Friday, April 1, 2016

AFI Silver Theatre Weekly Update (4-1-16)

Jaeden Lieberher stars in Midnight Special

From our friends at the AFI Silver Theatre...

AFI Silver Theatre Weekly Programming Update (as of Friday, April 1, 2016)

Tickets and full calendar at

Just Announced...

Baseball fans: Wear your team's cap, jersey or t-shirt for discounted $8 tickets to our two baseball-themed screenings.

40th Anniversary
Saturday, April 2, 5:00 PM
Walter Matthau is Morris Buttermaker, a drunken pool cleaner and onetime minor league prospect recruited to coach a Los Angeles little league team of hapless misfits. Buttermaker adds two ringers: his ex-girlfriend's baseball-loving daughter, Amanda Wurlitzer (Tatum O'Neal) and the athletically gifted but precocious troublemaker Kelly Leak (Jackie Earle Haley.) The players learn to set their differences aside, pool their talents and rally around an us-against-the-world mentality to challenge the league's top team, the Yankees. Gloriously un-P.C. but surprisingly progressive beneath its crude exterior, this is an only-in-the-1970s version of a "kids movie." "An unblinking, scathing look at competition in American society." - Roger Ebert. DIR Michael Ritchie; SCR Bill Lancaster; PROD Stanley R. Jaffe. U.S., 1976, color, 102 min. RATED PG

Sunday, April 3, 12:30 PM
"Today, I consider myself the luckiest man on the face of the earth." Gary Cooper lends his customary dignity to the story of Yankee Hall of Famer Lou Gehrig, "The Iron Man of Baseball," whose brilliant career - 17 seasons and a streak of 2,130 consecutive games played - only came to an end after he fell ill and was diagnosed with amyotrophic lateral sclerosis, the disease now commonly known by his name. This screening marks the 75th anniversary of Gehrig's famous farewell speech, delivered on July 4, 1939. DIR Sam Wood; SCR Jo Swerling, Herman J. Mankiewicz, from a story by Paul Gallico; PROD Samuel Goldwyn. U.S., 1942, B&W, 128 min. NOT RATED

Current First Run:
In this sci-fi thriller, writer/director Jeff Nichols (Take Shelter, Mud) proves again that he is one of the most compelling storytellers of our time, as a father (Michael Shannon, Revolutionary Road) goes on the run to protect his young son, Alton (Jaeden Lieberher, St. Vincent) and uncover the truth behind the boy's special powers. What starts as a race from religious extremists and local law enforcement quickly escalates to a nationwide manhunt involving the highest levels of the federal government. Ultimately, his father risks everything to protect Alton and help fulfill a destiny that could change the world forever, in this genre-defying film - as supernatural as it is intimately human. The film also stars Joel Edgerton (Black Mass) Kirsten Dunst (Spider-Man, Marie Antoinette) Adam Driver (Star Wars: The Force Awakens, TV's Girls) and Sam Shepard (Black Hawk Down, August: Osage County.)

Directed by Argentinean auteur Pablo Trapero (Carancho, White Elephant) The Clan tells the true story of a middle-class family pulled into a world of kidnapping, ransom and murder by their patriarch. On the surface, the Puccios live like most families. Arquímedes (Guillermo Francella) presides over a modest household where his wife, sons and daughters gather most evenings over home-cooked meals to discuss their days. Eldest son Alejandro (Peter Lanzani) is a star rugby player manipulated into helping his father carry out meticulously planned abductions. But when kidnapping turns to murder, Alejandro must finally face the truth that his father, his hero, is a cold-blooded killer.

After a lifetime of being overlooked and ignored, a woman of a certain age (Sally Field) finds her world turned upside down by a handsome new co-worker - and a self-help seminar that inspires her to take a chance on love - in Hello, My Name Is Doris, a witty and compassionate late-life coming-of-age-story.

Inspired by events in his life, this is a wildly entertaining, impressionistic, no-holds-barred portrait of one of 20th-century music’s creative geniuses, Miles Davis, featuring a career-defining performance by Don Cheadle in the title role. Working from a script he co-wrote with Steven Baigelman, Cheadle makes his bravura directorial debut. 

In the midst of a dazzling and prolific career at the forefront of modern jazz innovation, Miles Davis (Cheadle) virtually disappears from public view for a period of five years in the late 1970s. Alone and holed up in his home, he is beset by chronic pain from a deteriorating hip, his musical voice stifled and numbed by drugs and pain medications, his mind haunted by unsettling ghosts from the past. A wily music reporter (Ewan McGregor) forces his way into Davis’ house and, over the next couple of days, the two men unwittingly embark on a wild and sometimes harrowing adventure to recover a stolen tape of the musician’s latest compositions. 

