At the Neon: Ethan Hawke in TESLA and Jacki Weaver in STAGE MOTHER
Continuing in our Virtual Cinema:
Synopsis for REPRESENT – Virtual Cinema: “Equal parts personal and political, REPRESENT follows three women on both sides of the aisle who share the singular goal of improving their community through public service.” (Music Box Films) Click the image below to watch the trailer and pre-order 72 hour access to the film for $12. (This film will be available starting Friday.)
Wes Anderson, More Hitchcock, FLANNERY & More
Blade Runner, More Hitchcock & Artists’ Roundtable!
JOHN LEWIS, Catherine Deneuve & virtually THE LAST TREE!
- Masks are required for all staff and guests except when eating in an auditorium.
- Our entrance to the building has moved to THE NEON’s patio doors. This will streamline transactions and separate ticketing from food purchases. Additional time between screenings will also minimize lobby traffic.
- Commonly touched surfaces (door handles, will be sanitized every 30 minutes.
- Floor markers will assist with social distancing, and hand sanitizers are located throughout the lobby.
- Please arrive before the scheduled showtime. Seating will begin approximately 40 minutes before each show.
- In the auditoriums, every other row will be unavailable. Groups may sit together, but 3 seats will be required between parties in each row.
- We have increased the time between screenings to allow us sufficient time to sanitize the auditoriums. For additional assurance, seat wipes will also be available for customer use.
- Please stay home if you have any of the following symptoms: cough, shortness of breath, fever, chills, sore throat or new loss of taste/smell.
NEON Newsletter: Ella Fitzgerald, Bill Nighy & ReOpening News!
- Masks are required for all staff and guests except when eating in an auditorium.
- Our entrance to the building has moved to THE NEON’s patio doors. This will streamline transactions and separate ticketing from food purchases. Additional time between screenings will also minimize lobby traffic.
- Commonly touched surfaces (door handles, will be sanitized every 30 minutes.
- Floor markers will assist with social distancing, and hand sanitizers are located throughout the lobby.
- Please arrive before the scheduled showtime. Seating will begin approximately 40 minutes before each show.
- In the auditoriums, every other row will be unavailable. Groups may sit together, but 3 seats will be required between parties in each row.
- We have increased the time between screenings to allow us sufficient time to sanitize the auditoriums. For additional assurance, seat wipes will also be available for customer use.
- Please stay home if you have any of the following symptoms: cough, shortness of breath, fever, chills, sore throat or new loss of taste/smell.
3 New Virtual Treats, ReOpening Film & More News From The Neon
I appreciate so many of you reaching out with suggestions as to films I should explore or revisit to expand my knowledge of the struggle and inequalities that face Black people in our society — great recommendations like Ryan Coogler’s FRUITVALE STATION, Spike Lee’s 4 LITTLE GIRLS, and Sabaah Folayan’s WHOSE STREETS? I also loved hearing back from so many of you regarding the list of films on my screening list last week. If you’re looking for a particular film and you can’t seem to easily find it on Netflix or Amazon, there’s a great resource called justwatch.com that can help you find the film in question on-line.
Synopsis for LUCKY GRANDMA: Critics everywhere are loving Tsai Chin’s central performance. “Set in New York’s Chinatown, Chin portrays an ornery, newly-widowed 80-year-old eager to live life as an independent woman, despite her family’s concerns. When a local fortune teller (Wai Ching Ho) predicts a most auspicious day in her future, she decides to head to the casino, only to land herself on the wrong side of luck by suddenly attracting the attention of local gangsters. She then employs the services of a bodyguard from a rival gang. LUCKY GRANDMA is a dynamic comedy with a stand-out performance by Tsai Chin. A new song by Akwafina is also featured.” (Good Deed Entertainment) Jude Dry of indieWire writes, ” LUCKY GRANDMA is a wickedly entertaining dark comedy, steeped in the colors and characters of New York City’s Chinatown.” And Peter Debruge of VARIETY wrote, ” Chin is plainly the film’s greatest asset, a terrific actor with great comic timing and a tendency to underplay her character’s reactions…” This film can be watched on your computer, mobile device or on your TV via the KinoMarquee app on a variety of sources. Scroll to the bottom of the purchasing page for further details. Click the image below to watch the trailer and gain 5 day access to the film for $12.
