become involving, and nuances ofplot even become * gasp! -- comprehensible." Moran's respect for the kung fu g"enre coupled with his love for the wholesome wonder, loopy somd efects, and corny gags-of ridio's Golien Age __ a love that even extends to the four's adopted wardrobe ofmatching white button-dom shiris and black neckties -- invests his Kung Fu Masterpiece Theater with a droll charm md geeky exubermce. - WtllShefr, Austin Chroniclereiw.

This months entry ir the series is Deadl7 Silver Ninja. Traveling around md fighthg evil-doers in what looks like a homemade Space Ghost costume, the Deadly Silver Ninja hides this secret identity by pretending to be an ordinary trJveler-who fights evil-doers. But when the evil-doers hatch a scheme to steal an mct copy ofa treasure map tiat they had-already stolen five years previously (and hadn{ bothered to use), the whimsical Ninja joinsiorces with an old, blind kung fu expert and his beautiful kung fu expert daughter to stop the evil-doers with expert kung fu! Sound convoluted? tioi. doni t row the half of it! This masterpiece will receive the full attention it deserye when Buzz Moran md crew perform ill of th. diulog, sound effects, urd -rg. live in the theater!

Mr. Sinus loves a good chick flick, md this is one of the goodest: a 1980's Romeo md Juliet story stilring Molly Ringwald as a poor teenage taiior who falls. for a preppy and destroys a Duckie. While the bright colors are fun, the synth-'band music inspiring, and the brat-packy cast_exceptional (Harry Dean Stanton, ton Cryer,lmes Spader, Andrew McCarthy, Andrew Dice Clay, md Showgirk' Gina Gershon), the serious high drama (it was writer John Aughes' first non-comedyj corny dialogue, md that butt-ugly prom dress ultimately make PIP a plump md juicy tomato for [rm, john and Owen io skewer. Cme dressed n yotr pink best, and join the Sinus crew as they utilize tireir sharply honed mockilg skills to finally give Ringwaid a little payback for breaking a geek s heart. - ferm pollett. Editor's note: It is worth mentioning that after directing fou mega-blockbusters in just 2 years , Johl Hughes took some time off and phoned this one in from the beach, ripphg the storyline fiom Valley Girl and hiring first-timer Howad Deutch to helm the picture (who also directed Hughes' S ome Kind of Wonderful).

"Sweep the leg, Johnny! Sweep the leg!"

After numerous requests, Owen, John, md ]erm ofMr. Sinus have agreed to take on the 1980s comirg-of-age classic The Karate Kid. You'll recognize thi setup: the new kid in town is having trouble fitting in. Does he turn the town upside-dom with
dmcing? No. Does he befriend m outer space alien? No. But he does learn the mcient

art of KaraG by performing a series ofhousehold chores for an aging Asim jmitor. This movie birthed the Karate craze that swept the nation in the mid ii80s. It also put Ralph Macchio on the map...md left him there. Put on your robe, tie on that black belt, and come join the Sinus boys as we jowney back to a simpler decade when
teenage angst could be mellowed by learning to "Wd On, Owen Egerton, Mr. Sinus Theater 3000

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Dlring the day a niid-mmnered computer tech support technician, Skip Elsheimer, 36, spends most of time and money collectirg, aichiving md presentini old i6mm educational films. What started as a hobby tln years, tie colGction hai gJom to oyer 13,000 films gathered from school auctions, thrift stores, closets and dmpsters. Skip recently purchased m old boarding house with eight bedrooms _ five of which are filled with films. He's going throulh his immensJcoilection and bringing two all-new progrms of classic filrns to thJAlamo for one-night only this year. At 7 pm he's got "The Sound of Centron,', honoring ]im Stringer, the soundtrack composer and frequent actor ofmmy classic Centron educatio;d films. The show yn ft1*_" many popular fllms such as the shoplifting classic, ',Caught In A Rip-Off', the hip VD fiim "The Lmatic", the gorey but catihy industrial sifety film "Shake Hands with Danger" and more. Jim will be in attendance and will talk about the films and his work with Centron company. This is a must see!
ofbrattybehaviorinschoolchildren. Thiscollectionincludes.MeTool,;,inwhich m mgst ridden kid runs on the beach stepping on things, leaving us to ponder why he'sso angry. "Parents: Who Needs Theml" where creepy hand'puppet decides to teach his yomg omer a lesson by turnhg him invisible, ind a wholelot more.
Al_9:45 pm_it's "Anatomy of a Brat," school films that desperately attempt to head

