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Plaza Theatre Easter Sale

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This Saturday night between 5pm and 8pm you can purchase 7 movie vouchers for the price of 5 at this Miamisburg movie theater.  That’s just $25 to see 7 movies anytime until December 31, 2019.  You’ll need to show up in person to get this deal, they won’t be selling these online or over the phone.

Plaza Theatre
33 S Main St
Miamisburg, Ohio 45342

(937) 247-5980

The Plaza Theatre, located in the heart of historic downtown Miamisburg, reopened on Christmas Day of 2015, thanks to the efforts of the non-profit organization passionate about revitalizing the unique downtown Miamisburg.

McCoy on Movies: Little

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“You expect ME to tell her she didn’t get the black-ish spin-off?! This is why she’s making a movie jump now!” April Williams (Issa Rae) has a very uncomfortable meeting with her now-13 again boss Jordan Sanders (Marsai Martin) in a scene from director Tina Gordon’s comedy LITTLE. Credit: © 2019 Universal Pictures. All rights reserved.



WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Marsai Martin, Issa Rae, Regina Hall, Luke James, Tone Bell, Thalia Tran, JD McCrary, Tucker Meek, Marley Taylor, Eva Carlton, Justin Hartley, Rachel Dratch and Mikey Day

DIRECTOR(S): Tina Gordon
THE BACK STORY: Brought to you by black-ish creator Kenya Barris (who serves as a producer on the film), Little stars as Regina Hall as Jordan Sanders, a 38 year-old successful CEO of her own technology company located in Atlanta. There’s just one thing about Jordan that seems to drive everyone around her crazy: Her insane work ethic and mean-spirited nature drive everyone – her employees, her neighbors, people at stores she frequents and especially her over-worked and highly under-appreciated assistant April Williams (Issa Rae) – crazy. But since Jordan learned at the age of 13 that people can be mean-spirited, she made a vow that when she became big, she would be the boss and bully everyone else before they could bully her.


Now, the tables have turned and Jordan has been mean to the wrong person, which is why she wakes up only to find herself facing her worst fear: Being 13 again.


Cursed to relive the worse age of her life when she was little, Jordan finds herself out of her element. Now, she is forced to rely on April to run her company, can’t spend any quality time with her “D-Boy” (Luke James), drink, drive … Or, after a Child Protective Services agent (Rachel Dratch) is called to her home where April is posing as her aunt, the one thing she hates more than anything else in the world: A return to her old middle school. But with a major pitch to video game upstart Connor (Mikey Day) that could make or break her company on the line, the last thing Jordan has time for is dealing with mean-spirited classmates like Jasmine (Eva Carlton). 

THE REVIEW: Sometimes, when you’ve got a special team in place, you get products that show what happens when you let their creativity bring new life to an old idea. And trust me, the idea behind Little is freakishly old for a movie hitting theaters nationwide this Friday. (If you couldn’t figure out that reference, you shouldn’t be reading this; you should be trying to become little yourself so you can find all the requisite viewing your childhood apparently lacked.) So, given the success Barris and company have had with black-ish and its subsequent spinoff grown-ish, it really should come as no surprise that Little is big-ish on laughs and heart.First off, while Rae delivers a great performance as a grown woman taking orders from a child half her size, it’s Martin’s performance as a grown adult in a child’s body that wins the movie. Martin is so good in her role there are times that while you don’t forget she actually is a child, you may be taken with just how excellent she is at mastering all of the adult things she nails in the film. Be it a woman feeling amorous, running a company or a young child dealing with the horrors of middle school, Martin hits every note like a Grammy Award winner for best new artist before realizing that they were once a successful indie artist that has just been given a shot on a major label. A bigger scope just showcases the talent they possess on a grander stage, which is exactly what Martin does in Little. She holds center court with adults in every scene when paired up with actors twice her literal size to the point the film never feels unbelievable; when acting around peers her own age she feels as out of place as someone who is supposed to be 38 would around today’s snarky social media savvy (try tweeting that three times fast!) teens.

Throw in a perfect balance of youthful exuberance by the film’s young cast to work alongside the adults – Hall, by the way, does her job well in her limited but largely crucial screen time – and Little delivers original laughs by putting a fresh coast of paint on the “fish out of water” scenario body switch movies have given of such a familiar formula. Little is so well done that its blackness never is a dominant trait of the film; sure, there are some “black girl magic” references and whatnot, but if you go into Little thinking its going to touch the same issues you’d find in a typical story arc of black-ish, you’ll either be highly disappointed or highly surprised. Little is just a good film that stars a large African-American cast, not a film with a lot of African-Americans that just happens to be good – that distinction. As African-Americans continue to prove there’s more to the black entertainment experience than just being pimps, thugs and slaves – they can be quirky, insecure (see what I did there, Issa Rae fans), have the same concerns as anyone else about work and life, etc. – Little delivers a big step forward in making sure that ideal isn’t forgotten by Hollywood anytime soon.

Thus, much like a middle school talent show that actually features more talent than you’d expect, Little delivers big entertainment value mature (and maturing) audiences will enjoy.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Free Films in APRIL at the Main Library

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Dayton Metro Library’s popular Sunday Movies @ Main series continues in April with more out-of-the-ordinary films. All films are free and start at 1:30 pm in the Main Library’s Eichelberger Forum, 215 E. Third Street, unless otherwise noted.

APRIL FILMS:

4/7 THE FLORIDA PROJECT (2017)

Set on a stretch of highway in a budget motel just outside the imagined utopia of Disney World, The Florida Project follows six-year-old Moonee and her rebellious mother over the course of a single defining summer. Willem Dafoe was nominated for an Oscar, a Golden Globe and a BAFTA for his performance as hotel manager Bobby. Nominated for Best Director and Best Feature at the Film Independent Spirit Awards. Official Selection at the Cannes Film Festival.

 

4/14 PURPLE NOON (1960)

This ripe, colorful adaptation of Patricia Highsmith’s vicious novel The Talented Mr. Ripley, directed by the versatile Rene Clement, stars Alain Delon as Tom Ripley, a duplicitous American charmer in Rome on a mission to bring his privileged, devil-may-care acquaintance Philippe Greenleaf back to the United States. What initially seems a carefree tale of friendship soon morphs into a thrilling saga of seduction, identity theft, and murder. Featuring gorgeous location photography of coastal Italy. In French with English subtitles.

