#filmbar

[estherattarmachanek]

#filmbar FILMBAR IM XPED - 10.12.2022 / 6pm, dear friends,ladies&gentlemen,inbetweens&beyondsetals! 10. 12. 2022 ab20h wiesingergasse 6 1010 wien mit lieben grüßen, andreas und fb-team florian luisa markus tobias #AndreasDonhauser (hier: Expedit 1010) https://www.instagram.com/p/Cl0rey7spFb/?igshid=NGJjMDIxMWI=

[shuvva]

A movie theater build I did that is a recreation of Filmbar, a Phoenix indie theater + bar that I was a regular at before the pandemic. Unfortunately they did not survive the pandemic, so I built this as a tribute.

[lobrocker]

Due to popular demand, #FilmBar has adde a SECOND screening of “High Rollers: The Golden Age of Arizona Skateboarding” at 9pm! (at FilmBar Phoenix) https://www.instagram.com/p/CVjEb5Oh1o3/?utm_medium=tumblr

[wesleygriffith]

[ourladyofdiscord]

A Fool And His Cup For this week's FilmBar FilmBlog, I wrote a piece about Robin Williams' greatest film role: The Fisher King. FilmBar: A Fool & His Cup: "The Fisher King"

[phictionfilms]

Hey everyone. Come see our premiere of our short film When It's Time, this Sunday July 30th at FilmBar in downtown Phoenix. It'll be part of their Filmmaker Showcase. Tickets are available online. Link is in my profile or you can message me. Hope to see you there! #filmbar #movies #arizona (at FilmBar Phoenix)

[katzova]

Vienna friends, please feel welcome to drink and dance at the Filmbar of the Austrian film museum this Friday! DJ Katzova and Homeboy 3000 will be delighted to entertain you with film music specials and rare sounds !

[arizonaculture]

VHS TAPE SWAP & PHX PREMIERE OF BEYOND THE GATES

VHS TAPE SWAP & PHX PREMIERE OF BEYOND THE GATES

With Director Jackson Stewart in attendance, hosted by BS Movies Podcast

PHOENIX (January 24, 2017) – Calling all Tapeheads! FilmBar is hosting their first ever VHS Swap 8-10pm Friday February 10th.

VHS, Magazines, posters, VCRs & VHS board games and other collectibles welcome. Just bring your box of goods and hang out in our comfy lounge and converse with other videovores. No charge to sell,…

[amazingfuckingamy]

[wijwielennaarazie]

Zaterdag 20/06/2020

Preah Vihear - Phumi Moréal: 66km

Een goed bed dus we slapen iets langer uit. Anna is vegetarisch en een ontbijt zonder vlees vinden blijkt niet erg makkelijk. Uiteindelijk vinden we een restaurantje waar ze broodjes met een eitje serveren.

Vervolgens drinken we nog een koffie in een filmbar. Vier televisies spelen vier verschillende films. Enkel één film heeft geluid. De bar zit vol jonge gasten, die allen videospelletjes spelen op hun smartphone.

Vervolgens fietsen we Preah Vihear buiten. We volgen highway 64 en deze is heel rustig. Het landschap is prachtig en de houten huisjes zijn er heel mooi. De lokale mensen zijn veel traditioneler gekleed.

Rond de middag houden we halt bij een grote markt. We doen er wat inkopen en leren ondertussen dat we bij de apothekers gratis drinkwater kunnen krijgen. We kunnen er onze flessen steeds bijvullen.

We duwen nog even voort en vinden uiteindelijk een hutje naast een waterval. Ideaal om even te baden. Wanneer we koken stopt er een auto met mannen. Ook zij gaan hier overnachten. Ze zijn heel vriendelijk en voorzien ons van een hele zak verse peper en een nog grotere zak truffels.

Ze parkeren zich zodanig dat wij helemaal uit het zicht staan.

[wesleygriffith]

Isn’t it good again,

Isn’t it right again... 

Twenty years ago on a rainy day in Phoenix, Arizona, I rented this movie from Blockbuster. I expected to see a cartoon, what I got was high octane fuel to always drive towards being the best cartoonist I could be. 

What I got was a very important lesson: That nothing is impossible. 

Thank you, Bill. 

[thedeaditeslayer]

The screenings for the new 4K theatrical run of The Evil Dead are now available.

The premiere was in Vancouver, British Columbia yesterday, September 24th. You can check in on the dates below to find a screening hopefully near you.

Here’s the first round of dates for our exclusive theatrical release of Sam Raimi’s EVIL DEAD, featuring the reimagined score by original composer Joseph LoDuca and all-new 5.1 surround-sound mix!