"A balls-to-the wall rock 'n' roll erric" Film Threat ''A savage send up olindi.pos.uri" - Resonance

lllk_pof PBS

ln4nore ,,mo^cking shot-on-video scumrockisMorttsugu'slatestouting,whichcontraststheresiectiveirialsof an aspiring filmmaker named Miles wltir tralr and even bigger dreams, md Rony -biq (Moritsugut wife and muse Amy Davis), the bitchy frontwomariior SF band The puerto Ricans. Technically, Moritssgs's films - while remaining steadfastly underground _ have moved toward a more polished aesthetic. That is, mtil slcumrock, which iia deliberatery low-fi statement against the digital revolution. But Moritsugu,s energy is contagious, mi scumrock's dialogue, characters and pacing are right on the m-oney (itsilundtrack]featuring The Gossip' ]-church and Mel Davis is worth the admission aione). "scumrock works because its guts. are in.harmony with its skir. It keeps charging forth, held together by its
studded rocker belts." (Magnet)

Posited somewhere betlveen violent rebellion and m impenetrable apath1,, Jon Moritsugu,s films (Sleazy Rider, Fame Whore, Mod Fuck ixplosion, My Degeneration and,"the funded Terminal USA among thcm) are. the only American fitns tfrat funry "." vigor. Th! th.elr subjects, their audiences md themselves with equai "r",

Don't miss this special screening, with

live performance by I_CHURCH!

Before ordinary troubled folks were pouing their hearts out on every talk show, Spalding Gray was eloquently spinning every episode ofhii life into monologues filled with humoor and d.spiir. F"ns would pay to watch a lanky mm with wiry gray hair sit behind a table and taklbout his latest misadventwes involving ex-girlfiiends, witch doctors, bad dlug. trlls and new heights of neurosis. Films hke Swimming to Cambodia, Monster in a Box and Gray's Anatomy made us feel intimately connected to this man who so bravely and hilariously shaed every aspect of his relentless self-examination. Thus it comes as no surprise that m entire nation has been grieving since his body was found in the East River in early Mach, the cause ofdeath srrpecied to be suicide. The Alamo Drafthouse is proud to present one of Gray s most famous monologues, Monster in a Box (directed by Nick Brcomfield, Biggie &Tupac, Aileen Wuornos: The Selling of a Serial Killer) as we celebrate a great mind, forever lost. "There is nothing, no other life ofmine to compare this to,,,he said in Morning, Noon and Night. "There is no way ofknowing what the right decision in life is if you have no other life to compare jt-to. We ue l'ike blind people backing into the future, living for beiter, or for worse.',

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w.ith ANN SAVAGE and EDDIE

1VITJLLER -

LIVE IN PERSON!

"Ann Savage is terri$ing from her first glance. She was either a great unsung actrss or a crazy woman who just happened to get fortuitously cast and was merely playing hersell" (imdb user comment) Ulmer's cinematic world was most often peopled by the dispossessed and the disinherited whose perception of society was formed from the outside looking in, and the maverick Viennese director's best-krown film, DETOUR (1945) is no exception. Shot in less than a week for PRC, DETOUR makes (inexpensive) use of a handful of interiors-nightclubs, roadside diners, motels and hotels-- that, while not inherendy sinister, nonetheless reflect in their mockery of hearth and home the estrangement of their patrons, welcome as they are to stay as long as they have the "jack" to pay the tab. What makes DETOUR (arguably) the finest film noir of all time is in the a'ay it internalizes dre requirements ofthe subgenre; by the time that hitchhiker AI Roberts (THE BRLITE MAN's Tom Neal) steps up to take his lumps from destiny, there is no need for interference by corrupt cops, cuckolded crime bosses or mendacious femmes fatale. Through a tl?icaliy Ulmeresque combination of fate and poor judgement, A1 attempts to evade liability in ihe death of a stranger (BLACK FRIDAY's Edmund MacDonald, who really did die premature\) by aligning himself with the unstable Vera (Ann Savage), who proceeds to make his life a lMnghell. Far from being a 40s FATAL ATTRACTION, DETOUR's perverse allure lies in Ulmer's suggestion that Al and Vera belong together. While Al and dishy fianc6e Sue (FACE OF MARBLE's Claudia Drake) demonstrate little heat, it is the dissolute Vera who pushes his buttons and provides his existence with structure-- proving, however corrupt, a true life force. However maladroit, Vera's attempts at seduction communicate her sincerity to connect with someone she recognizes as faniliar ("We're both alike, both born in the same gutter"). When Vera reminds Al that "there's plenty ofpeople dying this minute that would give anlthing to trade places with you," the tragedy of DETOUR reflects not Al's inability to reunite with Sue, but his refusal to accept that Vera is right We are pleased to announce that Actress Ann Savage and the official "Mayor ofDark City" - noir expert Eddie Muller will be present to introduce the screenings, and conduct a Q&A afterward. Eddie and Ann rsill also be signing copies ofEddie's critically acclaimed book Dark Citl Dames, which is an examination of six unsung stalwarts ofnoir, among them Ann Savage. For more information on Eddie Muller's amazing catalogue ofliterature, please Yisit

w.noircity.com.