 

4/21 Library Closed for Easter

 

4/28 LAST MEN IN ALEPPO (2017)

(Showing in the Bassani Theater, 3rd Floor)

A 2018 Academy Award nominee for Best Documentary Feature, Syrian filmmaker Feras Fayyad’s breathtaking work – a searing example of boots-on-the-ground reportage – follows the efforts of the internationally recognized White Helmets; ordinary citizens who are the first to rush toward military strikes in the hope of saving lives. Winner of the Grand Jury Prize for World Cinema-Documentary at the Sundance Film Festival.

 

“This heartbreaking yet inspiring film is the best and worst of humanity all in one story.” – Colin Covert, Minneapolis Star Tribune.

 

 

For more information, visit DaytonMetroLibrary.org or call (937) 463-2665.

 

LunaFest- Short Films By Women

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This is our 10th year sponsoring LUNAFEST, the annual women’s film festival  We are fortunate this year to also have Tragic Refuge,a short film about incarcerated victims of domestic violence. This insightful film was shot in Dayton and Marysville Ohio and produced by Chinonye Chukwa, who recently made history at Sundance Film Festival as the first black woman to win their top U.S. Grand Jury Prize in the category of  Dramatic film.  Chukwa was featured at a previous LUNAFEST event at the Neon when she presented short films from incarcerated women that she mentored at the Dayton Correctional Institute through Pens to Pictures. A short Q&A with co-producer Nancy Grigsby will follow. Proceeds will benefit the Ohio Domestic Violence Network and Chicken & Egg Pictures, a nonprofit that supports women nonfiction filmmakers whose innovative storytelling catalyzes social change.

A Look At This Year’s Oscar Nominees

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Hello Most Metro!

I love good cinema.  And for all of my college years and days in retail, Oscar season was a time for speculation and preparation for watching (and cheering and jeering) the event on the big night.  But for most of the last 18 years, I have been so consumed with preparing for THE NEON’s Annual Oscar Party, I’ve hardly stopped to think who would win and who would lose.  That is until Dayton Rotary stepped in.  For the last four years, I’ve been asked to give a short presentation regarding the upcoming Academy Awards.  This forces me to reflect on the year’s nominees and to think about who will take home Oscars.  Below are some of my thoughts regarding this year’s big contenders.

Amy Adams – 6th Oscar nomination (5 supporting, 1 lead).

Marina de Tavira – 1st Oscar nomination, lots of accolades in Mexico.

Regina King – 1st Oscar nomination…lots of TV accolades.

Emma Stone – 3rd Oscar nomination…won for LA LA LAND.

Rachel Weisz – 2nd Oscar nomination…it’s been 13 years since nomination for CONSTANT GARDNER.

WHO WILL WIN?  This year’s “Best Supporting Actress” Oscar will almost certainly go to Regina King.  Her performance in IF BEALE STREET COULD TALK is heartbreakingly wonderful.  I recently heard King speaking on NPR’s “On Point” about how she rarely watches her own work…but a friend convinced her she had to see this film on the big screen.  Within the first five minutes, she knew this Barry Jenkins film was something special…and it turns out that I was just a few rows behind her at The Toronto International Film Festival.  (If King doesn’t get it, Adams is a good second bet.)

 

 

Mahershala Ali – 2nd Oscar nomination…won for MOONLIGHT!

Adam Driver – 1st Oscar nomination…has won awards for GIRLS on TV.

Sam Elliot – 1st Oscar nomination EVER.  Hard to Believe!!

Richard E. Grant – 1 Oscar nomination (though years of brilliant work).

Sam Rockwell – 2nd Oscar nomination…won for THREE BILLBOARDS…

WHO WILL WIN?  Mahershala Ali appears to be the favorite at this time, but Sam Elliott could sneak in and get it.  (That said, I’m rooting for Richar E. Grant.)

 

Yalitza Aparicio – 1st Oscar nomination, 1st film role ever!

Glenn Close – 7th Oscar nomination (4 leads, 3 supporting)

Olivia Colman – 1st Oscar nomination (lots of TV accolades and will be the Queen in next season of THE CROWN)

Lady Gaga – 1st Oscar nomination

Melissa McCarthy – 2nd Oscar nomination (1st was for BRIDESMAIDS)

WHO WILL WIN?  It’s Glenn Close’s turn.  The nominations show a diverse canon of work (DANGEROUS LIAISONS, FATAL ATTRACTION, ALBERT NOBBS, WORLD ACCORDING TO GARP, THE BIG CHILL)…but the brilliance doesn’t stop there – what about 101 DALMATIANS, PARADISE ROAD and more!  The upset in this category would be Lady Gaga…who does have a lot of fans and support in the business (but I think it would be a posthumous “slap in the face” to Judy Garland – who did not win for her incredible work with this role).

Christian Bale – 4th Oscar nomination…won for THE FIGHTER

Bradley Cooper – 7th Oscar nomination (3 of these nominations are for this film)

Willem Dafoe – 4th Oscar nomination…recent nomination was for last year’s FLORIDA PROJECT, 1st nomination was in 1987 for PLATOON

Rami Malek – 1st Oscar nomination (lots of accolades for TV’s MR. ROBOT)

Viggo Mortensen – 3rd Oscar nomination

 

WHO WILL WIN?  This is a tough one.  Many folks are banking on Christian Bale (think of that range – from EMPIRE OF THE SUN as a kid to THE MACHINIST to BATMAN to Dick Cheney).  The other big contender is Rami Malek – who has garnered a lot of love this award season.  I’m going with Bale.

 

ROMA has one big thing going against it.  Netflix!  Will the Academy be kind to a film that has been released by a company that wants to completely change the way films are consumed by the public?  Netflix knew they had to get this film into cinemas in order for it to get serious Oscar consideration…and we played it at THE NEON because I consider it the best film of the year.  But Netflix rarely wants cinemas to play their films…they want consumers to subscribe to their service.  They are not team players and the integrity of how a film is viewed is low on their list of priorities.  Big corporate profits over artistic integrity seems to be the order of the day…even when filmmakers ask for their films to get more theatrical exposure.  So we’ll see what happens…do members of the Academy care about all of this…or will they base their votes on the power of this film?

THE FAVOURITE divided our audience at THE NEON like no other film this year.  We had people see it numerous times and we had people complain that the film was “pornographic” or “stupid” or “wasn’t funny at all.”  It’s my opinion that this very dark comedy has a lot to say about the lengths people will go to gain power…and it also speaks about the disconnect by many of those in power and the people they represent.  I think it’s a brilliant film (although one with a very grim worldview).