THE NEON’s Reopening News! Postponed Screenings! Added Films!
Hello Everyone!
In the last 48 hours, we’ve made a lot of changes. We’ve added movies to our virtual cinema line-up, some future events have been postponed, and we’ve received word that cinemas are allowed to reopen in Ohio next week. So I’ll take you through all that news.
First off, we just found out about a new film that speaks to the much-needed discussions about race in America…and the distributor was excited for us to open it today (6/5/20). So we’ve added 1 ANGRY BLACK MAN, from writer and director Menelek Lumumbato, to our line-up. (More details below)
Our special screening of SHIRLEY (along with the Elisabeth Moss Q&A originally scheduled for 6/6/20) has been postponed with a new date TBD. Knowing that Saturday evening would be a time for national protests, the organizer of this nation-wide screening event had this to say, “The mission of the Movie Night platform is to cultivate a communal experience through cinema. Hosting the event this Saturday does not feel appropriate or supportive of the activism happening across the country.” We agree! If you pre-ordered a ticket, you should have already received an email from the organizers. I’ll keep you posted as to when this event will move forward.
The Latest From The Neon: Peter Sellers, Diana Kennedy, Killer Whales & Gift Cards!
Mexican cuisine. Standing barely five feet tall with a thick English accent, Diana is a formidable critic of anyone who doesn’t agree with her views on Mexican culinary traditions, or, God forbid, doesn’t recycle. The author of nine acclaimed cookbooks, Diana has spent nearly seventy years exploring Mexico (typically solo in her truck), and researching the country’s varied and complex cuisines. A two-time James Beard Award winner, Diana was decorated with an Order of the Aztec Eagle from the Mexican government in 1982 and became a Member of the Order of
the British Empire from the UK in 2002. Despite her notable achievements, Diana is difficult to categorize; often referred to as the ‘Julia Child of Mexico.’ Given her edgier style, however, Diana prefers a different title: ‘The Mick Jagger of
Mexican Cuisine.'” This film is available to watch on your computer or mobile devices and via and app with supported Apple and android TVs. More technicals details can be found on this LINK. You can watch the trailer and gain 72 hour access to this film will for $9.99 by clicking the image below.
Neon News:
NEON Trivia & “Virtually” Playing BOOKSELLERS and BALLOON!
My Favorite Films of 2019
Hello Dayton MostMetro!
When asked to write a “Best of ” list about movies, it’s hard to decide what to write. First off, it’s so subjective…do people really want to read about my personal tastes or should I look at films scholastically and determine what is the “best” in regards to craft? In addition, what should I include – only films that got picked up for distribution? only films that screened in this market? only films that got a release this year?
Here’s what I’ve decided. The following list is a collection of films that I saw and loved this year. (Though some films didn’t play until 2019 in Dayton, movies like CAPERNAUM and IF BEALE STREET COULD TALK and THE FAVOURITE are not on the list because I saw them in 2018.) And contrary to popular belief, not all the films on the list screened at THE NEON!
I should make it known that I have not seen every film that got a release this year…once in a while, a film even plays at THE NEON that I can’t fit into my schedule. I tend to shy away from science fiction (though not always), most horror movies and films with gratuitous violence and/or machismo-driven male plot lines (a la Tarantino). (I have not yet seen THE IRISHMAN – as I intend to see it on our big screen on NYE.)
Here they are. 15 Favorite Films of 2019 (in alphabetical order):
AMERICAN FACTORY – Julia Reichert & Steve Bognar’s masterful documentary is stunningly heartfelt and equally scary. It’s a call to action from and regarding America’s workforce (which also happens to be filmed in our own backyard). I’m so happy for Julia & Steve’s success with this film!
BELLE EPOQUE – This little French gem with Daniel Auteuil and Fanny Ardant has not yet found a distributor in the US, but its existential ETERNAL SUNSHINE vibe is so much fun…I hope it makes its way to the States soon. Here’s a trailer:
THE BLONDE ONE – I love a good, slow-paced, foreign film that’s beautifully shot and fraught with honest sexual tension…especially when I can empathize on some level. This film is a slow burn, and I love it. (It played at The Dayton LGBT Film Festival.)
