Photo: Mason Trinca/Getty Images If you care to turn on CNN or scroll their social media news feeds, you’ll notice a constant and aggressive stream of Pro-Kamala Harris propaganda. Every 20 minutes a new article or post appears casting the Presidential contender in a favorable, uncritical light. CNN has a particularly aggressive bent on positioning Kamala Harris as the frontrunner in the Democratic Primaries of 2020 and as the next President. This is despite the fact that the-soon-to-be overcrowded Democratic primaries are still a year away and the fact that most polls contradict CNN’s polls. The Hosannahs for Kamala Harris are overstated and puffed up while the criticisms are watered down, feeble and deflected. This is not by accident. A closer look reveals just how much CNN has invested in Kamala’s Presidential aspirations. Kamala Harris’ biggest donor is Warner Media Group, the parent company that owns CNN. CNN has a financial incentive to promote Kamala Harris' Presidential campaign and give her the type of glowing coverage not afforded to other Presidential candidates. This is why they avoid casting a critical light on her career as a corrupt DA who terrorized minority communities, upheld wrongful convictions and protected people who have tampered with and implanted false evidence to secure convictions. As California Attorney General, Kamala failed to prosecute Steve Mnuchin’s One West Bank for foreclosure violations in 2013 despite everyone advising her against this. Steven Mnuchin was the finance chairman for Donald Trump’s 2016 Presidential campaign. When pressed on the issue, Kamala deflects and avoids giving a direct answer as to why she failed to prosecute such blatantly obscene criminality. A little investigation into Kamala’s campaign finances reveals that Steve Mnuchin gave Kamala Harris a $2,000 campaign contribution for her bid in the California senate, marking her as the sole Democrat to receive a donation from Mnuchin in 2016 (On the national level at least). Of course, you’ll learn nothing of this by tuning into CNN, that hallowed bastion of corporatized media. These type of criticisms and honest background-checking are reserved for those candidates not aligned with CNN’s interests. As a corporation, CNN has a duty to maximize profits for their shareholders. CNN is obligated by their shareholders to bolster Kamala’s presidential bid while simultaneously discrediting her opponents. CNN, a news media company, literally has money invested in her campaign. This explains why every 20 minutes there's another glowing, uncritical Kamala story. It also explains the overwhelmingly critical and unfavorable coverage of other candidates such as Tulsi Gabbard and Bernie Sanders. Neither of these two have investments in or are being funded by CNN and the Warner Media Group. Both have ran on platforms rejecting corporate sponsorship and PAC money. Notice their pasts are being put under a microscope by way of constant negative coverage and discouragement from running. Kamala, whose past is even more questionable, gets a pass as her political career goes completely unscrutinized and glossed over. Photo: /www.berniesanders.com Note that both Bernie Sanders and Kamala Harris both had claims of sexual harassment swirling around their respective campaigns for the Presidency and the Senate. CNN has very strongly suggested that the harassment experienced during Bernie’s 2016 Presidential bid is a detriment to future Presidential aspirations and should stop him from running. The sexual harassment claims swirling around Kamala's campaign go completely ignored and the cheerleading persists. CNN won’t cast the same issue in a negative light for Kamala. Another example of this biased reporting comes in the form Hawaii rep. Tulsi Gabbard’s campaign for the Presidency. Gabbard’s biggest handicap as a Presidential contender is her previous views on LGBTQ issues. Gabbard grew up in a deeply conservative household that promoted conversion therapy for gay people and often spoke of “homosexual extremists.” Gabbard has thoroughly revoked her past stances and has consistently supported LGBTQ rights since 2012. Within a day of announcing her campaign, CNN jumped on Gabbard’s past like lightning. Her past stances on these issues were painted as disqualifies from CNN. As a Presidential contender, the scrutiny of her past is valid. While no politician is exempt from criticism those criticisms need to be more balanced and honest. Photo: J. Scott Applewhite/Associated Press CNN refuses to comment on or say a peep about Kamala’s past as a corrupt DA. Not a single bit of bad coverage, no scrutiny, no op-ed’s decrying it as the serious issue that it is. It’s all soft-ball coverage for Kamala, all positive all the time. What makes this worse is that Harris, unlike Gabbard, refuses to