A STAR IS BORN – this is the 4th version of this story.  The 1937 version won a special award for its use of color and also won a “Best Screenplay” Oscar.  The 1954 Cukor version (with Garland) did not win any Oscars (and is the strongest version of this story).  The 1976 version with Streisand won “Best Song”…and this latest version will also win Gaga an Oscar for “Best Song.”

One special note about the other nominees is that Hannah Beachler, a woman who grew up in Centerville and attended Wright State University for Motion Picture Production, is the first ever African American to be nominated for “Best Production Design.”  BLACK PANTHER has broken a lot of barriers this season, and it’s exciting to see Beachler get such wonderful recognition (she’s had an incredible career – working on such wonderful films as FRUITVALE STATION, MOONLIGHT and many more…including Beyonce’s LEMONADE).

A couple quick notes:

It’s hard to believe that this is Spike Lee’s 1st Oscar nomination!

Alfonso Cuaron is nominated for 4 Oscars this year…not only did he write and direct ROMA, he also shot and produced it.  All four of these roles have received recognition.

Foreign films have received a lot more love than usual this year.  In addition to ROMA’s 10 nominations,  COLD WAR received 3 nominations (WARNING…BIG PLUG AHEAD…COLD WAR is currently playing at THE NEON), NEVER LOOK AWAY has two nominations, and BORDER is nominated for “Best Makeup.”  And speaking of foreign films (ANOTHER BIG PLUG), CAPERNAUM, one of my absolute favorites of 2018, opens this Friday at THE NEON.

WHO WILL WIN?  The only way ROMA won’t win this year would be for “political” (aka Netflix) reasons.  I feel pretty confident that it will win regardless.  But if it doesn’t, the Oscar could go to GREEN BOOK – a film that despite some controversy, has received a lot of awards and admiration this season.

Neon Movies on Fifth Street. Photo by Lew Hann

As for our Oscar Screening Party...as always, it’s FREE!  The Academy Awards will be screened in our large auditorium this Sunday, February 24 – and you could win awesome prizes throughout the night…including our grand prize from our friends at Square One Salon & Spa. Ballots are available in our lobby and must be turned in before the first award is presented.  We hope you’ll join us!  We’ll be seating as close as possible to 7:00pm for the pre-show.

Hope to see you soon at THE NEON,

Jonathan

McCoy on Movies: Happy Death Day 2U

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Genre-bending Happy Death Day 2U proves there can be plenty of fun, romance in a serial killer thriller
By Tabari McCoy

“Wait a minute … Didn’t this happen the last time I starred in this movie?!” Tree (Jessica Rothe) experiences deja vú in a scene from HAPPY DEATH DAY 2U. Credit: Universal Pictures © 2019 Universal Studios.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Jessica Rothe, Israel Broussard, Phi Vu, Suraj Sharma, Sarah Yarkin, Rachel Matthews, Ruby Modine, Steve Zissis, Rob Mello and Charles Aitken

DIRECTOR(S): Christopher Landon
THE BACK STORY: Did you happen to catch 2017’s Happy Death Day? If not, you might have missed what happened when young college student Tree Gelbman (Jessica Rothe) got murdered on her birthday, only to wake up in the bed of fellow college student Carter (Israel Broussard) … Who was nice enough to try to bring her home before she got killed … And then go through the rest of her day, only to get murdered again. Then she found out who was her killer – SPOILER ALERT: It was her jealous roomie Lori (Ruby Modine) – and then she was able to break the loop and begin living her life again without the threat of a baby-masked assassin coming to kill her. 


Or so she thought.


For you see, Happy Death Day 2U begins with Ryan (Phi Vu) dying at the hands of a baby-faced killer. And then he wakes up in his garbage-filled car, only to get back to his room where he catches Tree and Carter about to … embrace. And once he starts describing what happened to him, Tree quickly realizes much to her horror what is happening: The loop has started all over again, only this time it’s affecting Ryan. Thus, you can imagine her shock, horror and anger when she discovers both loops were inadvertently created by Ryan and his fellow science students Samar (Suraj Sharma) and Dre (Sarah Yarkin) due to a time-altering device they’ve nicknamed “Sissy.” 


And that’s when things get REALLY weird – I’d say more, but it would ruin all the surprises. But if there’s one last thing Tree is looking for, it’s surprises; unfortunately for her, there are plenty of surprises on the way that is going to alter her reality in ways she never, ever envisioned in this dimension – or any others for that matter. 
THE REVIEW: Are you in search of a film this Valentine’s Day that (1) will make you laugh at the most unexpected, surreal scenario possible while (2) delivering a few cheap scares while still somehow (3) being self-deprecating to the point it might be one of the smarter films of its genre-bending ilk which in turn (4) makes it inexplicably entertaining and dare one suggest one of the most genuine-in-an-extremely-absurd-way romantic comedies in quite some time? If the answer to all of those winding enough to drive the average editor nuts questions is “yes,” look no further.For Happy Death Day 2U is a must-see that deserves praise not seen since Scream made people say the name “Skeet Ulrich” with reverence.

Boasting a keen sense of self-awareness and a wicked-funny yet strong performance by Rothe, Happy Death Day 2U does the thing that is extremely rare with movies rooted in a horror/thriller mold: Not only live up to the original, but surpass it. Whereas the original Happy Death Day felt like a silly-yet-enjoyable one-off, 2U provides a back story that expands its characters growth without losing any of its predecessor’s charm. Of course, that is due largely to Rothe’s ability to make her Groundhog Day-like existence consistently intriguing while making you root for her as her quest continues. It’s almost like writer/director Christopher Landon and the rest of the Blumhouse team (the production company responsible for hits like Paranormal Activity, Insidious, Get Out and the most recent Halloween remake/sequel/way to keep making money off that franchise) found out about Spider-Man: Into the Spider-Verse and said “How could we make a movie like that with a killer and keep all the humor?”

To her credit, Rothe does something rarely seen in horror-esque movies: Act. Like really, really act. She makes Tree equal parts crazy yet determined, hilarious yet not a caricature while at the same time using her skills to help make fun of and show reverence for the very genre that may make her a star. Playing well off of her co-stars Vu and Broussard, 2U is Rothe’s show the way the Golden State Warriors are Seth Curry’s team (at least, pre-Kevin Durant). And while the movie – which does have its fair share of “Ok, that’s corny even for this movie” moments and it is kinda easy to figure out who’s behind the mask if you pay a lick of attention – isn’t perfect, it’s got a great mix of comedy, thrills and irreverence to prove itself worthy of being a sequel.