9/24 – Rio Theatre, Vancouver , B.C. – Canadian premiere 10/4 – Texas Theatre, Dallas, TX 10/4 – Alamo Drafthouse, Houston, TX 10/4 – Landmark Theatres Ritz- Bourse, Philadelphia , PA 10/5 – Beyond Fest – Egyptian Theatre, Los Angeles, CA 10/5 – Belcourt Theatre, Nashville, TN 10/6 – Tropicana Theatre, Las Vegas, NV 10/10 – New! Encore screening @ Texas Theatre, Dallas, TX 10/11 – Music Box Theatre, Chicago, IL 10/11 – 10/17 – Plaza Theatre, Atlanta, GA 10/11 – Alamo La Vista, Omaha, NE 10/12 – Thriller! Chiller! Film Festival – Wealthy Theatre, Grand Rapids, MI (w/Evil Dead SFX artist Tom Sullivan!) 10/15 – Alamo Drafthouse, Corpus Christi, TX 10/15 – Alamo Drafthouse, Laredo, TX 10/15 – Avalon Theatre, Milwaukee, WI 10/15 – Alamo Drafthouse, Raleigh , NC 10/16 – FilmScene, Iowa City, IA 10/17 – Alamo Drafthouse, Richardson TX 10/18 – Palace Theatre, Syracuse, NY (*35mm original version) 10/18 – FilmBar, Phoenix, AZ 10/18 – Gables Cinema, Coral Gables, FL 10/19 – Knoxville Horror Film Festival, Knoxville, TN 10/19 – Roxy 14, Santa Rosa, CA (with THE BEYOND) 10/20 – Hollywood Theater, Portland, OR 10/21 & 22 – Frida Cinema, Santa Ana, CA 10/23 – Fox Gold Coast, Ocean City, MD 10/23 – Alamo Drafthouse, Littleton, CO 10/25 – Kentucky Theatre, Lexington, KY 10/25 – Cinematique, Daytona Beach, FL 10/25 – Broadway Theatre, Saskatoon, SK 10/26 – Globe Theater, Calgary, AB (Calgary Underground Film Festival) 10/26 & 31 – AFI Silver, Silver Spring, MD 10/26 – FEARnyc, New York, NY 10/26 & 29 – Apollo Cinema, Kitchener ON 10/27 – Metro Cinema, Edmonton, AB 10/29 – The Westdale, Hamilton, ON 10/29 – 11/3 – Historic Howell Theater, Howell MI 10/29 & 30 – Mayfair Theatre, Ottawa, ON 10/30 – Byrd Theatre, Richmond, VA 10/31 –Railroad Square Cinema, Waterville, ME 10/31 – Cinema Arts Center, Huntington, NY 10/31 – Loft Cinema, Tucson, AZ 10/31 – Fox Theatre, Toronto, ON 11/2 & 11/3 – Landmark Ken Theatre, San Diego 11/8 & 11/9 – Coolidge Corner Theatre, Boston 11/10 – Alamo Drafthouse, Woodbridge, VA 11/10 – Alamo Drafthouse, Ashburn, VA 12/20 – 12/24 – Gateway Film Center, Columbus, OH

More dates TBA at www.GrindhouseReleasing.com Bookings: David Szulkin, info@grindhousereleasing.com

[ourladyofdiscord]

An Overheated Kettle That You Can't Turn Down: "Daisies" (FILMBAR)

An Overheated Kettle That You Can’t Turn Down: “Daisies” (FILMBAR)

Playing this Sunday at FilmBar in downtown Phoenix is Věra Chytilová’s Daisies. A wild, surrealistic romp of a film, it’s radical form is still revolutionary. Here’s a write-up on the film (and its filmmaker) for FilmBar. I’m also working on a piece about Chytilová’s other avant-garde masterpiece “Fruit of Paradise” for De’Lunula (keep your eyes peeled for that next week). FilmBar: An Overheated…

[vaporwavecorp]

FilmBar Lounge

[waynemichaelreich]

Filmbar. (C)waynemichaelreich.com #filmbar #phoenix #moviehouse #bar

[mcsanders278]

Silent films vs Green Screen

I remember as a child seeing the first academy award winning best picture, Wings, in class at my elementary school around fifth grade. For those of you who are unaware, it is the only silent film to win best picture. Even at a young age the film left a lasting impression and was my first introduction into silent cinema. Admittedly, looking back on Wings now it is nowhere near one of the best silent pictures made but it will always have a sense of nostalgia for me. 