apologize for her past and doubles down with weak justifications when pressed on the issue. The lack of balanced coverage of potential Presidential candidates is astonishingly biased. This is what happens when corporations are allowed to purchase stakes in media outlets and shape coverage to the will of their shareholders’ agenda. The glaring double standard is egregious and offensively blatant. With a little research, it’s easy to discern where this bias stems from. Even Elizabeth Warren, an arguably bigger name in politics than Harris and a Presidential contender, is being constantly sidelined for more pro-Harris articles and posts. Guess she should consider taking in Warner Media as a donor. Media has an obligation to be truthful and unbiased towards the people who they report to. When that trust is broken, their credibility is non-existent and they deserve to be called out. CNN is basically functioning as propaganda machine, paid for by investors. This is literally a conflict of interest and why it's best to try and research the media sources you trust before taking every news story they report at their word. If not for such blatant corporatized political manipulation, Donald Trump would have a harder time propagating “Fake News” as a legitimate catchphrase. *For a more in-depth and comprehensive analysis of how corporate media manipulates mainstream news sources, read Edward S. Herman’s & Noah Chomsky’s groundbreaking and eye-opening work, Manufacturing Consent: The Political Economy of Mass Media.Read More
- Tuesday, Jan 22, 2019
- by James Rivera, 80 Views
2018 was an especially great year for films. I can recall no other year in recent memory that featured as much daring, bold and experimental filmmaking that pushed the parameters of cinema as an art form. It was also a year in which the film industry really tapped into the zeitgeist by rediscovering the power of the avant-garde, the spiritually probing, the politically relevant. Suffice to say, it was not easy gathering this list together. Many of the honorable mentions would have been in the top 10 of most other years. Without further ado, the best cinema had to offer in 2018: 10. BlacKkKlansman (Dir. Spike Lee) (USA) No other film of 2018 tapped into the hot-button political zeitgeist like Spike Lee’s return to form. An outrageous true story of the FBI infiltrating the KKK in the 1970’s, this film used a piece of history to tap into the current era and the racial strife that the nation can never seem to shake. Honest, raw, and confrontational, Spike Lee’s latest is a call to vigilance and the politically distressing film we deserve for these politically distressing times. 9. Spider-Man: Into The Spider-Verse (Dir. Bob Persichetti, Peter Ramsey, Rodney Rothman) (USA) The most inventive, original and joyous comic book film in years. Pulling from the deep well of Spider-Man mythology, the filmmakers work to create a world that dazzles the imagination and tickles the eyeball. This is some of the most innovative, fresh, radical and eye-popping animation in years. Mutli-dimenional timelines, a stellar cast of voice actors, visual imagination to spare and a relatable hero in the Afro-Latino, Miles Morales, make for a remarkable piece of pop escapism. Spider-Verse accurately captures the fun of reading a comic book in a way that no other film has ever been able to pull off. 8. The House That Jack Built: Director’s Cut (Dir. Lars Von Triers) (Denmark/France/Germany/Sweden) The latest from Danish provocateur, Lars Von Triers, is a self-reflexive piece of auto-critque; a darkly satirical examination of violence in our diseased culture, dressed in the clothes of a serial killer picture. The film serves as a meta-commentary on Von Triers’ deeply controversial career and marks the first time the director has looked inward to examine the origins of his work and themes. Matt Dillon’s work as the eponymous Jack is one of the most impressive feats of acting of the year. Dillon, like the film itself, manages to be charismatic, terrifying, creepy and funny all at once. The unrated cut is NOT going to appeal to most mainstream audiences and is bound to offend normal sensibilities. For those more adventurous and jaded film-goers, the film is a darkly entertaining work of an artist grappling with his inner demons. 