Davis’ mercurial behavior is fueled by memories of his failed marriage to the talented and beautiful dancer Frances Taylor (Emayatzy Corinealdi.) During their romance and subsequent marriage, Taylor served as Davis’ muse. It was during this period that he released several of his signature recordings, including the groundbreaking "Sketches of Spain" and "Someday My Prince Will Come." The idyll was short-lived; their eight-year marriage was marked by infidelity and abuse, and Taylor was forced to flee for her own safety as Miles’ mental and physical health deteriorated. By the late ‘70s, plagued by years of regret and loss, Davis flirts with annihilation until he once again finds salvation in his art.

Live musical accompaniment by Michael Britt
Sat, April 2, 12:45 PM
Viennese prostitute Norma Talmadge finds herself in a love triangle with geopolitical dimensions during the Great War: Austrian officer Gilbert Roland in one corner and Russian Arnold Kent in the other, as the lives of many Austrian prisoners hang in the balance. Soon to retire with the coming of sound, silent-era superstar Talmadge dazzles in her final silent role. William Cameron Menzies storyboarded sequences that the directors followed closely, his sets a fantasia of dimly lit back alleys and balcony-lined boulevards. He was experimenting for the first time with Expressionist perspectives he admired in German films like F. W. Murnau's FAUST (1926) and THE LAST LAUGH (1924). DIR Henry King, Sam Taylor; SCR C. Gardner Sullivan; from the play by Denison Clift, based on the story "Boule de Suif" by Guy de Maupassant; PROD Joseph M. Schenck, Norma Talmadge. U.S., 1928, B&W, 108 min. Silent with live accompaniment. NOT RATED
Preserved by the Library of Congress

Live musical accompaniment by Michael Britt
Sat, April 2, 3:15 PM
Toni LeBrun (Corinne Griffith) leaves her job in a Viennese bakery for the cabaret stage in Budapest. But when she discovers that the venue doubles as a brothel, she hightails it to Monte Carlo in the company of kindly seamstress Rosa (Louise Dresser.) Comedic hijinks unravel, as do secret identities, as uncle-nephew suitors rival for Toni's affections - all arriving at one of the greatest wedding farces in screen history. William Cameron Menzies concocted many of the clever sight gags, including the famous "flick the lights" bit. "Perhaps the real star of THE GARDEN OF EDEN is Menzies." - William K. Everson. DIR/PROD Lewis Milestone; SCR Hanns Kräly, from the play by Rudolph Bernauer and Rudolf Österreicher. U.S., 1928, B&W, 88 min. Silent with live accompaniment. NOT RATED

Live musical accompaniment by Don Kinnier
Sun, April 3, 1:15 PM
John Barrymore plays 15th-century Parisian François Villon - in the words of Exhibitors Herald, "poet, pickpocket, patriot - loving France earnestly, French women excessively, French wine exclusively." Exiled by King Louis XI (Conrad Veidt) Villon schemes to reenter the city gates and woo the king's ward (Marceline Day) away from the hated Duke of Burgundy (W. Lawson Butt.) William Cameron Menzies threw himself wholeheartedly into the set design for Middle Ages France, with a stronger narrative quality to his concept art than ever before. "A masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood in the waning days of the silent film." - Menzies biographer James Curtis. DIR Alan Crosland; SCR Paul Bern, from the novel and play "If I Were King" by Justin Huntley McCarthy; PROD Joseph M. Schenck. U.S., 1927, B&W, 99 min. Silent with live accompaniment. NOT RATED

TEMPEST (1928)
Live musical accompaniment by Michael Britt
Sun, April 3, 3:30 PM
When former peasant John Barrymore's romantic overtures are rejected by noblewoman Camilla Horn, she vindictively has him stripped of his high rank in the czar's army and jailed. With the coming of the Russian Revolution, Barrymore is freed and promoted to a leadership position in the Red Army, which leads to a reunion of sorts with the haughty princess - in a military tribunal. William Cameron Menzies won the very first Best Art Direction Oscar®, awarded jointly for this triumph of set design and 1927's THE DOVE. DIR Sam Taylor; SCR C. Gardner Sullivan, Vladimir Nemirovich-Danchenko; PROD John W. Considine, Jr. U.S., 1928, B&W, 102 min. Silent with live accompaniment. NOT RATED