Trailer: 1994 (September Brunch & Midnite at Nitehawk)

Find out what happens when you acquire a 35mm print of True Lies as Nitehawk travels back in time twenty years to 1994 this September…shoop!

Purchase tickets for Nitehawk’s 1994 films here!

 

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Q&A: BAD BRAINS LIVE with Darryl Jenifer

For our July Music Driven entry, we screened two live films from legendary D.C. hardcore band Bad Brains and invited one of the band’s founding members: bassist Darryl Jenifer to talk it out with Sacha Jenkins, a “television producer, filmmaker, writer, musician, artist, curator, and chronicler of hip-hop, graffiti, punk, and metal cultures” (that’s from Wikipedia).

The two spent nearly an hour talking shop on Jenkins’ early musical influences (“the blessing of versatility”), how the band evolved from punk to a more spiritual Rasta slant, and his self-appointed position in the band to keep them playing tight. They cover plenty more than that. It’s a soulful and funny history of Bad Brains, punk rock and racism in America. It’s a blast.

BAD BRAINS LIVE Q&A with Darryl Jenifer and Sacha Jenkins from Nitehawk Cinema on Vimeo.
 

 

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Alan Cumming introduces SPICE WORLD

One day, we decided to ask friend-of-Nitehawk, and all around dazzling human being, Alan Cumming to pick out a movie for him to introduce, and we would hunt down a print and screen it. Much to our delight, Alan picked Spice World. Here he is introducing the film, where he spiced up our lives with some stories about how he nabbed a part in the movie, what it was like being around the Spice Girls at the height of their fame, and why his chest hair seems to move throughout the picture.

Alan Cumming introduces SPICE WORLD (June 12, 2014) from Nitehawk Cinema on Vimeo.

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Trailer: THE HORSE’S MOUTH (ART SEEN)

Get a sense of what the Alec Guinness’ penned and starring film on being an artist, The Horse’s Mouth (and get tickets to this weekend’s screening)…

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Best Of: Alec Guinness

alecgArt Seen: The Horse’s Mouth (1958, Ronald Neame)
Saturday, August 16 & Sunday, August 17; Brunch | Buy Tickets

Sage-like English actor Sir Alec Guinness would have been 100 years old in 2014. Over his 86-year life, he fought in World War II, won a Tony for his stagecraft, and starred in sixty-two screen and television roles. He was nominated for six Oscars. He won two.

Guinness starred in many a fine picture, and everyone has their particular favorites (Always Star Wars, forever Star Wars), so ahead of our special screening of one Guinness’s lesser known works, The Horse’s Mouth, our blog editors Caryn Coleman (@caryn_coleman) and Kris King (@KrisKingTornado) decided to go through his career and talk about their favorites.
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One Sentence Review: The Monster Club (1980)

TheMonsterClub_quad_UK_GrahamHumphreys-3As dull as a thirty-year-old entry of Masterpiece Theater and about as scary, horror anthology The Monster Club would be a total snooze were it not for the incredible frame narrative that involves Vincent Price and John Carradine kicking it in an underground punk club made just for monsters.

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Best Of: John Saxon

enterthedragonbdcap3_originalLive + Sound + Cinema: ENTER THE DRAGON (1973, Robert Clouse)
Friday, August 8 & Saturday, August 9; Midnite | Buy Tickets

The character John Saxon was made to play is the dashing, daring scoundrel — and play that role he has, frequently; but the Brooklyn native, with his distinct eyebrows and razor-sharp jawline, pops up in all kinds of crazy B-movie rolls and never fails to liven up even the most dismal material. He’s fought Italian zombies, waged battles across the stars and played more cops and cowboys than you can count.

Below, our blog editors Kris King (@KrisKingTornado) and Caryn Coleman (@caryn_colemanchoose their favorite Saxon roles. One thing’s for certain: whether he’s working beside Bruce Lee or slumming it with Joe Don Baker, John “Action” Saxon is the man.

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Trailer: BITE THIS!

Nitehawk will see you when the sun goes down all August with our cinematic vampire series, BITE THIS!

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Best (and worst) of: BOND

FromRussia

Our outdoor screening of From Russia with Love this Sunday has prompted all sorts of feelings, James Bond feelings. So, we’ve listed out all the actors who have played 007 on the big screen with our thoughts on what makes them good and/or so, so bad. Grab a martini, read the list and let the debate begin! Oh, and be at 50 Kent at 5pm for our FREE screening event that starts with Morricone Youth and ends with Bond!

Disclaimer: our list is on feature film Bonds and excludes stuntmen, television and radio programs as well as spoofs. But if you want to get really specific, this is the website for you.  (more…)

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Post No Bills: Walter Hill

Burn N’ Rubber: The Driver (1978, Walter Hill)
Saturday, July 26 & Sunday, July 27; Brunch | Buy Tickets

The word that always pops to mind when it comes to Walter Hill is “macho.” It seems that no matter what project he’s worked on, be it a western, a musical or a hard-nosed action movie, there’s always an air of classic stoicism to their male (always male) leads. I’d imagine that’s why he so frequently worked with actors of the squinty-eyed variety: your Charles Bronsons, Fred Wards and Nick Noltes. Men whose good looks peek out from deep lines caused by years of cigarettes, booze and good, old fashioned ass-kickings.

Hill’s films tend to be violent, but they rarely seem to revel in bloodletting. Beneath all of the bloodshed and swagger, there’s an air of sadness to Walter Hill’s catalogue of crooks, cowboys and conmen.

These men live off of violence, they make their money off of violence, but more often than not, the violence isn’t fulfilling, it’s draining.