7. Mandy (Dir. Panos Cosmatos) (Canada/USA) A red-blooded, fist-pumping, acid trip of a movie. The latest from Panos Cosmatos is a surreal piece of horror that recalls Clive Barker’s Hellraiser and the films of David Lynch, filtered through the lens of psychedelics. Featuring a maniacal Nicolas Cage in top-form as a broken love-struck avenger, the film reaches a fever-pitch of intensity that both engages and overwhelms the senses. The film’s depiction of Jesus freaks, violence, acid-soaked imagery and bone-crunching soundtrack make for a bracing film experience that will leave viewers alternately dizzy and exhilarated. It may be the first Heavy-Metal art film. 6. Suspiria (Dir. Luca Guadagnino) (Italy/USA) Luca Guadagnino’s wild reimagining of Dario Argento’s classic film should have been a failure in every regard. Argento’s masterpiece is such an original and uniquely idiosyncratic film experience that only a fool would attempt to remake it. Lucky for us, Guadagnino is a brave filmmaker who revels in taking chances. Against all odds, he’s emerged with one of the most unique horror films in years, one that gets under the skin in ways so few films manage. Featuring a score by Thom Yorke and a bevy of impressive performances from Dakota Johnson, Tilda Swinton, Mia Goth and Jessica Harper, Guadagnino’s Suspiria manages to be a both a batshit insane horror film and a political treatise on 1970’s Berlin. 5. Roma (Dir. Alfonso Cuaron) (Mexico) Cuaron’s love letter to his hometown in Mexico recalls the European art films of the early 1960’s, particularly the Italian Neo-Realist movement. Shot in gorgeous black and white and unfolding at a sedate, languid pace, Roma tells the story of a Mexican maid with the soul of an angel. First time actress, Yaltiza Aparicio, delivers a performance that the most seasoned of actresses would have a hard time pulling off. Tapping into personal experience and nostalgia, Cuaron emerges with a lovely, deeply artful film. Brimming with humanity, warmth and political undertones, Roma takes us back into a different era of movies and in the process taps’ into the viewers sense of compassion and humanity. A truly gratifying, humane experience. 4. Annihilation (Dir. Alex Garland) (UK/USA) Alex Garland’s follow-up to Ex Machina is a visually gorgeous, thematically-probing, ‘hard’ science-fiction film that recalls such classics as 2001: A Space Odyssey, Blade Runner and Solaris. Featuring a stellar, predominately female cast led by Natalie Portman and Jennifer Jason Leigh, Garalnd’s latest probes uncomfortable topics such as sickness, death, decay and cancer with an unnerving sense of efficiency. Some of the imagery is beautiful, some of it horrifying, all of it is hard to shake. 3. Hereditary (Dir. Ari Aster) (USA) The feature-length debut of the year, Ari Aster’s chamber drama of a horror film is the rare movie that gets under the skin on both a human and subhuman level. Hereditary manages to function as a supernatural horror mystery in the vein of genre classics like Rosemary’s Baby while delivering the year’s most damaging and emotionally painful drama. It is an intense, soul-crushing exploration of grief and one of the most genuinely unnerving horror movies of the decade. Toni Collette gives the best acting of the year, delivering a performance so intense that it looks painful. Collette takes her grief-stricken mother to devastatingly raw and uncomfortable places. Ari Aster’s work is one that inflicts emotional trauma on the audience, creating a work of art that is bound to go down as one of the supreme classics of the horror genre. 2. The Favourite (Dir. Yorgos Lanthimos) (Ireland/UK/USA) The latest from Greek wonder kind, Yorgos Lanthimos, is the best comedy of the year. A British period piece in the mode of Stanley Kubrick’s ‘Barry Lyndon’, The Favourite is a gorgeously shot film with hilariously malicious undertones. Satirizing 16th century European opulence, the film rejects historical accuracy in favor of a vicious lampooning of the mores and social codes of Queen Anne’s reign and the genteel facade that masked a darwinian brutality. The film boasts a stellar trio of actresses (Olivia Colman, Emma Stone, Rachel Weisz) that deliver some of the finest work of their careers. The Favourite is shot through with some of the most visually stimulating, spatially distorted and experimental cinematography ever to be featured in a mainstream period piece picture. The film hilariously turns oscar-bait, stuffy, period dramas on their head and exposes them for how truly gutless most of them are. 1. First Reformed (Dir. Paul Schrader) (USA) The best film of the year. Paul Schrader, the scribe behind such Scorsese classics as Taxi Driver and Raging Bull, delivers his finest work as a filmmaker. By tapping into the current era of anxiety, political unrest and societal collapse, Schrader delivers a pointed social commentary that digs under the skin and asks uncomfortable questions. Ethan Hawke, in the best performance of a distinguished career, plays Ernst Toller, a Calvinist pastor living out an unhappy routine in an anguished state of mind. Toller is searching for a sense of purpose when his life is shaken up by a couple of environmental extremists, fueling his fear of a planet consumed by rapid climate change, political extremism, and scientific statistics