In fact, given that it’s releasing just in time for Valentine’s Day, Happy Death Day 2U might just be the most romantic way to show your significant other you really love them … By watching a film breathe new life into a genre that can always use some.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Netflix Acquiring Julia Reichert & Steve Bognar’s ‘American Factory’ Documentary

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Word is leaking out from Deadline.com that  Netflix is negotiating a deal to acquire the world rights to the documentary that premiered last Friday night at the Sundance Film Festival in Park City Utah.

Directed by Yellow Springs residents Julia Reichert and Steven Bognar, the documentary can be considered a follow up to their 2009 film The Last Truck: Closing of a GM Plant, which followed the final days of the GM factory — the same space that now houses Fuyao. In 2009, that film received  an Academy Award nomination for Best Documentary (Short Subject).

“American Factory” follows a Chinese billionaire opened a Fuyao factory in a shuttered General Motors plant in Dayton, Ohio. For thousands of locals, the arrival of this multinational car-glass manufacturer meant regaining their jobs—and dignity—after the recession left them high and dry. American Factory takes us inside the facility to observe what happens when workers from profoundly different cultures collide.

At first, the culture clash is humorous. Transplanted Chinese workers attend trainings on dealing with their peculiarly casual and “chatty” American counterparts. But tensions mount. Slack safety standards and meager wages ignite serious doubts among the American rank and file. Low productivity and talk of unionization trigger a cascade of controls from Chinese management. Meanwhile, something ominous—the specter of job loss from automation—looms.

With precision and astonishing access, directors Julia Reichert and Steven Bognar capture every key moment in this high-stakes intercultural chess game, revealing how American and Chinese workers view themselves within systems of authority. What results is an epic masterwork about the future of American labor and Chinese economic dominance, all within the confines of a factory in Ohio.

The film was financed by Participant Media and is produced by Bognar, Reichert, Jeff Reichert and Julie Parker Benello. The co-producers are Mijie Li and Yiqian Zhang, with Jeff Skoll and Diane Weyermann the exec producers.

 

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McCoy on Movies: Glass

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M. Night Shyamalan delivers his twist on superheroes and villains with Glass

“Man … I think someone has paid ‘Dance, Dance Revolution’ a little bit TOO much …” Elijah Price (Samuel L. Jackson) watches in awe as one of the many personalities of Kevin Wendell Crumb (James McAvoy) dances with his newfound friend in a scene from the final (?) installment in M. Night Shyamalan’s heavy comic book-influenced thriller GLASS. Credit: Jessica Kourkounis/Universal Pictures © 2019 Universal Pictures. All rights reserved.


WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: James McAvoy, Samuel L. Jackson, Bruce Willis, Sarah Paulson, Anya Taylor-Joy, Spencer Treat Clark, Charlayne Woodard and Adam David Thompson


DIRECTOR(S): M. Night Shyamalan 
THE BACK STORY: The culmination of the events of his previous films Unbreakable and Split, Glass stars Sarah Paulson as Dr. Ellie Staple (Sarah Paulson), a psychologist who has been brought in to a Philadelphia-area mental hospital. It is there where she is working to relieve three men of their delusions of being superheroes: Kevin Wendell Crumb (James McAvoy), better known by his nicknames of “The Horde” in reference to his two dozen personalities ranging from 9 year-old Hedwig to stern British headmistress Patricia and “The Beast,” named for his deadliest, serial-killing personality. Only one woman, Casey (Anya Taylor-Joy) has escaped The Beast and lived to tell about it … And now she is fixated on the him in potentially unhealthy ways. 


Next up is David Dunn, a.k.a. The Overseer, a green poncho-wearing seemingly unbreakable (sorry – couldn’t resist!) man who was the only survivor of a train accident 19 years ago. Now, with the aid of his son Joseph (Spencer Treat Clark), works as a vigilante around the City of Brotherly Love … As long as he doesn’t get wet. Last but certainly not least? Elijah Price, better known to law enforcement as first name Mister, last name Glass – a criminal mastermind with a very severe case of brittle bone disease that did not stop him from orchestrating the train accident that revealed David’s gift (or is that caused his delusion?) all those years ago. His mother (Charlayne Woodard) loves her son and just can’t seem to look past his murderous ways …


Now tasked with curing the men, Dr. Staple has her work cut out for her … Especially if their delusions of grandeur aren’t.
 
THE REVIEW: Much like his beloved comic books, M. Night Shyamalan’s movies are often the source of great debate about which ones are really good and which ones are just, well, awful. And after taking a much-deserved beating afters several hate-it-or-love-it features, the captain of the twist pulled a Dark Knight and redeemed himself with 2015’s quirky The Visit and then 2016’s Split, which featured one of the greatest (I know what I said!) performances in recent history by McAvoy as the Dissociative Identity Disorder-suffering Crumb. Then it was revealed (spoiler alert – you’ve had enough time) that the film was connected to the world Unbreakable created way back in 2000 and the hype that Glass would be his penultimate work became very real among his longstanding fans.Well, guess what? Glass – while not perfect – delivers a super (enough) payoff for all your years of patience.

Glass has story holes in it – I mean, how else to explain one of the character’s actions given that everything that happened to that character should likely make them act in the EXACT opposite way they do. Likewise, if you’ve been paying attention to Shyamalan for any significant period of time, you’ll likely figure out there is something amiss before it is revealed even if you don’t figure out everything.

Those two things notwithstanding, Glass benefits from its best elements well: Shyamlan’s true exploration of comic book dynamics (as opposed to pure good vs. evil fights) and the performances of McAvoy and Jackson. Seriously, Glass isn’t the type of film that will ever get someone nominated, but McAvoy really deserves some type of recognition for making his role work so well while Jackson really pulls off that whole “evil mastermind despite his limitations” character phenomenally well. Be happy Mr. Glass isn’t real, folks …

The last point is made because in this golden age of superheroes movies, Shyamalan’s film is much more of an intellectual comic book movie moreso than what audiences have come to expect from the Marvel Universe (and usually pray DC Comics/Warner Bros. can try to emulate with their various properties). Thus, if you really enjoyed Unbreakable and Split, you’ll likely like Glass. If you are expecting something like Aquaman or Avengers: Infinity War‘s big blowout action sequences, you’re in the wrong place. This is more Scream for the superhero movie … If instead of parodies and murder you just had Jamie Kennedy’s Randy character moving the story forward. This is more a tale of connected lives, destinies and of course, the unique ways people with extraordinary abilities in comic books function.