Tuesday

April

13, 7pm AlamoVillage:

TASTE OF CHERRY (Ta'm e guilass,

chilly abstnction to hot emotion in seconds." (LA Times)

Tuesday May 4, 7pm

less

than 60

impassioned plea for liberation that resonates long after the film is over." (Pam Grady)

Abbas Kiarostami, 1997)

Preparing to commit suicide, a middle-aged man drives aroud and tries to find someone who'll bury him ifhe succeeds, and rescue him if he fails. It s a resonant, subtle treatment of a diflrcult topic that doesn't moralize or draw easy conciusions. Kiarostami uses minimalist means to say a great deal. And he has taken a most despairing subject and used it to evoke a rnuch more complicated set of responses. Suicide may be at the heart of the plot, but the director has said he wanted to make a lilm

A iltOMENT OF INNOCENCE (Nun

Domtom:

va

Goldoon, Mohsen Makhmalbaf, 1996) A Moment of Innocence is a tric$ Pirandellian meditation on memory, character and history that lures us into a Chinese-box-like world of contradictions and enigmas. In 1974, when director Makhma.ibaf was a 17-year-old rebel protesting the Shah's regime, he stabbed and seriously injured a young policeman, lvlirhadi
Tayebi, while trJrng to steal his gun, and ended up setring six years in prison for the crime. Released after the Islmic revolution, he became a filmmaker. In 1994, while he was looking for nonprofessional actors to appear in his movie Salaam Cinema, who should audition but Tayebi, now an actor? (New York
Times)

TuesdayMay 18, 7pm Domtom: LEILA (Dariush Mehrjui, 1996) When diagnosed irtertile, a happily married woman finds herseff pressured to allow her husband to take a second wife. Through her own self-doubt, she becomes a compliant tool of her mother-in-law's plan, and through one concession aiier another, she sabotages her own marriage. "Leila is a richly developed psychodrama that reveals the crucial role

self-esteem plays

in our

relationships."

about life, not death. And he has.

Examiner) Tuesday, April 20, 7pm Village:

(SF

(Spi itualit1 and Health) Tuesday May 25, 7pm Domtom: CRIMSON GOLD (Talaye sorgh, 2003)

THE DAY

BECAME

A WOMAN (Roozi

The latest from the director

khe an shodm, Marzieh Meshkini' 2000) "A bold, vibrant piece offilmmaking that dares to not only question the justice of sexist orthodory, but to demonstrate the poignancy of ]ives trapped and twisted within its confines." (Ken Fox) Tuesday April 27, 7pm Village: TEN (Abbas Kiarostami, 2002) "A conceptual tour de force and a brainiac's road movie, Abbas Kiarostami's Ten goes from
P0 22 -

of The Circle, Crimson Gold has been called the Taxi Driver of Iranian Cinema. "Crimson Gold is a serious,
unsensational exploration of
class

TuesdayMay 11, 7pm Domlown: THE CIRCLE (Dayereh, Jafar Panahi' 2000) The Circle is not an easy drama to watch, its iniustices piling one after another into the celluloid equivalent of an unending scream. But it's also impossible to turn away from the

discrimination and urban alienation ir a large citl - in this case, Tehran - seen through the eyes of a pizza delivery man whose job exposes him to a wide cross section of society. Written by Abbas Kiarostami, the film is at
once a boldly conceptuaLized

drma,

complex

images of these women and the society determined to break their spirits. It's an

character study, and

a gripping suspense

thrller."

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CAULDRON OF DEATH - APR 7 ltlz: d. ttllo oemicheli) Not a horror film despite the lurid title. This is a tough, violent, raw, NASTY little Italian gangster movie with a few horrific elements thrown in for exploitation value. A greedy mobster uses a vat firll of acid to dispose of his enemies American drifter chris Mitchum (Robert Mitchum's kinda dorky son) and red hot Euro stariet Barbara Bouchet (ouchl) run afoul ofthe Godfather' oh nol Will they survive? who cares? All you need to know is: bad dubbhg, cool cars, fly clothes, kickass fuzz guit".rorrjt.u.k, lott" ,oolens, and full-on naked eurobabes. Uh huh. - Lars
Oszod. Freddie Francis) A vampire comedy along the lines of polanski's FEARLESS VAMPIRE KILLERS. Brilliant, it isn't. But it is loacied with dozens of the most eyeball-friendly.u.ecotiei barinf a lot more than just theh fangs. The lame gags may have been ftinny in the original german ( though I doubt it), but dubbed into .rgli.h th"y us ue a tree falirg

brillimt

THE VAMPIRE HAPPENING - APR 14

-uy -e'll inthewoodswithnoonearound Fearnotthough,asthelamestofjokeshaveahabitofbecomingwildlyfunnywientheclockstrikesmidnightatthe

