January-1999

OF WE GLOBAL MOTION PICTORE INDUSTRY JANUARY 1999, $3.95

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• A remote switch will allow you to listen to either system from a film running 

on one projector using the same amplifiers, speakers, room acoustics, etc. 

• The demonstration may be scheduled before or after shows so there is no 

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• Executives from your cinema should be present for the demonstration. 

• Requests for a demonstrations should be made one month in advance. 

* This offer is extended cus 

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FADE IN... 

Last year, our Giants of Exhibition issue 

theme was "the charge of megacircuitry." 

Sony/Loews was joining with Cineplex 

Odeon, Regal Cinemas had acquired the 

Cobb chain and was heading up the aisle 

with Act III and United Artists, and more 

corporate-merger announcements seemed 

to be just over the horizon. That March, 

ShoWest was abuzz with expectations that, 

in five to seven years, five to seven 

megacircuits would control the industry. 

LCE indeed has come into existence, with 

not only domestic but global plans; although 

UA went its separate way, Regal and Act III 

did tie the knot, meaning there's a new king 

of the hill in exhibition (see top 50 chart, p. 

24). And, although its effort to sign the New 

York Yankees for its media-asset dugout was 

what garnered the ink, Cablevision did package 

its Justice Dept.-downsized lineup of excess 

Loews locations with a Clearview circuit 

buy. But what hasn't risen, at least yet, are any 

more of those just-over-the-horizon deals. 

One factor holding such pacts back might 

be Wall Street's look at the industry fundamentals, 

which aren't always fun and don't 

require much mental: Megaplexes cost much 

more to pull a few more people, even as competing 

multiplexes wither, and even as studios 

concerned over their own bottom lines try to 

hike their percentage cuts of the boxoffice 

take. Suddenly, the Street thinks cable and 

radio are hot again. And, of course, the Net. 

That's why we find our first annual state of 

the industry address, delivered in these pages 

by Regal topper Mike Campbell, so intriguing. 

He's certainly the man on top, but he's 

also the man in the middle of all this. His 

Dickensian take can be found on page 22. We 

invite—and eagerly look forward to—responses 

to the article from the industry's 

other circuiteers. Feel free to craft your letter 

as your mini-address to the industry. 

You may write us, or fax us, but the quickest 

way to reach us is through that darn Net: 

boxoffice@earthlink.net. Kim Williamson 

BOXOFFICE ONLINE 

WEBSITE ADDRESS: http://www.boxoffice.com 

E-MAIL ADDRESS: boxoffice@eai1hlink.net 

CIRCULATION INQUIRIES 

BOXOFFICE DATA CENTER 

725 S. Wells St., Fourth Floor 

Chicago, IL 60607 

(312) 922-9326; fax: (312) 922-7209 

^The 

Audit 

Bureau 

JANUARY, 1999 VOL. 135, NO. 1 GIANTS OF EXHIBITION '99 

COVER QUOTE: 

It is the best of times in theatre exhibition.... 

It is the worst of times in theatre exhibition.—ÊQM'S MIKE CAMPBELL 

DEPARTMENTS 

6 

8 

36 

37 

38 

40 

41 

42 

43 

44 

46 

48 

56 

56 

HOLLYWOOD REPORT 

Shooting "Jello"; as the Crow flies to 

"Salvation"; plus 19 more projects 

TRAILERS: FEBRUARY 

That's "Life": A "Ravenous" month 

of "True Crime" and "Hideous Kinky" 

EXHIBITION BRIEFINGS 

Barrie Lawson Loeks' new chair; 

Baskerville says 2007 boxoffices to 

be hounded by $24 billion; Maico, LCE, Regal, Ajay, Trans-Lux moves 

NATIONAL NEWS 

Warner reweds ShoWest; THX surrounds Dolby; ScreenChecks in 

HOLLYWOOD UPDATES 

Seagram^; Par up, Dis down; sharing mutual feelings 

NORTHERN EXPOSURE 

AMC debs Tor; Famous size: 920 by 2000; Cineplex falls for Niagara 

EUROVIEWS 

Sealed with the Swiss; Holland plexes flower; new way in Norway 

PACIFIC OVERTURES 

Reading and waiting; 17-plex: Australian for Biscuit; Hoyts so good 

HOME RELEASE CHART 

"Saving Private Ryan" beaches in Jan., "Mulan" to woo hearts in Feb. 