Given the glut of superhero movies these days, the fact Glass challenges you to explore them in a way rarely seen these days is quite a twist, indeed.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: If Beale Street Could Talk

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Cincinnati native KiKi Layne shines bright in writer/director
Barry Jenkins adaptation of If Beale Street Could Talk

“Girl, I love you … But you’re kind of killing my left shoulder right now …” Fonny (Stephan James) contemplates his next move while Tish (KiKi Layne) ponders their future in a scene from IF BEALE STREET COULD TALK. Credit: Tatum Mangus / Annapurna Pictures. © 2018 Annapurna Releasing, LLC. All rights reserved.


WATCH THE TRAILER(S) HERE:






KEY CAST MEMBERS: KiKi Layne, Stephan James, Regina King, Colman Domingo, Brian Tyree Henry, Michael Beach, Teyonah Parris, Finn Wittrock, Dave Franco, Emily Rios, Ed Skrein and Aujanue Ellis

 

DIRECTOR(S): Barry Jenkins
THE BACK STORY: Based on the novel of the same name by James Baldwin, If Beale Street Could Talk stars newcomer KiKi Layne as Tish, a 19 year-old New York resident (the opening title card explains why a movie set in NYC takes its title from a famous New Orleans locale) who is in love with Alfonso (Stephan James) – Fonny for short. The young lovers embrace each other completely having known each other for years, producing the sort of romance that young people have dreamed of for centuries.


But their relationship is not without its problems for certain.


There’s Fonny’s sisters (Ebony Obisidian and Dominique Thorne)  and mother (Aujanue Ellis) who doesn’t exactly approve of Tish or the situation she’s gotten Fonny into …. But if you think Tish’s mother (Regina King) or sister (Teyonah Parris) is going to just let them run down their family, however, you, like them, have another thing coming. At least Fonny’s dad (Michael Beach) and Tish’s father (Colman Domingo) get along. Fonny’s friend Daniel (Brian Tyree Henry) is having a rough go of things, too, following his release from prison.


But none of those problems are anything compared to what lies ahead when Fonny is accused of raping a woman (Emily Rios) by a police officer who may or may not have an axe to grind …
 
THE REVIEW: It’s romantic. It’s majestic. It’s infuriating. It’s depressing. It’s soulful. It’s upbeat. It’s melancholy. It’s heartbreaking. It’s artistic. It’s creative.  It’s hopeful. It’s frustrating. It’s raw and it’s unapologetic. In short, If Beale Street Could Talk is the African-American experience captured in two hours for the world to see.Certain movies strike cords with certain audiences more than others. For as many people loved Black Panther, the film showed the economic power that African-Americans have in catapulting what could have been just another superhero movie into an Academy Award contender. I mention this because while the critical acclaim for If Beale Street Could Talk is widespread (just Google it – ok, I did the work for you), it’s inherently bound to resonate with African-American audiences just a little bit more than others because of how dynamically it nails down various parts of what being black in America is like today as much as it did when its source material was first published in 1974.

There’s the fragile look of heartbreak and envy Henry gives as his character watches the interplay between Tish and Fonny and knowing he will likely never enjoy it … There’s the #metoo creepiness of watching Tish be subtly sexually assaulted by a white male customer under the guise of shopping … Beale Street delivers more nuanced facets of the struggles many African-Americans face in a country where they are often reminded they are and that there will always be some that view them second-class citizens. The police scenes are why I made the “infuriating” comment above, especially in lieu of the continued incidents like this and this and this and this and … Thus, anyone still wanting to have a conversation to determine their level of “woke” may find Beale Street to be either the perfect conversation starter … or ender.

On a positive note, there are the happy moments that prove the human experience, however has no color and can be enjoyed by everyone. This includes watching Dave Franco’s character bond with Fonny over a potential living space, Domingo and King’s coming to Tish’s aid and the love and chemistry between James and Layne as Fonny and Tish. Forget the earlier commentary made about how the film will strike an extra accord with African-Americans; the way in which screenwriter/director Barry Jenkins (the guy who made 2017’s Academy Awards Best Picture winner Moonlight) shoots their scenes will possibly inspire plenty of Match.com/eHarmony accounts in hopes of finding a love like theirs. Layne and James are the heart of the movie, its driving force and its beacon of hope not only for each other, but also the audience watching it.

If Beale Street Can Talk has plenty to say – which is why the words “must see” are the only two you really need in regards to whether or not you should.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