that spell doom for the future. The young couple leaves Toller feeling traumatized, useless and inconsequential. Frustrated by his church's apathy and indifference to these issues, Toller decides to take matters into his own hands, finding a new lease on life, one that might have dark and troubling consequences. A quietly haunting work and an exquisite piece of cinema, featuring a complex and probing script, elegant cinematography, powerful acting and timely themes. ‘First Reformed’ is a ‘Taxi Driver’ for an era fueled by political extremism and societal anxiety. Destined to be dissected, analyzed and cherished by cinefiles for years to come. Paul Schrader, after all these years, still has his finger on the pulse of the zeitgeist. Honorable Mentions: Cold War You Were Never Really Here If Beale Street Could Talk Upgrade First Man Widows The Ballad of Buster Scruggs Isle of Dogs Blindspotting White Boy Rick HalloweenRead More
- Thursday, Dec 13, 2018
- by James Rivera, 40 Views
The Neon Demon is destined to become a cult classic. Directed by popular indie/arthouse auteur, Nicolas Winding-Refn (Drive, Bronson, The Pusher Trilogy) with a visually dazzling and vaguely surreal panache, this is one of the strangest mainstream releases of the past couple of years and a must watch for lovers of pure cinema. It’s a stinging satire with a vicious bite. Keep in mind, this film will not appeal to everyone. The Neon Demon basks in its' none-to-subtle juxtapositions of the macabre and the beautiful, the glamorous and the gory, eroticism and graphic violence. The style will leave less jaded moviegoers feeling uneasy and might be a turn off for those less accustomed to Refn’s unique style. For the more jaded and adventurous filmgoer, this one is a fascinating descent into the hell of the modeling industry. The film revolves around Jesse (Elle Fanning), a beautiful teenage waif from Tennessee. Jesse has just arrived in Los Angeles to pursue a career in the competitive and vicious world of super-modeling. She possesses a soft, natural beauty, the type that most women would kill for. She manages to get modeling jobs with ease and rapidly becomes the talk of the town, much to the chagrin of the older and more experienced supermodels. She is the envy of every model she comes into contact with. Every model Jesse meets relays stories and details about their plastic surgeries and the way they cut and carve their bodies and faces just to look like what Jesse is naturally gifted with. They gaze upon her with a rapturous envy, their faces exposing deep-seated jealousy. In one of the most unnerving and effective scenes in the movie, a beautiful rival model grabs Jesse’s arm (gaping open with a wound from broken glass) and attempts to suck the blood out of her freshly punctured flesh with an animalistic hunger. She looks as if she believes that she’ll absorb some of the beauty and “It” factor from Jesse’s body. The film is a vicious and biting satire of the shallowness and ugliness of the modeling industry. The girls in this film may be beautiful on the outside but their pretty exteriors belie an ugly interior life compromised of hateful vindictiveness and utter emptiness of depth. Their personalities are shallow, their motives rotten, their beauty phony and manufactured. The photographers and agents are no different. They use the models as they would meat and treat them with very little regard. The models are in constant panic mode about aging and reaching what they call their “expiration date”, the time when they are no longer a useful commodity (their mid-20’s). To avoid this, they spare no expense on plastic surgeons and a litany of other procedures. The Neon Demon is filled with striking and bizarre imagery that is simultaneously ghastly and beautiful. There is something patently artificial to the beauty on display and the way it overwhelms the essentially ugly and obscene tableaux that populate Refn’s miss-en-scene; perfect for a film about the fake, manufactured exteriors that mask an ugly, inner core. The use of color is bold and experimental, the lighting is perfect. The movie is filled with imagery that leaves a forceful impression on the brain and subconsciously reinforces its themes in the mind of the audience. The chosen visual style perfectly complements the diseased modeling world it portrays. Refn fills the widescreen with colorful, glossy images that look like they belong in a fashion magazine but populates the space with ugly, insidious details. The opening shot perfectly establishes the film’s visual style: Jesse posed as if for a glamorous fashion spread: suggestively sprawled on a couch, neck slashed, gushing profuse amounts of glittery, glossy blood. The highly sexual position in which she is posed, in conjunction with the liberal use of blood and gore, establishes