Alamo And you'll

have to admit it's pretty funny when Dracula arrives at the Vampires' Ball (it loois like a Hammer version of the Hustlers' Convention in THE MACK) in his customized Bat-CoPter. A big cinematic train weck. But fortunately the boxcars are loaded to the brim with Euro-mod glitter, sleaze and trash. Music by Jerry Von Rooyen. -- Lars

oneoftheal-timegreatbluploitationclassics. Thoughnot well known as the bigger-budget, studio-distributed hits like SHAFT and suPERFLy, cANDy TANGERINE MAN.a, one of the most popular, widely seen independent movies ofthe '70s. It's a kind ofJelcyil and Hyde story. The Baron is a middle-class suburban family man by d"y th"
as

CANDY TANGERINE MAN - APR 2l

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thelawn),butwhenthesungoesdomhe'sthekirgofthepimps.

Andlmeantopofthefoodchain,baby.

thesides. Noothermovie'noteYenTHEMACK,haspresentedsuchacolorful,fun,nastyviewof"thelife". Anyonewhoshowsupforthisoneexpecting to see a slick polished Holllvood showroom model will be disappointed. on the other hand, those who expect to see a wall-to,wall, pimped-out fashion show with thumping booty-bass and nasty, mean-spidted dialogue straight out of Iceberg slim will find themselves aloft and afloaion a purple-velvet, Hai-Karate-scented cloud nine. With flames painted on the sides. -- Lus

"r", HisRollsnoy...r.rtl"nlmespaintedon

-o*.

BONNIETS KIDS - APR 28 |Lszt a. t .*,ur Marks) The thinnest plotline inaginable (two fory sisters hit the road after killing their lecherous stepfather) is pushed as far as it can go. And I rnean AS FAR As IT CAN Go. As tasteless as it is fun, md it's a fuckin,blast. If you thought Arthur Marks'companion piece THE CANDY SNATCHERS was horrifting and ofensive, you might want to sit this one out. Il on the other hmd, you thought THE CANDY SNATCHERS was a religious experience beamed clom directly from the biain of almighty God for the benefit of hmankind -well, then you might want to wear a diaper for BONNIE'S KIDS, 'cause you're gonna SHIT! A slam-bmg {iontal assault of sleaze. This will be one of the greatest moviegoing experiences ofyour life. Mark my words. - Lars BEYOND ATLANTIS - MAY 5 Gszz a.Eddie Romero) one of my very favorite made-in-the-philippines movies. As East Eddie' a scuzzy pimp who contrives to steal a massive stash of sacred pearls from primitive isianders, Sid Haig h"s net., beer cooler. This movie also scores major '70s exotica points with it's wild analog slmthesizer-flavored score, amazing undevater mating daices, jaw-dropping tropical locations, and ofcourse the mind-altering textiles we've come to expect from Filipino movies. For some reason the goddess/prir.es, oftihe i.Lndiribe is a stone fox Amazon Barbie-doll blonde while everyone else is brown skinned with giant ping pong ball eyes! Whoa! Why can't all movies be this ful? With fohn Ashley, vic Diaz, and Patrick (son of John) wape, who can't act but has hir dudb cool -- t"rs
-alk.
lrrela.e"rqualeFestacampanile) Holtyvoodmovieshavealwayshadthebiggestbudgets,themost well knom stars' the most proficient technicians etc. But one thing the American film industry has never been able to figure ou:iis how to make good sex movies' But in the '60s and '70s European fllmmakers turned out sex movie alter sex movie, some ofthem classics, moit not, but on the whole pietty hot stuff. This movie is pretty goo$r in some ways but it carries a charge where it counts, just below waist level. It's the story of a young widow (Eurosex goddess catherine spaak) who discovers that her sainted late husband had kept a specialiy outfitted apartment for his extrmarital frolics. And what an

THE LIBERTINE

- MAY

12

apartment! Mirrors on every wall, secret cameras, built-in bondage playscape. shocked, but intrigued. Thus begins a delirious sexual odyssey. She _She's indulges her every desire until she finally finds the one man who can satisfr her weirdest, most desperate need. you won,t believe it. Originally distributed by Radley Metzger's Audobon Films. Music by Armando Trovajoli. -- Lars