BOOKSMART – This generation’s CLUELESS is smart, fresh and so endearing…the best teen comedy in years! I watched this film on a flight to Germany…and again on the flight back. Beanie is a treasure! (trailer is for mature audiences)
CIRCUS OF BOOKS – This endearing doc about a straight Jewish couple who ran one of the most famous gay adult bookstores in the US while raising three children is poignant, personal and a great history lesson. (This film screened as part of The Dayton LGBT Film Festival – there is no trailer yet.)
THE FAREWELL – This runaway hit is billed as a comedy, but it’s so much more.
JOJO RABBIT – My feelings about this film ebb and flow…today it happened to make the list. The child performances are extraordinary, and the production design is flawless. This film has a lot to say about how our children are often taught to hate – and how easy it is to spread misinformation.
THE LAST BLACK MAN IN SAN FRANCISCO – This poetic film isn’t getting much year-end discussion, but I absolutely loved it – from the performances to the score to the cinematography.
LITTLE WOMEN – Thoughtful and exquisite! I complain about movie runtimes a lot. (I wish MARRIAGE STORY and WAVES were both 15-20 minutes shorter.) But this film seemed rushed at times…I think it would be stronger with a slightly slower pace and perhaps a runtime of 20 minutes more. Regardless, this is a gorgeous film with a beautiful structure.
PAIN & GLORY – Almodovar’s best film in over a decade…and that’s quite a feat (JULIETA and THE SKIN I LIVE IN are also quite strong from the last several years). This quiet film is full of rich performances, inventive storytelling and fantastic production design.
PARASITE – Must be seen. This film changes genres on a dime and has so much to say about class. Full of surprises and beautiful to look at – even when dark and disturbing.
PORTRAIT OF A LADY ON FIRE – This film will get a release in early 2020, and it is sublime. I can’t wait to see it again.
ROCKS – This film has not yet been picked up for distribution. It’s a gorgeous and heartbreaking story about a young girl trying to take care of her younger brother and herself after her mother has disappeared (again). There is sadly no trailer for this – just a clip.
THE TWO POPES – This film isn’t just a chamber piece – though simple moments between these two brilliant actors are certainly worth studying.
UNSETTLED – Winner of this year’s Audience Award at The Dayton LGBT Film Festival, this story about LGBT refugees in America is touching, timely, thought-provoking and powerful.
Don’t get me wrong. There are many more solid films from this year. There are movies with standout performances (like HARRIET) or incredible cinematography (like HONEYLAND) or great messages (like BIGGEST LITTLE FARM) or fascinating central subjects (like SOUND OF MY VOICE or PAVAROTTI) – but it’s the “Top 15” that really spoke to me in their entirety. That said, these other films are certainly worth mentioning (also in alphabetical order): A BEAUTIFUL DAY IN THE NEIGHBORHOOD, BOMBSHELL, CLEMENCY, DARK WATERS, GLORIA BELL, HONEY BOY, HOPE GAP, HOW TO BUILD A GIRL (here’s Beanie again!!), THE KINGMAKER, MARRIAGE STORY (sometimes I want to switch this with JOJO RABBIT), STRAIGHT UP, VARDA BY AGNES, and WAVES.
For the sake of trivia, here are the top 3 highest grossing films of 2019 at THE NEON:
#1 – JOJO RABBIT. #2 – DOWNTON ABBEY. #3 – HARRIET. (LITTLE WOMEN could possibly join the list, but it will be split between 2019 and 2020.)
Wishing everyone a happy and prosperous New Year.
See you at the movies,
Jonathan
Jonathan’s Weekly Neon Update
News from The Neon
In the past few days, we’ve made some big decisions as to our plans for the next several weeks. Some of our upcoming films have local connections, some are certain to be best picture contenders, and many are full of stars we love to see on screen. One thing is clear about each – it’s Oscar season!
TIFF 2019 – Day #9
Hello Everyone.
Today was my last full day of movies, and it was a strong selection.
HONEY BOY was my first film of the day – directed by Alma Har’el and written by Shia LaBeouf (did you see his performance in THE PEANUT BUTTER FALCON at THE NEON over the last few weeks?). “Actor and screenwriter Shia LaBeouf mines his own life in this confessional collaboration with director Alma Har’el, about the stormy childhood and early adult years of an actor struggling to reconcile with his abusive father (played by LaBeouf himself).” (taken from TIFF catalog) This tough story of the “bad boy” actor coming to terms with his upbringing is at times hard to watch – but certainly worth the ride. Performances across the board are strong – from the flashback scenes starring Noah Jupe (who is really fantastic) and LaBeouf to the more “current” scenes starring Lucas Hedges.