a visual motif that reappears throughout the film and is intimately tied with the movie’s themes. The Neon Demon is obsessed with sex and violence and the deep connections and similarities the two share. Both are deeply inlaid animal instincts and both require a certain sort of compromise of body and soul. Both require a mental and physical penetration. The film’s visual style perfectly communicates the themes and reinforces the queasy and uneasy connection between sex and violence in the viewer’s mind. While not necessarily a “horror” film, Demon vibrates with a sense of unease and constant tension. Much of this attributable to the soundtrack: A retro synth score that would have been right at home in any one of John Carpenter’s 80’s chillers, combined with 80’s style synth pop. The unusual and jarring score greatly enhances the unsettling imagery. Elle Fanning makes for an excellent lead. She possesses a soft, childlike beauty and is blessed with a face that looks virginal and innocent. Her soft voice and unassuming demeanor makes her an easy target for the vicious women she is surrounded by. Through the course of the movie, we watch as Jesse makes the transition from sweet-natured girl to vain, callous supermodel. All of the undue praise and adulation goes to her head as she proclaims “I don’t want to be them. They want to be ME!,” with a vain narcissism that belies the sweet girl we’ve seen throughout the film. The industry rots her to the core as she absorbs the values of the modeling community. Demon culminates in a gruesome, shocking climax that combines grand guinol excess, over-the-top gore and gallows humor into a conclusion that stings the viewer with its clear disdain for the modeling industry. It takes the phrase “the industry will eat you up and spit you out” to obscenely funny new heights. (Available for streaming on Amazon Prime)Read More
- Sunday, Dec 9, 2018
- by James Rivera, 70 Views
The 2016 election cycle was the most divisive in decades, leaving a bruising scar on the American consciousness. Studies have shown that families got together less during the past two holiday cycles because of disagreements about politics; this year seems to be no exception. The election of Donald Trump, arguably the most divisive presidential candidate in modern history, has left a bruising divide down the political aisle.
Politics has always been a topic capable of starting arguments between friends and family alike. So, why does it seem to be a bigger issue now than it was in the past? The answer is pretty simple: social media.
Thanks to social media platforms such as FaceBook, Instagram and Twitter, politics is no longer a topic you only have to face down in person. Now you're forced to drown in it all day, every day. You might have already known that certain friends and family had opposing political beliefs, but never before were you forced to contend with it on a daily basis. You might have known your uncle was an asshole before, but now you are constantly receiving reminders as you scroll down your news feed.
Social Media has opened us to a world where politics are no longer a topic that is avoidable. People on social media platforms tend to subscribe only to news outlets that confirm what they want to hear. Rarely do people ever research anything beyond what they want to hear, fostering a political environment where people shape reality to their will and beliefs. Everyone clogs up their news feeds with information that they think is true, forcing family and friends to contend with information they don't want to hear. It's a recipe for bitter arguments and unconstructive debates.
Social media has led not to a greater and more balanced political understanding, but to a toxic environment where relationships are destroyed over opposing views. Social media platforms are used as a forum to engage in angry and illogical debates where no side will admit they're wrong, no matter what objective information they are exposed to. People get so frustrated and worked up that they end up deleting each other from their friends list over political differences. This has put a strain on so many human relationships and has made it harder to find common ground.
There used to be a time when people could maintain friendships and familial relationships despite political disagreements. Social media has made that virtually impossible in this day and age. When you're forced to contend with the parts you don't like about someone on a daily basis, it tends to sour your view of that person, making a social relationship that much more difficult to maintain. There used to be a time when disagreements didn't divide Americans and we could all get along. The idea that we might return to a time like that is getting increasingly lower as social media slowly takes over everyone's lives.