KIND - MAY 19 ogztd. cudis Harrington) John Savage is excelent as a ranting psychotic young rapist who with his mother after a stint in prison. His mother, Ann Sothern, is also totally oit of her tree. He proceea, to t lU *oman in tlre vicinity, while foaming at the mouth about bitches and whores. A cheap exploitation movies ihat completely transcends "r..y its limitations dy the quality of its performmces md the simple, primal scenario. Director Cuftis Harrington, a horor movie scholar md experimental filmmaker, pr.riously the magical NIGHT TIDE with Dennis Hopper as well as a number of other interesting fllms during the '60s and 'ios. ^"de Like all of Harrington,s best films, THE KILLING KIND is psychologically dense, with layers of fascinating sexual ambiguity. An illuminating exorcism of misog/ny. Not your usual exploitation terdtory. Featuring Cindy Williams and Luana Anders. -- Lars
moves back

THE KILLING
ir

- M4Y-26 (1974 d. Henry Hathaway) A ridiculously obscure bluploitation number. And admittedly a shot in the But isn't this what we're here fori To provide illumination in a darkened world? A single candle shining brightly where there is no light? Can you aford to miss this? when your grandchildren ask you if you've seen SUPER DUDE, will you be able to looathe; in the eye and ,'yes say, I have!,, Or will you avert your eyes and gaze wearily at the setting sun, struggling to choke back the tears? Hey, it's your life! I'm sure there are tons ofbetter things to do on a Wednesday night. But as for me, I'll be there. with the huge afros and the racist cops. And the wah wah pedal. Ald the love. ,- Lars
dark

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TRACY & THE PLASTICS AND KING COBRA LIVE IN..CONCERT''!

When the Alamo saw that multi-media drem-tem Tracy and the Plastics would be heading this way on a tour (that includes a stint at the Whitney Biennial), we jumped at the chmce to have her perform at the Alamo in what will certainlybe an unprecedented evenhg of music and mayhem. "Tracy md the Plastics are the incarnation ofelectro-pmk daydreams. Tracy could be the girl who didn't pay shit attention in any ofher classes, but instead stared out the window, plottinga creative revolution. Warhol would've loved her. Tracy, a.k.a. Wynne Greenwood, is the singer/programmer. And the Plastics -- ? Nikki and Cola --? well, they come alive on a movie screen behind her. (Tracy plays the pre-recorded parts of the Plastics.) Trary shgs over rapid-fire beats, and dances like a Jzzercise aficionado. Between songs, the hiluious, bizarre dialogue ofthe, um, 'band' coupled with images of the Plastics stding blankly out at you make you feel gloriously ucomfortable." (leanne Fury, NY Rock ConJidentiall Openirg for Trary et al will be Olympia, WA sensations KING COBRA, featuring indie-rock goddess Tara fane O'Neil (Retsin, Rodin), Betsy Kwo and Rachel Carns of The Need, with their "demented blend of Devo worship, no-wave, metal, and math rock." We've been promised King Cobra underweil at the merch table.
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shift fitm Whatever happened to Chery Chase? The comedian who could so fluidlv of playlng th. iacation seles'Every Dad to the prat falling presidmts began to lose sight iris:a;er in the 90s, just like so many other once brilliant comedians who rvould go on trr and make their o* persotul Patch Atluns. (Snow Day?) But whereas Robin Wiliiams seens Eddie Murphy have been digging their own graves in recent years, Cherry's demise at to have been iorced down hij throat after the failure of his horrible, horriblc attemPts one stuck on Dana being David Letterman on his self-titled TV show. a fate similar to the Carviy. But both comedians deserve nore credit than that Clark Griswold is an A-eri.un icon, and Fletch-Fletch is a masterpiece Based on the novel by Cregorv of McDonald, Fletch tells the story of an ace rePofier who gets sucked into the rvorld way out high-priced cocaine dealers (because this is the 80s, after all) and has to fight his one liners. of"it u^sing nothing but his smart ass attitude and a barrage of successful

rolcs' SnpefT was Shot in part on location in Harlem, rrith auth.ntic PimPs and ex-cons in supporting

Priest not just'fiesh, but scandalous, thanks to its sr'pathetic portrait of a cocaine dealer named

(o'Neal), who functioned

ohserved.