ROCKS – the title refers to the nickname of the main character – was up next. “British director Sarah Gavron (Brick Lane, Suffragette) returns with this intimate, honest portrait of a teenage girl who suddenly finds herself struggling to take care of herself and her younger brother.” (taken from TIFF catalog) I love when a film that is only minorly on my radar ends up blowing me away. I love this little gem. So rarely do we get stories about young black girls – and this one is strong and runs the emotional gamut. It’s honest, fresh, frustrating, complicated (though simply told) and full of life – sometimes jubilant and often heartbreaking. I hope this film gets a stateside release.
HOW TO BUILD A GIRL, my 31st film of the festival, was my last film of the day. “A working-class teenager (Beanie Feldstein) tries to reinvent herself as a hip London music critic, in this unconventional coming-of-age story based on British author Caitlin Moran’s semiautobiographical novel.” (taken from TIFF catalog) I felt like this film didn’t go over as well with the audience while I was loving it. There is a lot of really funny material – particularly in the first hour – that I felt others weren’t appreciating the way I did (you know that feeling when you’re the only one laughing). The dialog is sharp, and Feldstein is brilliant. But what starts as a charming and “innocent” film treads into adult territory as the main character is thrust into a grown-up atmosphere (which means the rating will keep the potential tween audience from seeing it theatrically). Sadly, as the film progresses, it starts to go in a rather predictable direction. That said, I felt like the film repaired some of its missteps by the end, and ultimately I found it quite satisfying. I left the film a much bigger fan of Beanie Feldstein. There is no trailer for this film yet…but here’s a little interview piece.
I met up with a couple friends for a last hurrah in the city and then came back to begin packing my bags. I have one more film early tomorrow morning, and then I’ll head to the airport.
Thanks for reading!
Jonathan
TIFF 2019 – Day #8
Hello Most Metro,
Things are winding down at TIFF. I’ve seen 28 films so far, and I have 1.25 days left. Today seemed like a “minor” day. Nothing extraordinary…but lots of tear to start off the day.
DADS, a sweet documentary, was my first film of the day. “Director Bryce Dallas Howard teams up with her father, Ron Howard, to explore contemporary fatherhood through anecdotes and wisdom from famous funnymen such as Will Smith, Jimmy Fallon, Neil Patrick Harris, and more.” (taken from TIFF catalog) This little film has a fantastic opening sequence – it’s funny, poignant, inclusive, and provokes reflection and introspection and brought me to tears right off the bat. There’s a lot to love about this little film, but it does lose some steam in the third act. (Am I getting old and tired, or do more and more films need recuts?) There is a lot of priceless material here, and the topic is valuable.
COMING HOME AGAIN was my next film. “A Korean American man cares for his ailing mother while trying to master her traditional cooking in the latest from Wayne Wang (The Joy Luck Club), based on Chang-rae Lee’s New Yorker short story.” (taken from TIFF catalog) This film starts out in a languid manner – lots of lingering shots without much happening (except everything is happening). A young man is caring for his mother who is dying of stomach Cancer, and the days stretch on with little happening – thus the pace. But eventually some old wounds start to surface, and some additional players enter the scene – and the performances are not of the same caliber. In the last 25 minutes, I felt like the film went off its quiet rails and not at all in a good way. I don’t see much box office life for this one.
LYREBIRD, my last film of the day, just got picked up by Sony Classics. “In Dan Friedkin’s directorial debut, a soldier and member of the Dutch resistance (Claes Bang) investigates stolen art in the wake of the Second World War, including a Vermeer sold to the Nazis by a flamboyant painter (Guy Pearce).” (taken from TIFF catalog) Based on a true story, this movie goes big (at least the score and some of the performances do) and the audience seemed to like it. The mystery at the first act’s core was an easy solve, and the movie changes genres a couple times. Though there were aspects of the story I appreciated, my final response was more of a shoulder shrug.
Thanks for checking in.
Tomorrow is my last full day of movies, and then I need to pack my bags…I head home after one movie on Saturday morning.
Cheers,
Jonathan