Social media was supposed to be something that brought people together and connected everyone. Sadly, it's become more of an agitation than anything else. If, every time you log onto social media, you get pissed off at friends and family, what good is that social media in the first place? The future isn't looking bright in American politics. Hopefully, one day we'll be able to look past our differences and embrace one another. Until people learn to act better toward each other, social media will continue to be an avatar of bitter disagreement and anger.
So, the next time you say something to someone you might regret over social media, ask yourself: Is this disagreement worth souring a friendship or familial connection?[/vc_column_text][/vc_column][/vc_row]Read More
- Saturday, Dec 8, 2018
- by James Rivera, 79 Views
Los Angeles, being the birthplace of the film industry, is the movie capitol of the world and the home to some of the coolest movie theaters on the planet. Cinephilia and film culture are staples of the city of angels and its residents are comprised of some of the most movie mad people in the United States. L.A . is filled with unique and exciting movie theaters that are sure to satiate the passions of its movie-obsessed residents. Whether you're looking to catch the latest blockbuster or watch some classics on the big screen, L.A. is sure to have the perfect movie theater for you.
The most obvious example of a movie theater geared towards cinephiles. The Arclight is a classy movie palace that plays hard-to-find indie and arthouse fare, blockbuster tentpoles, and classic revival cinema. The Arclight Hollywood is home to one of the most famous and impressive movie screens in the country: the Cinerama Dome. Its wrap-around, curved screen being the product of the cinemascope features of Old Hollywood. The Arclight is indeed a very elegant upscale movie theater that comes equipped with a restaurant, coffee shop, and a gift shop catered to movie lovers. The Arclight has reserved, stadium seating that insures you won’t have to wait in a long line to get a good seat. All the screens are very large and the theaters themselves are quite comfortable. As a movie theater that is catered to movie lovers, you will find a lot of indie and arthouse films that are not in wide release. Their “Arclight Presents…” program offers movie fans a chance to catch some of their favorite movies on the big screen and is a great way to experience the classics the way they were meant to be seen. The theater is adorned with posters and memorabilia from classic movies and current blockbusters.
Graumann’s Chinese Theater
This is the best way to see newly released films and an essential part of the L.A. experience. The movie palace is located on the historic Hollywood Walk of Fame. Outside the movie theater, you will find the handprints and autographs of some of the worlds’ biggest movie stars, past and present. The historical Chinese theater is where many big studio films have their red carpet premieres and it’s easy to see why. Inside, the movie theater looks like a palace worthy of royalty. The architecture, inspired by Chinese culture, is gorgeous and wondrous to behold. The decorations on the ceiling will have you staring for long periods of time, trying to decipher the intricate little details. The large red-draped curtains that open the screen are reminiscent of the grandiosity of old world Hollywood. The Chinese theater is a single screen and might be the most impressive one in the city. The recent renovations that have upgraded the screen to IMAX and renovated the sound system have helped to make this theater one hell of a movie-going experience. You don’t just watch films at the Chinese theater, you become a part of them. The perfect movie theater to watch the latest big-budget tentpole of your choice.
Graumann’s Egyptian Theater
Graumann’s Egyptian theater has been declared a historical landmark due to its illustrious history. Home to the first Hollywood red carpet premiere, the Egyptian retains much of its elegance and sense of film history. The theater was built in 1922 and was the world’s first lavish movie palace. The theater was abandoned as the place of Hollywood red-carpet movie premieres as it was supplanted by the even more grandiose Chinese theater, located not too far away. Whereas the Chinese theater is the place to go to experience the latest from Hollywood, the Egyptian is where you go to discover films from the past. Owned and operated by the non-profit American Cinematheque since 1998, the Egyptian has arguably become the most popular revival movie theater in L.A. The theater plays tons of classics from the golden age of cinema right down through cinema’s most recent decade. The theater still retains much of its original look with Egyptian inspired architecture and still carries the feel of Hollywood past. Their selection of classic films is varied and wide ranging, with something to please every kind of cinema fan. Whether you're looking to watch a forgotten gem from the silent era or a Stanley Kubrick classic on the big screen, the Egyptian theater is the place for you.
