The Asheville Jewish Film Festival is back with a new slate of six movies that will be shown at Fine Arts Theatre.
Author: Ken Hanke
Showing 2353-2373 of 5225 results
Today’s Special
Somewhere
Paul
Portrait of Jennie
Mystery of the Wax Museum
Not a sequel, but very much a companion piece to Michael Curtiz’ Doctor X (1932), the once-lost Mystery of the Wax Museum (1933) is another two-strip Technicolor exercise in German Expressionist horror with two of the same stars—Lionel Atwill and Fay Wray—and a similar reporter hero, only this time it’s a heroine (Glenda Farrell). This […]
The Desperate Hours
Cleo from 5 to 7
Cranky Hanke’s Weekly Reeler March 23-29: Somewhere Today’s Special Is a Wimpy Sucker Punch
This week brings us two mainstream offerings—Sucker Punch and Diary of a Wimpy Kid: Rodrick Rules—and two art titles—Today’s Special (Fine Arts) and Somewhere (The Carolina)—in limited release.
Cranky Hanke’s Screening Room: Countdown to Summer
Officially, it may be that today is only the first day of spring, but the movies—so far as the studios are concerned—have their own idea of time. That’s to say that they’re officially in the countdown to summer mode. This year, it appears that summer—that time when the studios unleash what they fervently hope will be the Really Big Pictures—starts on May 20 with the release of Rob Marshall’s Pirates of the Caribbean: On Stranger Tides, or possibly even on May 6 with Kenneth Branagh’s Thor, though that’s a more dicey proposition.
Cranky Hanke’s Weekly Reeler March 16-22: Last week’s promise made good, plus aliens and lawyers
Last week turned out to be pretty grim indeed. At least this week I know there’s one bright spot, since Cedar Rapids—originally supposed to open last Friday—comes to The Carolina and the Fine Arts this Friday. Also up are the mainstream titles Limitless, The Lincoln Lawyer and Paul. These at least are potentially better than the last week’s rather unfortunate crop.
Cedar Rapids
Red Riding Hood
Mars Needs Moms
The Gay Divorcee
Close Up
Santa Sangre
Fraulein
Cranky Hanke’s Screening Room: The Continually Surprising Audience
What do Night of the Hunter (1955), Carrie (1976), City Lights (1931), The Hours (2002), Shanghai Express (1932), and The Old Dark House (1932) have in common? Well, nothing really—except that at recent Asheville Film Society and Thursday Horror Picture Show screenings, I spent all but one of those titles standing up. Why? Because there weren’t any seats or even supplementary chairs left and I’m too old to sit on the floor. The only one where I got a seat—The Old Dark House—was a very near thing. I’m not complaining, mind you, but I am on the perplexed side.