Hard Times (1975)6Akbb6imtNGfElJpyJZjN3uxSLW Hard-Times-poster3tumblr_mbdgg8sCHd1qcap7go1_1280 (more…)

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Music & Movies: THE BED SITTING ROOM Playlist

kimnewmansplsh 12.53.02 PM

Nitehawk’s having a little pre-party with Brightest Young Things in our downstairs bar tonight for The Bed Sitting Room and to get into the mood, we’ve made a playlist inspired by the film: a little mix of Badalamenti, Sex Pistols, French ballads, and obviously Hall and Oates. You can listen to it here but if you’re a ticket holder (and you should be) be here from 6pm – 7pm to receive your complimentary Absinthe ‘The Green Beast’ cocktail.

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Best Of: Movie Cars

Burn N’ Rubber: Two-Lane Blacktop (1971, Monte Hellman)
Friday, July 18 & Saturday, July 19; Midnite | Buy Tickets

This month at Nitehawk, our midnite and brunch series Burn N’ Rubber pays tribute to some of the best car movies ever made. The series features cars from the future, cars that can transform into robots, and cars that can outrun just about anything. The cars in these movies largely reflect the men and women behind the wheel, especially this weekend’s midnite feature Two-Lane Blacktop (Buy Tickets), where a pair of stoic gearheads race across the country in their primer-grey beast of a Chevy.

All of the shop talk in the office got us to thinking about our favorite cars in film, and below our blog editors Kris King and Caryn Coleman discuss some of their favorites. Buckle up!

diabolikThe Car: 1961 Jaguar E-Type
The Movie: Danger: Diabolik (1968, Mario Bava)
The Reason: When re-creating Italy’s notorious comic Diabolik for the big screen, Mario Bava knew that high style visuals were a must: from the slinky outfits to the seemingly endless cavernous lair and, of course, that perfect, sleek Jaguar. Just like John Phillip Law’s version of Diabolik, the car is veiled in black, angularly thin and agile as it dodges bullets from helicopters and escapes into the mountains after stealing some jewels. You know, the usual. There’s really not much more to say other than this car is supremely sexy. – CC (more…)

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KEEP MOVING: Richard Lester’s THE BED SITTING ROOM

artseen-bedsittingroomART SEEN presents THE BED SITTING ROOM (Richard Lester, 1969) with Aïda Ruilova, Aldo Tambellini, and Elizabeth Price (Buy Tickets)

Imagine if Luis Buñuel and Monty Python made a film and you’ll get a sense of Richard Lester’s surrealist post-apocalyptic farce, The Bed Sitting Room. It is perhaps the strangest “last men on earth” film ever made and that you’ll ever see but it’s also the most wonderful.

This Art Seen screening of The Bed Sitting Room along with artist films by Aïda Ruilova, Aldo Tambellini, and Elizabeth Price, is a reprisal of film program at Toronto’s Power Plant Gallery called Keep Moving: objects and architecture in the apocalypse. This title stems from the phrase “keep moving” that’s constantly uttered throughout The Bed Sitting Room because it connotes and pokes fun at the very British insistence of “Keep Calm, Carry On” in the face of hardship. But in a larger sense, it embodies society’s general resistance to change and, in terms of disaster, reveals our general reluctance to pave a new way forward in favor of repeating the same old. Which is what happens in our psychedelic new London…

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Dreaming of INLAND EMPIRE

inlandempire-blogThe July program for our Summer of Surrealism series begins this Friday with two midnite 35mm (direct from Lynch) screenings of David Lynch’s epic Inland Empire (get tickets!). 

We’re happy to have Adam Lowenstein back at Nitehawk to introduce the film on Friday night, his forthcoming book Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media is the inspiration for the series. Adam has also written the following essay for us, Dreaming of Inland Empire, that not only gives a fantastic perspective into Inland Empire but also speaks to the spirit of our slightly off-kilter surrealism series too. Let’s get weird…

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Dreaming of Inland Empire
Like Lost Highway and Mulholland Dr. before it, Inland Empire traces a path back towards David Lynch’s early experimental films and first feature Eraserhead, rather than building on the more conventional narrative structures of The Elephant Man, Dune, and The Straight Story or even the narrative strangeness of Blue Velvet, Wild at Heart, or Twin Peaks. Inland Empire heightens the proclivities for loops in time, for character doubling and dispersal, for ominous tone over explicit explanation, and most of all, for dream logic, that characterize both Lost Highway and Mulholland Dr.

So is Inland Empire, with its embrace of dream logic, an example of Lynch as surrealist? Yes, at least to a certain extent. The doubling of characters here echoes Luis Buñuel’s tendencies to do the same, and the game Lynch plays to involve his audience in dream logic by first offering hints of familiar plot elements (the affair, the inside Hollywood production story, the Eastern European crime syndicate, the endangered prostitute) as well as familiar trademarks of his authorship (Lynch stalwarts Harry Dean Stanton, Diane Ladd, Grace Zabriskie, and of course, the truly magnificent Laura Dern all appear in the film, along with a number of signature “Lynchian” touches) echoes some of Buñuel’s game-like enticements of his audience.

Buñuel may have had more overtly political aims in mind when he engaged his viewers in games of perception and interpretation, but some of the goals are the same: to elevate the realm of dream to the realm of reality, to show how the former should not languish in the shadows of the latter but instead emerge as its revealer. For Lynch, “dream” will always be tied much more closely to the “dream factory” of Hollywood than for Buñuel, and one of the strengths of Inland Empire is its ability to sketch the complex network of desires between actor, character, production crew, and audience that gives Hollywood its special power of fascination. Inland Empire is not a Hollywood film nor an anti-Hollywood film; it is neither wholly surrealist nor wholly non-surrealist. It is Hollywood dreaming of surrealism, surrealism dreaming of Hollywood, and an exhilarating invitation to have us join that dream.

 
 

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