New Beverly Cinema
The only revival theater in the Los Angeles area that can compete with the popularity of the Egyptian theater. This one is owned by none other than Quentin Tarantino himself. The famed movie-geek turned Auteur owns and operates this theater and even provides his own film prints of classic movies to be screened. The theater has a low-tech, very old-school vibe and that’s part of its charm. The screen isn't the largest there is but it is an impressive experience. Double features play for only $8, so it’s a hard proposition to pass up. In keeping with Tarantino’s love and passion for film, there are no digital screenings at this theater. Everything that plays here comes courtesy of a 35mm film print, providing movie-goers with the real deal when it comes to big screen cinematic experiences. The theater isn't fancy but it’s very comfortable and has a kind of character that a higher-tech movie theater could never provide. Watching a film here feels like stepping into a 1970’s time capsule.
This movie theater is like a more down-to-earth version of the Arclight cinemas. This theater plays all the latest blockbuster fare along with harder to find independent and art house cinema. The theater itself isn't too fancy but it’s extremely comfortable, the screens are a nice size, and the selection of current films playing is top-notch.
Cinefamily at the Silent Movie Theater
Founded in 2007 by Hadrian Belove and the Harkins family, few cinemas in L.A. possess this kind of character and personality. The theater itself is adorned with portraits of silent film stars and is decorated to look how a movie theater would look in the early parts of the 20th century. This theater boasts a diverse and wide-ranging list of films to watch and savor. Everything from cheap B-movies to classic cinema to the latest quirky indie gems from around the world. They also have a great variety of international documentaries from some of the world’s most respected filmmakers. When it comes to variety and selection, Cinefamily has it all. Filmmakers have been known to stop by for Q&A’ s with the audience and they usually sell out very fast. Also known for a unique selection of food and snacks.
Bing Theater at LACMA
Located inside L.A.’s premiere art museum, this is a place for only the world’s finest cinema. Being a theater designed for giving cinema the status and respect of highest art, you won’t find the latest blockbusters playing here. Instead, expect to see retrospectives on such revered filmmakers as Stanley Kubrick. Martin Scorsese, and Tim Burton. The retrospectives usually coincide with its exhibits. Every Tuesday night, the BING theater hosts screenings of classic Hollywood films. Film Independent hosts series here that range from new releases to documentaries to classics and to, occasionally, a guest-curated program. The theater is very large and the screen is particularly impressive for how tall it is. A must visit for anyone who places cinema alongside the highest art forms in the world.
The Aero Theater
Owned and operated by the American Cinematheque, this is an extension of the Egyptian theater. Like the Egyptian, this theater plays a wide range of revival cinema. While it may lack the grandiose appearance of its more lavish counterpart, their selection is every bit as wide ranging and the theater itself is extremely comfy. If you’re a regular patron of the Egyptian, this is another must-visit movie theater.
Fun Fact: This movie theater was featured in Richard Kelly’s cult classic, Donnie Darko (2001). In the film, Jake Gyllenhaal’s Donnie Darko takes a female companion to see the odd double feature pairing of The Evil Dead (1981) and The Last Temptation of Christ (1988).
The Frida Cinema
Owned and operated by the non-profit Long Beach Cinematheque, this is a theater strictly for diehard film lovers and connoisseurs. Rarely will you ever find very much modern mainstream fare here. Instead, come to this theater looking for the latest indie hits on the festival circuit (Including short films) and beloved cinematic classics. This theater occasionally has special screenings where alcohol is served, giving the theater the feel of a raucous concert packed with cinephiles having a blast. The owners of this theater are known to plan special events both at the Frida and at outdoor screenings across Long Beach and Orange County.
Perhaps the swankiest and most upscale movie theater in Los Angeles, outclassing the Arclight theater in many ways. Some of the theaters even come equipped with couches, helping to max out the comfort level of your experience. The theater also has a reputation for providing the best food and alcohol of any movie theater in Los Angeles. The menu features such delicious items as prosciutto and provolone sandwiches and cappuccinos. The full-service wine bar offers a high selection of wines and beers and even offers happy hour discounts to its patrons. Where so many great L.A. movie theaters come with the challenge of finding good parking, The Landmark deletes this issue by providing over 3,000 parking spaces to its customers. The screens are large and the overall quality of virtually everything here is premium. Essential for anyone looking for a top-notch movie theater experience.[/vc_column_text][/vc_column][/vc_row]Read More