On Screen at The Neon

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We’re cleaning house this weekend…so if you need to see MARY QUEEN OF SCOTS  or THE FAVOURITE , you only have until Thursday to catch them at THE NEON.   I’m so delighted with what’s happening.  We’d initially thought we wouldn’t be able to bring IF BEALE STREET COULD TALK, but everything changed yesterday afternoon.  This beautiful, powerful film shouldn’t be missed on the big screen.  And as planned, we’re bringing the inspiring story of Ruth Bader Ginsburg’s early law career – ON THE BASIS OF SEX  (and don’t forget that we have a special preview screening of this film this Thursday evening).
Synopsis for IF BEALE STREET COULD TALK: Directed by Barry Jenkins (MOONLIGHT), and based on the novel by James Baldwin, this stunning film just earned a Golden Globe for Regina King and could be a big Oscar contender this year.  “Set in early-1970s Harlem, IF BEALE STREET COULD TALK is a timeless and moving love story of both a couple’s unbreakable bond and the African-American family’s empowering embrace, as told through the eyes of 19-year-old Tish Rivers (screen newcomer KiKi Layne – a Cincinnati native). A daughter and wife-to-be, Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Fonny. Friends since childhood, the devoted couple dream of a future together but their plans are derailed when Fonny is arrested for a crime he did not commit. Through the unique intimacy and power of cinema, IF BEALE STREET COULD TALK honors the author’s prescient words and imagery, charting the emotional currents navigated in an unforgiving and racially biased world as the filmmaker poetically crosses time frames to show how love and humanity endure.” (Annapurna) Click on the image below to visit the film’s official site.
Synopsis for ON THE BASIS OF SEX: “On the Basis of Sex is inspired by the true story of a young Ruth Bader Ginsburg – then a struggling attorney and new mother – who faces adversity and numerous obstacles in her fight for equal rights throughout her career. When Ruth takes on a groundbreaking tax case with her husband, attorney Martin Ginsburg, she knows it could change the direction of her career and the way the courts view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.” (Focus Features)  Click on the image below to visit the film’s official site.
Presented by Lotus Health LLC, WEED THE PEOPLE will screen one time on Thursday, January 17 at 7:30.  “Lotus Health LLC in Mason, Ohio is a holistic medical practice focusing on the health and well being of the community. Owner and healthcare provider Teaera Roland has studied the medicinal and industrial uses of cannabis for almost 13 years. First things first: Educate the community on the truth of the healing powers of this natural plant. This is not so easy when an entire generation of people has been lied to for the purpose of the political and financial gain of the few. The role of any medical provider is to present each client with all available options, even when not the most popular. Join Lotus Health LLC in learning about the possibilities of healing naturally and effectively with this amazing documentary. Bring your questions, comments, and stories of your own. Reserve your seat with a $5 facility fee donation.” (Lotus Health LLC)  THE NEON has begun taking reservations at our box office and via the “Tickets” link on our official site – www.neonmovies.com.
On Thursday, February 13 at 7:30, Dayton-based filmmaker Christian Gentry will host the premier of his latest short film.  ” THAT’S LIFE is a short film about an aging, out-of-touch musician who tries to save his dating life with a young woman he meets in the city. It stars local actors Vince Hobart Smith as the musician, Paul, as well as Maile Spencer, and previous Gentry-collaborator Erika Baxter.  The film was written and directed by Christian Gentry, a local 18 year old filmmaker from Dayton. Christian took inspiration from the likes of Woody Allen and Noah Baumbach films for THAT’S LIFE, both using themes and style foreign to Gentry’s long run as a successful student artist. He has made several short films in the past three years, most recently writing the awarding-winning FINAL REBOOT, co-writing the film GOOD KIDS and writing/directing the short film REALITY, which won a Gold Key at the 2017 Scholastic Art & Writing Awards. This one-time Dayton screening includes a presentation from the filmmakers as well as a Q/A with Christian and some of the cast and crew afterwards.” (taken from press notes) Tickets are $7 and are available at THE NEON’s box office and via the “Tickets” link on our official site.
We hope to see you soon,
Jonathan

Favorite Films of 2018!

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Usually writing about local theater for DMM, this time I turn to the movies and share my year end review:

10. The Hate U Give

Incredibly timely and relevant. Perhaps the most urgent, necessary film of the year in its ability to capture the frustration and anger of how many Americans feel today.

9, Widows 
It’s special when a movie can be so full of shocking twists and turns you immediately strike up conversations with those around you to play detective. Brutal yet empowering and sharing a few similarities with The Hate U Give, Widows was pure edge-of-your-seat entertainment.

8. Boy Erased
Genuinely heartbreaking and particularly powerful in flashback. Lucas Hedges (kind enough to snap a photo with me when he appeared off-Broadway in Yen in 2017) continues to amaze and evolve as one of my favorite actors. And I hope Nicole Kidman’s parking lot epiphany will be a part of every lifetime achievement award montage she’ll have in the future.

7. A Star is Born
There was a time when everyone said Gaga was finished when her underrated Artpop tanked. Now, thanks to Bradley Cooper, she’s on the verge of an unstoppable, she-really-pulled-it-off-like-Jennifer Hudson-in-Dreamgirls march to the Oscars. And if that happens, in my heart, it’ll be because of her Liza Minnelli-in-Cabaret-esque rendition of “La Vie en Rose” and selling every single bit of her Whitney Houston-esque rendition of “I’ll Never Love Again” (and what a final close-up!)

6. BlackKklansman
Simply one of Spike Lee’s finest. The Charlottesville footage alone was an inspired touch and will likely help secure his first (and overdue) best director Oscar nomination.

5. Vice
Incredibly disturbing but walking the delicate balance between serious drama and full-throttle mockumentary with fluid finesse thanks to the terrifyingly believable Christian Bale and Amy Adams. And nothing beats the film’s bedtime Shakespeare salute and “fair and balanced” focus group!

4. Roma
Gorgeous storytelling featuring a department store reunion that managed to be one of the most frightening scenes of the year, conveying enormous history between two people in a matter of mere seconds.

3. The Favourite
What a darkly comedic romp! There’s always been talk of certain actors or actresses winning Oscars for the wrong films. An argument can be made for adding Rachel Weisz and Emma Stone to that list.

2. Won’t You Be My Neighbor? 
Wasn’t it a good feeling, a very good feeling, to be reminded of how great kindness can be? As someone who grew up watching Mr. Rogers’ Neighborhood, this tear-jerking documentary was an undeniable treat, especially the moment everyone paused to think about one person who made a difference in their life.

1. Black Panther
All the stars aligned for this pop culture milestone that truly transcended cinema and surpassed Hollywood’s expectations. It also has the potential to receive at least 13 Oscar nominations thanks to its strengths in the technical categories. We shall see!

Honorable mentions: 
A Quiet Place
The Ballad of Buster Scruggs
Bohemian Rhapsody
Can You Ever Forgive Me?
Crazy Rich Asians
Eighth Grade
Every Act of Life
First Man
First Reformed
Green Book
Leave No Trace
Love, Simon
Mary Poppins Returns
The Miseducation of Cameron Post
Mission Impossible: Fallout
RBG
White Boy Rick
The Wife
Wildlife
You Were Never Really Here

2018 titles I look forward to seeing in early 2019: 
If Beale Street Could Talk
Ben is Back
Mary Queen of Scots
On the Basis of Sex

What were your favorites?

McCoy on Movies: AQUAMAN

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Jason Momoa brings credibility, fun to D.C. Comics longstanding fish-out-of-water hero

“My Crossfit instructor is going to be so proud!” Arthur Curry (Jason Momoa) makes his way through a sea (pun intended) of would-be submarine pirates in a scene from director James Wan’s take on the D.C. Comics iconic character best known to fans as AQUAMAN. Credit: Jasin Boland/ ™ & © DC Comics.  © 2018 Warner Bros. Entertainment. All rights reserved.