urdi.r.". ,'l think it's up for

as a suave

but deadh post- Poitier antihero for an increasingly militant urban grabs rrhat is heroic in the biack community," o'Neal himself once

its cornmercial and Superfy is more significant for its 70s streer i;orographv. its hustler's attitude and tale abo't a drug dealer "trJrng to fop Jit"rut i-puit than for its cinem.rti. rechniilue. This .orality 'g"ior.a'o urtfrl und convincing, but 11 5 1.r1 2; 5ali.rhing overall as NIal4ield's score' which a.s one 'anks iith. gr"ut.rt ,o*ndtracks in riovie hrst.rn. Such songs as "I'recldie's Dead," "Pushernan" and "Little that's sometimes Chilct iunnin' Wild" aniplify the norie s thcmcs rnd add an emotional resonance absent from the clocumentary-like deirdpan t-'i Parks s stontclling priest - his long, processed hair, handiebar mustathc and nuttonchop sideburns identifing.him as a1 around his neck exotic individ;fst - is introduced to r-ier''ers snorting.oke lrom the ankh anulet ' he later tells his while a naked white woman lolls in his bed. But he s nor happr-. I'm getting out' Eddie'" 'at some iive iob for chump chmge" lit.:nl'partner ir crime. But Eddie (Carl Lee \rho reiuses to \\'ork room' and can - ir rt.p,i.ut. atrc eddie: "You gonna gire a1i this u!-? s track stereo' color TV in every it?" snort Jpiece of dope erery dayi. . Thit's the .\n.ricaD dream . . . Air'r ir? well. ain't

MCREENINGI

BYOts (BRII.{G YOUR OWN BROWNIES)! -CIGARETTE" ROIIING CONTEST!

Dazed snti Coafrsed ought to be in a prominent place at the Library of Congress, next to lnd Godfatlrcr, Antericqn Grat'fiti, Naslflille' C,itiren Kane and"other quintessentially American works. Like all those films, Dazed

it succeecls on its own terns ancl rcflects American culture so well that becones part of it. Richard Linklater's satirical tLke on high school life in the of 1970s is not only funny and entertaining, it's practically a historic document lite cluring the smiley face button era -- when people wore wide-bottomed pants, lisiened to Edgar Winter and actuallv inhaled when they smoked

marijuana. Dazed ts not a call to smoke 'em if you got 'emi nor is it a civiclminded admonition about the evils of narcotics lt's about life during wartine -- the wartime ofhigh school, where the staffis crazy, the parents are clueless and the students or. birntt". Linklater, rvhose Slacker reaped similar culturally reflective success (the angst of young Americans with nothing political or lit-e-threarening to fight for), sums up an even younger generation's absurdities, frustrations and joys There's a knowing, slmPathetic and witty spirit about the exercise that makes you laugh as you rvince, whether you inhaled or not.

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SPECIAT VILIAGE SCREENING - $IO TIX INCLUDES REAI CAFETERIA FOOD!

"Riff Randell, rock n'roller." Thus we were introduced to one ofcinema's most beloved heroines, who reaffrrmed that the primary obligation ofthe young was to rock. PJ Soles plays the irrepressible (and heinously-dtessed) champion of all thhgs rock, il particular her very favorite bmd, The Rmones. Riffs only goal il life is to score front row tickets to a Rmones concert, md when the boys hit tom -- swingrng chicken vindaloo ftom their spindly firgers as a convenible chaiots them onto the scene like the kings that they are -- Riffs drems become a reality. In the quhtessential role of her cileer, ctrtrating cult goddess Mary Woronov plays Ms. Togar, the tightly-wound new
principal on the scene who oudaws rock music and takes a particular dislike to the dmgerously popular Riff Rmdell. When Togar orchestrates a bonfire ofvalued 70s vinyl, Riff decides to head up a revolution, taking over the premises md irvithg the Ramones to become honorary students ofthe newly chistened 'Rock n' Roll High School'. The film is rife with Cormm regulars, including Paul Bartel, Don Steele as the mphetmine-driven news anchorman and Dick Miller as the befuddled and ineffectual police chief. And let's not forget the guru ofboys' room wisdom, Eaglebauer (Clint Howard of fuikpeak) - the eternal student who walks awkward iock Vincent Van Patton through his first bra-tering session and promotes general devimce among the teen populace. It's 1978 md the Ramones are in tom do you know where your children are? - Kier-La Jmisse, Rock n' Roller