Since that initial introduction to Wings my appreciation for silent cinema has waxed and waned over the years. I would be remiss to say that silent films don’t require a different level of dedication than sound pictures as it is essentially impossible to do anything else while viewing them. Foreign cinema is similar in nature but foreign films have always felt more accessible to me since there is at least some speaking element - even with a lack of understanding the language, hearing tonal shifts in voices and sound effects can still provide a relatively high level understanding of what is going on even if the viewer is not completely paying attention / engaged in the viewing process. 

There is a large gap in memory between my viewing of Wings and my next silent film as my next cognizance of a silent movie was probably about eight years later in watching Buster Keaton in The General in a film history class. Oddly enough, as much as I considered myself a film connoisseur even at a young age taking the film history class made me realize that the earliest form of cinema had never been a format I completely delved into...I had never even seen a Charlie Chaplin film by the time I was in college (this could easily be viewed as cinematic blasphemy).   

In my third year of college I spent a considerable amount of time in the school library due to having large chunks of time between my classes. It was here that I was introduced to more cinematic endeavors as there were multiple television stations with laserdisc players connected. Even then laserdiscs were a dead form of media but the library had an extensive collection of films, including F.W. Murnau’s silent masterpiece Sunrise and numerous Criterion Collection films (this is a company which will undoubtedly come up in future posts). 

Even with my love of Sunrise and The General, for some reason I still didn’t have a complete buy-in to devoting a great deal of my film viewing hours to the silent form. Fast forward another 10 years or so when my sons were of an age to appreciate something beyond Disney cartoons. The three of us gained an esteem for Charlie Chaplin and his visual genius pretty much at the same time. I wasn’t expecting them to have the patience to sit through a silent film but for those of you who have seen the comedies of Chaplin, Keaton, Lloyd, etc you are well aware that they have a someone animated quality in their presentation anyway, which is never boring.  

For the next 8-10 years I was open to watching silent films on a regular basis; however, I essentially limited my exposure to comedies. There were a few dramatic films in between the comedies but nothing of mental consequence.  

Fast forward yet again to a relatively recent screening of Fritz Lang’s restored version of Metropolis at the FilmBar in Phoenix. I had seen the film previously years ago but it was a very poor print converted to DVD. One thing I have realized over my film viewing years is that if I am screened a poor print of any film my attention span is already depleted to almost zero. Needless to say, the version screened at FilmBar was a newly restored version with scenes recently found and it was gorgeous. How they were able to make a 90 year old film look so pristine is beyond me / just shows how film itself is magical. The luxury of seeing Metropolis on a big screen and completely devoting myself to its genius in a theater was an insane experience. 

Even if you haven’t seen Metropolis you have unquestionably seen some movie which was influenced by it as it was groundbreaking not only from a technical stance but also from a narrative stance.

I’m sure by now you’re asking how any of this has any relation to my topic / the current use of green screen in films. I’ll get to that in a moment. About 7 years ago I took my sons on the Universal Studios VIP tour which gave us a behind the scenes look at the movie-making process. During the tour we were actually taken into a sound stage which was green screen from floor to the top of the walls (see below)

At the time I thought this was a pretty cool but little did I know how green screen since then / over the past 5 or so years really has created a void in today’s cinema. If you think about the entire concept of green screen/CGI and what it asks of the viewer it is actually pretty weird...you know it is CGI, the filmmaker knows that you know it is CGI, yet you are supposed to pretend that it is real. Think about that for a moment...

One could say that it is just a souped up version of what Disney did years ago with films like Song of The South and Mary Poppins with the incorporation of animation on live action; however, the difference is that there is never a question that animation is involved with those earlier films and the viewer is not expected to think otherwise. Watching the film Tarzan a few years ago is when I fully realized my pure contempt for films which have predominant use of green screen as it was quite clear that probably more than 85% of a film which was supposed to take place in the jungle was filmed indoors / in a setting like the photo above. Again, think about that for a moment...

Getting back to silent films (and most notably films like Metropolis), the set designs and production values of a lot of silent films by the known silent directors of the time (Lang, Murnau, Chaplin, etc) were pretty insane. It is in seeing the ingenuity and care of films from almost 100 years ago compared to the somewhat frivolous approach to film-making nowadays where all of the big budget, big money-making movies are over run with CGI / green screen that one must wonder if we have taken a huge step backwards in cinema/imagination. We now seem to be at a point where viewers are desensitized and don’t care for good stories and good film-making, just “loud” productions. This isn’t to say that all movies nowadays are bad and that the use of green screen/CGI can’t be used for a good purpose (as long as it only adds to the story and doesn’t drive it) but if I were to have a choice between watching an amazing, emotionally engaging production like Metropolis or Murnau’s Faust versus a predominantly green screen production, which really has a cold, empty feeling to it, I would choose the silent film.