WATCH THE TRAILER(S) HERE:





KEY CAST MEMBERS: Jason Momoa, Amber Heard, Patrick Wilson, Temuera Morrison, Willem Dafoe, Yahya Abdul-Mateen II, Dolph Lundgren with Nicole Kidman, Graham McTavish, Michael Beach and Randall Park

DIRECTOR(S): James Wan
THE BACK STORY: Arthur Curry (Jason Momoa) was born of parents never meant to meet. For his mother Atlanna (Nicole Kidman) escaped the underwater kingdom of Atlantis to forgo an arranged marriage, which is why she fell in love with Tom Curry (Temuera Morrison) and gave birth to a young son. But since she knew the only way to keep him safe was to eventually return, she left young Arthur in Tom’s care, her young child never getting to know the mother he so desperately wished to be able to do. That’s why she made sure to charge Vulko (Willem Dafoe) with raising him in her place, teaching young Arthur the ways of Atlantis to make sure he knows part of where he came from.
 
Problem is, while Arthur may never meet his mother, he will meet Prince turned King Orm (Patrick Wilson), his vengeful half-brother who is tired of all the pollution and attacks from the “surface world.” That’s why, with the aid of King Nereus (Dolph Lundgren) and his daughter/soon to be Orm’s wife Mera (Amber Heard), he plans to take the war to the surface world and let mankind know their time is up. But since only a true king can stop Orm and his evil ways, Mera seeks out Arthur to stop him before it is too late for both of their worlds. 
 
Then again, since the pirate who will become known as Black Manta (Yahya Abdul-Mateen II) is after Arthur for what he did – or should that be didn’t do for – his father (Michael Beach), it seems like our hero is going to have his hands full.
 
THE REVIEW: Of all the members of the D.C. Comics world (Marvel kind of has that Universe thing on lockdown), none have been more ridiculed, scrutinized and generally made fun of more than Aquaman. I mean, he was the long-running source of material on the show Entourage (link language NSFW), Robot Chicken has skewered him for years and even the god-awful abomination that was the Justice League movie even poked fun at one of his most well-known abilities. Like Wonder Woman before him (language NSFW), there was no shortage of jokes about his costume, his skills and, in general, the very idea that someone would want to watch a full-length movie about him.
Then came 2017’s Wonder Woman film – and all the jokes stopped. Now, just in time to round out 2018, Aquaman finds itself in a similar boat (pun intended) … And just like his female predecessor,  Arthur Curry is going to get the last laugh since D.C. Comics’ latest solo superhero cinematic adventure is non-stop fun from start to finish.
Momoa, possibly the ultimate bro among leading men right now, brings all the swag Aquaman has never had as a character to life and then some as the film’s lead. Confident and cool, he proves to be more than brooding brawn and massive muscle as he flexes his thespian talents throughout the film. Of course, being a hulking human being certainly doesn’t hurt as every time he thrashes, bashes and/or generally mashes an enemy, it’s never not believable.
Of course, having a pretty solid cast doesn’t hurt matters, which is why Heard does her best to not just to be a pretty (and extremely) redheaded face throughout the film as Mera. In line with Natalie Portman as Thor’s former love interest Jane Watson in the Marvel Universe, Heard displays a nice Harrison Ford/Kate Capshaw Raiders of the Lost Ark-like chemistry with Momoa, a niche that definitely helps the movie move forward with a balance of antagonistic humor and heart. Wilson is likewise solid as the villainous King Orm; Abdul-Mateen II does seem to be channeling his best Michael B. Jordan/Erik Killmonger rage as secondary villain Black Manta, although one would hope (should the inevitable sequel come to light) he will get to do much more than just huff and buff and try to blown Aquaman’s sea house in. 
 
Throw in Dafoe and Lundgren as the solid veteran male support with Kidman getting throw in a nice bit of physicality to go with the standard long-lost mother role and you get what most comic book movies should be: fun and energetic with just enough heart to make them last for more than one bucket of popcorn. That’s not even including director James Wan’s work with the rest of his team to create this most fascinating and visually-appealing world in a superhero movie this side of Wakanda and the film brings it in nearly every scene.
 
Now, as long as Warner Bros./D.C. can get that whole two-Joker movies thing together by the time 2019 starts, maybe D.C. can keep things going in swimming fashion – Aquaman has already done its part to get them there.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Mortal Engines

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Mortal Engines runs out of steam before it reaches its dystopian future finish line.

“Hold on tight, everybody … There’s a movie plot ahead of us to finish!” Tom Natsworthy (Robert Sheehan, left) and Hester Shaw (Hera Hilmar) look on as Anna Fang (Jihae) drives in a scene from MORTAL ENGINES, directed by Christian Rivers, and written by Fran Walsh, Phillpa Boyens and Peter Jackson (based on the novel by Philip Reeve). Credit: Mark Pokorny / Universal Pictures and MRC. © 2018 Universal Pictures. All rights reserved.



WATCH THE TRAILER(S) HERE:


 


 



KEY CAST MEMBERS: Hera Hilmer, Hugo Weaving, Jihae, Robert Sheehan, Lelia George, Patrick Malahide, Ronan Raftery and Stephen Lang as Shrike


DIRECTOR(S): Christian Rivers

WEB SITE: http://mortalengines.comTHE BACK STORY: Based on the series of books by Philip Reeve, Mortal Engines is set in a dystopian future where humans have, once again, scorched the earth (which apparently has suffered from massive land shifting, possibly due to earthquakes), leaving little in the way of resources. And town and cities have become rolling landmasses on wheels fighting for them.


That’s right. Cities. Are. Now. On. Wheels. Rollin’ – and the big ones like London led by Thaddeus Valentine (Hugo Weaving) devour every city in their path.


But while Thaddeus’ daughter Katherine (Leila George) and local museum worker Tom Natsworthy (Robert Sheehan) look up to Thaddeus Valentine, Hester Shaw (Hera Hilmer) knows the truth – and the scar she has across her face is one of the reminders she has of Valentine’s truly devious nature. Which is why she is determined to stop him at any cost before he tries to take down the Shield Wall, housing Anti-Traction League, a.k.a. the groups of people like Anna Fang (Jihae) that wish to stop London (and anything like it) from taking over the rest of the new world.