Saflta Sangre is a throwback to the golden age, to the days when filmmakers had bold individual visions and were not timidly trying to duplicate the latest mass-market formulas. This is a movie like none I have seen before, a wild kaleidoscope of images and outrages, a collision between Freud and Fellini. It contains blood md glory, saints and circuses, and unspeakable secrets of the night. And it is all wapped up in a flamboymt parade of bold, odd, striking imagery, with Alejmdro Jodorowsky as the ringmaster. When I go to the movies, one ofmy strongest desires is to be shom something new. I want to go to new places, meet new people, have new experiences. When I see Holllwood formulas mindlessly repeated, a little something dies inside of me: I have lost two hours to boors who insist on telling me stories I have heard before. ]odorowsky is not boring. The privilege ofmaking a film is too precious to him for him to want to make a conventional one. It hm been 18 yeus since

his last work, and all of that time the fiustration md

inspiration must have been building. Now comes this release, in a rush ofenergy md creative joy. -Roger Ebert

losie and the Pussycats is the most criminally neglected teen movie of the last decade. When boy-bmd DuJou discovers that their records contain sublimiral messages, their wi.ly manager Wyatt (in a terrific tum byAlan Cumming) has them killed md sets his sights on fledgling Riverdale bmd The Pussycats. Renaming them "Josie and the Pussycats", Wyatt and his evil boss Fiona (indie-goddess Parker Posey) transform them into a mainstrem-fiiendly #1 act within a matter of days. While initially enjoyilg their overnight success, eventually the Pussycats figure out that they are just pams for a greedy record industry. Let me just end the debate right now; to ostensibly protest against the dmgers of commercialism and conformity while shmelessly flaunting incessant product-placement embodies all that is rebellious about rock n' roll. In a bold and
Josie and the Pussycats

clever move, the film deliberately cannibalizes its om message. isn't just a vacuous, fun film -- it's a subversive film posing as a vacuous film posing as a subversive film. As a wise scholar once said: Bubblegum music is the naked truth. - Kier-La ]misse, Rock n' Roller

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trmplanted to the big NY were working together at a consulting firm, doing "multimedia corporate shil" andhad to take the long pATH ride fro; Je;ey city to BrooHln: To break up the monotony, the trio-Paul Ahern, David Avery ancl chris Deaner-amused ihemselves by engaging in staring contests. As Paul's 30th birthday approached, "David expressed disgust at not having a more compelling reason to attend my birthday party than supplying snacks ind beer," Nir. Arern said. And so in an attempt to create a more memorable birtliday than years past, the idea oftheatrical staring contests with an audience offriends participating rvas born.
an article of clothing. After five minutes, the contest is sent into a sudden-death round of soris, in which neither contestant is allowed to blink. tsreak oDe of the rules and you lose. The contest is judged by the people in the audience closest to the bvzzer, ajeny-rlgged contraption which signals that someo-r" hu, lost their game of ocular chicken. Two cameras inside of the booth transmit the iirages to the big screen, so everyone can stare down the contestants, and thefu future competitors.
The rules are simple: You cannot smile, you cannot break eye contact, and you can only stand up to take

The idea began when three Austin locais

off

TIXAN TRAGEDYAND TRIUMPH IN THEMOVIES

RICE PROFISSOR BRIAN HUBERMAN IN PIRSONI

Wayne's epic The Alamo and Budd Boetticher's "red scare,, production, Tfte Man from the Alamo. The Alamo: Myh on Film is a defense of the Alamo story br putting forth the idea that the story is not simply the celebration of a local

In 1915, D.W. Grilith produced Martyrs of the Alamo, among the first of more than a dozen major films made about the famous siege tlat include fohn

incident but also a key

experience.

to the

understanding

of the greater American

"A really great movie for many years - Harry Knowles, A in't it Cool News

as a

child it was my fave flick."

When you think about it, Japan and Britain have a lot in common. They are both islands, they both make a really big deal about tea, and neither one can seem to resist the urge to occupy China. So perhaps it isn't suryrising that the first major Godzilla rip,olloutside ofJapan came from Britain, in the form of Gorgo. A lonely boy befriends a baby prehisroric monster named Gorgo. When Gorgo's monster mom discovers her son missing, she goes on a terrible rampage and destroys half of London in a desperate search for her lost reptilian offspring. Co directed by Hammer great Terrence Fisher.

LIVE PRESHOW PIRATE ENTERTAII'{MENT WITH T HE JOLLY GAROGERS!

Princess Margaret (virginia Mayo) is traveling incognito to elope with her true love instead of marrying the nan her father has betrothed her to. on the high seas, her ship is attacked by pirates who know her identity and plan to kidnap her and hold her for a king's ransom. Little io the cutthroats know that she will be rescued by that unlikeliest of krights erant, sylvester the Great (Bob Hope), who will lead them on a merry and madcap chase. Featuring Bing Crosby in an

uncredited cameo role!