The only question is whether or not their efforts will be too late since Valentine’s search for “old tech” is nearly complete …

THE REVIEW: Ever seen a movie that, like a song on the radio, hits all the familiar beats to make it a hit but lacks anything distinct about it to make you remember it? If you’d like the cinematic equivalent of that all-too-familiar feeling, Mortal Engines is like that unnamed band mentioned in the previous sentence.While you can tell its talented lead singer – in this case, the angsty Hilmer – is doing all she can to let the music play while the label tries its hardest to prop up her pretty but not up to the same level of skill co-star (Sheehan) while the co-stars (Jihae) look the part. But when you play listen closely, their lyrics – in this case, Mortal Engines’ inane dialogue/bad one liners – just fail to move you. And while your best friend might make a compelling case (Stephen Lang’s performance as the robotic Shrike is a scene stealer, the rolling cities are cool to watch on screen), you’ll keep pointing out other elements (Weaving’s villain is a poor man’s Star Wars’ baddie, almost every scene feels predictable and a rip-off of a better movie) that just leave you thinking this band is all style over substance. 


If you’re a fan of regular top 40 music, you’ll likely find Mortal Engines to be an enjoyable-enough diversion from constant debates about whether a song from the 1940s no longer fits on modern radio or the type of person who posts on Facebook about you wish you could get away from all the negativity you see everyday. But guess what? That’s not gonna stop people from talking about either of those things – and Mortal Engines, bless its cast’s and crew’s collective hearts, isn’t gonna stop making most people wish it just didn’t seem so familiar.


For it’s the little cinematic engine that could have been better.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Local Filmmaker Screens “Got My Hustle Up” Tonight

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Local filmmaker Jason Hampton will hold a screening of his  film Got My Hustle Up tonight at the Danbarry Dayton South at 7pm. Tickets are available at the theater.  The film actually premiered on October 31st at the Victoria Theater and has also been shown at The Neon.

 

Jason made this movie on a very limited budget and a big dream with the determination to make a movie in his home town.   The film is about a young man forced to grow up quickly after his father is killed. Growing up fast in Dayton, OH his surrounded by violence and the drug life.  He wants to be a good father to his son but struggles to support him on his salary as a pest control technician.  Jason and his partner Boo Pac find themselves in dealing with crazy customers and a crooked boss. Eventually he’s face to face with the man responsible for his father’s death. Jason wonders if the gaining money, power and respect are worth more than loyalty to his father.

 

The movie was all filmed here in Dayton and features Micheal Blackson, a comedian and actor who appeared in the 2000 comedy film Next Friday and was seen on 30 Rock. Also appearing,  Jamal “Gravy” Woolard actor, rapper, and comedian best known for portraying musician The Notorious B.I.G. in the film Notorious, and, as a supporting character, in the Tupac Shakur biopic All Eyez On Me. Jamal “Gravy” Woolard is an American actor, rapper, and comedian. He is best known for portraying musician The Notorious B.I.G. in the film Notorious, and, as a supporting character, in the Tupac Shakur biopic All Eyez On Me.


The film is rated R.

Yellow Springs Filmmakers To Debut Latest Documentary At Sundance

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In 2009 Yellow Spring filmmakers Julia Reichert and Steve Bognar made a film based on the closure of the Moraine Assembly plant, a General Motors automobile factory on December 23, 2008.  Reichert and Bognar spoke to several hundred of the nearly 3,000 workers at the plant who were to lose their jobs as a result of the closure. Lacking access to film inside the plant itself, the filmmakers supplied some of the workers with flip cameras to smuggle into the factory, allowing them to acquire footage of some of the final vehicles being assembled there. The film, The Last Truck: Closing of a GM Plant was picked up by HBO and  was nominated for the Academy Award for Best Documentary (Short Subject) in 2009.

 

They just found out today their latest film, American Factory will debut this January at the Sundance Film Festival in the U.S. Documentary Competition.  The category will showcase sixteen world-premiere American documentaries that illuminate the ideas, people and events that shape the present day.

 American Factory / U.S.A. (Directors: Steven Bognar, Julia Reichert, Producers: Steven Bognar, Julia Reichert, Jeff Reichert, Julie Parker Benello) — In post-industrial Ohio, a Chinese billionaire opens a new factory in the husk of an abandoned General Motors plant, hiring two thousand blue-collar Americans. Early days of hope and optimism give way to setbacks as high-tech China clashes with working-class America. World Premiere

When Steve Bognar called to share the news of the films acceptance into the festival he shared that the film is not yet finished.  They submitted a rough cut for judging and crossed their fingers.  They now have a pretty great reason to get the film finished, but he says there is still a lot of work to be done.  And they’ll be taking some time out to go to California in December where Julia will be awarded the  International Documentary Association’s Career Achievement Award for 2018 in Los Angeles.

American Factory  was selected out of a record-breaking 14,259 submissions from 152 countries.  Bognar  said that the film was untitled until just two days ago.  American Factory refers to what the Chinese call this venture and also to the inside look the film has of the business.

2019 is already shaping up to be a pretty major year for the filmmaking team as , the Museum of Modern Art and the Wexner Center for the Arts will team up to present a traveling retrospective of Julia Reichert’s films later in the year.

Calling All Horror Movie Fans!

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HORRORAMA DAYTON is a horror movie marathon held annually as a fundraiser for a local charity, but it’s also much more!  HORRORAMA DAYTON is an all-nite Halloween party, so there’s a costume contest, plenty of trivia, and door prizes throughout the night! As many past attendees can tell you, HORRORAMA DAYTON is a unique experience. In addition to the films themselves they play tons of classic trailers, music videos, cartoons, and other shorts during the intermissions! Best of all is watching horror flicks with a crowd!

This year  HORRORAMA DAYTON has expanded to three shows over two days at Danbarry Huber Heights! On Friday the 12th at 7:00pm things kick off with a program we’re calling FRIDAY NIGHT FRIGHTS, featuring four fantastically frightful films and classic trailers!

On the morning of Saturday the 13th at 11:00pm they’ll hold their first ever MONSTER MATINEE, an all ages program featuring the Universal Monster classics DRACULA, FRANKENSTEIN, and THE WOLF MAN, plus classic trailers and cartoons! These two programs all lead up to the ANNUAL ALL-NITE HALLOWEEN PARTY starting at 6:00pm. In a addition to five terrifying tales of the macabre, there will also be contests, prizes, and plenty of fun to be had by all until the early hours of the morning!

This year proceeds from HORRORAMA DAYTON benefit Rescue Me Inc. and All Creatures Great and Small Emergency Pet Resource, two great organizations which are run through Sulphur Grove United Methodist Church in Huber Heights.

So pass the word and make plans for a scary good weekend! Tickets are available now at the Danbarry Huber Heights box office and online at horroramadayton.weebly.com! It’s going to be a scary good time!