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When people first find out that I ro the .{mo's Open Screen Night every month, a lot of them still mk me rr*rat thev need to do to submit a film to our program. What do I tell them-< Just bring it *'ith you. That's it.
It's very, very simple. - Henri Inspired by open mic nights at vou local cofee house, we decided to put together the best bring-your-or.a-rideo night that s going on anlvhere in the country. The concept is simple: r-e rill short mlthilg you bring with you. Anything at all. That's the rrhoie point, see. You bring in a tape or a DVD, and then we all rratch it together on the big screen. You can bring in m old Lego animation -rou made rvhen you were 8, your thesis film from college, or a chuch routh group training video that you bought off ofEbay. Anlthing you'd lilie to shors m audience. Anything at all.

$1oo PRIZE

T0 AUDTENCE FAV0RITE

tape. We have a rowdy audience, too, so generally after the two minutes is up,

theyll boo and yell out for the gonger to do their bidding. The final call, however, rests in the hands of the person with the mallot. That person can gong a movie that everyone loves if he so chooses, or he cm Iet a movie run
that everyone's booing. It's all up to the gonger. Rule #3: As an added incentive to bring something entertaining, we've set up a few prizes as well. At the end ofthe program, we ask the audience to vote for their favorite video by a round of applause. The winners get $100 in cash that night, and then are also given the opportunity to have their work screen for two months online at M.twonotesolo.com, as well as every othe routlet we cm think ofto make more people see whatever the heck you want them to. Rule #4: Rule #4 isn't really a rule, but it is somethilg important that you should take note ol Unfortunately, we can't guarantee that when you bring a movie we'll get the chance to play i.t that night. We select movies by random lottery and play as many as we can fit into the two hours allotted for the show, but that's all the time we've got. If 500 people bring movies with them, there's no way we'll show them all. If 50 people bring movies with them, we won't get to show them all. If 15 people bring 8 minute moyies, then that's all we'Il get to show, unless some ofthem get gonged. And so on. Proceeds generated from Open Screen Night go towards publishing Two Note Solo, Austin's best free literary zine, where we'll print words about anlthing, provided it's all good.

We do have a couple of rules that help us keep the show running smoothly, but nothire that Limits the qpes of thirgs you can show.
Rule #1: At most Open Screen Nights, we don't play any tape longer than

8 minutes long. Lots of people bring stuff in, and we've only got two hous, so rve don t let vou bogart the whole evening with a rough cut of you featue frlrn. Once every three months, though, we hold a special "Long Fom Edition ofOpen Screen Night, and at that show we'll play mything for up to 20 minutes.
Rule f2: Sometimes, people bring in horribly unentertaining movies that could only possibly be funny to the people involved in making the video. To make sure *rat the audience is involved and gets a show that's fun to watch, we bring in a gong to each show and put it up on the stage at the front ofthe theater. At the beginning ofthe program, we pick one random person in the audience to be our oficial gonger of the evening and then hand that lucky someone the mallot. Every video gets 2 mhutes to play with a quiet audience watching closeln md during that first 2 minutes it cm not be gonged. After our stopwatch hits 2:01, though, the oficial gonger can get up out ofhis seat, walk down to the front ofthe theater, and whack the gong with the official mallot. Anltime that happens, we stop whatever we're showing and moye on to the next randomly selected

WIN A CHANCE AT AN AII.EXPENSE PAID DREAM DATE

I don't like reality dating shows on TV. I can't sit through an entire episode without feeling mcomfortable. Not because the people are mean to each other or mlthing like that, butjust because they're always aspirirg singers, actresses, models, or some other weird class of people that only exist in L.A. and Miami. Occasionally one ofthe shows will shoot a few episodes here in Austin, but even then they seem to find the creepiest people I've ever seen who claim to be locals. How do the producers find these people? Why do they cast them?
The Alamo's new reality dating show, CHEMISTRY 101, aims to fix all that. We don't have producers who scour a collection ofheadshots and videotaped submissions looking for the perfect couple to set up for a horrible date: instead, we have m audience. At Chemistry 101 shows, we pick who our next potential daters will be with a comedic quiz covering all things romantic, and then in the end the crowd will get to decide who ultimately goes on a date with whom. Will they try to match people up for true love, or will they purposely mismatch people to make a more entertaining show? I'm really not sure, and that's why I wanted

to put this show together.

win a free date and meet your future spouse. Or come out to the show ifyou're sick and tired ofall the damned lovers in the world md you can see to it that the two people who are perfect for each other don't get to go on a date together. You could also come out to the show in an attempt to embarrass your newly single friend md make her go on the date, but watch out, because ifyou score better than she does on the test, you might find your next date
So come out to the show if you're looking for love, because you iust might

taking place on camera instead.

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