STUDIO FILM RELEASE CHART 

Major releases through May and beyond 

INDEPENDENT FILM RELEASE CHART 

Specialized fare to August and throughout 1999 

FILM REVIEWS 

This month's 22 reviews include our AFM coverage: 

"Arlington Road" 48 

"Babe: Pig in the City" 52 

"Ballistic Kiss" 49 

"The Blacksheep Affair" 50 

"The Boys" 49 

"A Bug's Life" 53 

"A Chinese Ghost Story: 

Tsui Hark Animation" 50 

"Colors of the Blind" 50 

"Concerto of Life" 50 

"Enemy of the State" 53 

"Hitman" 51 

"Hold You Tight" 

"Hurlyburly" 

"I'll 

Be Home for 

Christmas" 

"Meet Joe Black" 

"On Guard!" 

"Prague Duef 

"Psycho" 

"Rhapsody in Bloom" 

"Ringmaster" 

"The Rugrats Movie" 

"Shakespeare in Love" 

CLASSIFIEDS 

Including our index to advertisers in this issue 

"REVERSE ANGLE" 

If 

"Antz" and "Bugs" saw movies... 

OFFICES 

EPrrORIAL AND ADVERTISING CORPORATE HEADQUARTERS gUBSCRIPTIpN/CIRCULATIQN 

155 S. El Molino Ave., Suite 100 Mailing address: 725 S. Wells St., Fourth Floor 

Pasadena, CA 91 101 P.O. Box 25485 Chicago, IL 60607 

(626) 396-0250 Chicago, IL 60625 (312) 922-9326 

Fax:(626)396-0248 (773)338-7007 Fax:(312)922-7209 

51 

52 

55 

54 

49 

51 

52 

49 

55 

54 

52 

4 BOXOFTICE

SPECIAL REPORT: GIANTS OF EXHIBITION '99 

The Industry Standard: In this issue, we take our annual look at the 

top 50 powerhouses in the domestic exhibition industry. As always, our 

survey includes corporate rosters, an at-a-glance circuit summary, plus 

current and future screen- and site-count data. 

22 COVER STORY: BDXOFFICE'S FIRST ANNUAL STATE OF THE 

INDUSTRY ADDRESS—From the Desk of Regal's Mike Campbell 

Taking the pulse of the industry as 1999 opens, the head of the world's 

newly crowned largest circuit takes a trend look at megaplexing, 

consolidation, stadium seating, film production and investment capital. 

He's all for half of what he sees. By Michael L. Campbell 

24 THE GIANTS TABLE: The Fabulous Fifty 

Our one-page at-a-glance table summarizes the key numbers on the 50 largest North American theatre 

chains (ranked as of 1/1/99). Compiled by Christine James 

25 THE 1 999 GIANTS DIRECTORY 

Circuit-by-circuit listings for the top 50 chains include executive rosters, contact information, site and screen 

data, plus theatre-count projections for 1/1/2000. Compiled by Christine James 

JANUARY FEATURES 

16 SNEAK PREVIEW: 

Warner Bros.' 

"Je M'Appelle 

Crawford" 

Go on-set with 

BOXOFFICE to 

experience the hairraising 

hijinkery of 

the comic talents 

behind the story of 

one man's quest to 

win the World Freestyle 

Hairdressing 

crown. By Lisa Osborne 

18 SNEAK PREVIEW: 

Sony Classics' "Tango" 

The helmer of "Flamenco" and 

"Carmen," Spanish filmmaker 

Carlos Saura, provides notes on 

his latest look at man and music 

By Shiomo Schwartzberg 

MMp

HOLLYWOOD 

REPORT 

ILLEANA DOUGLAS 

A "Stirring" Performance 

ACE FREHLEY 

"Rocit" and Roll All Night 

KIRK DOUGLAS 

Here Comes The "Sun" 

"^ STIR OF ECHOES" A 

woman ("Message in a Bottle's" 

llleana Douglas) hypnotizes her 

brother-in-law ("Wild Things'" 

Kevin Bacon), triggering visions 

of the murder of a girl 

whose ghost haunts his house. 

(Artisan) 

''THE LOVE LETTER" Ellen 

DeGeneres ("Goodbye, Lover") 

is a bookstore employee trying 

to track down the author of an 

anonymous love letter in this 

romantic comedy. Kate 

Capshaw, Tom Selleck, Tom Everett 

Scott and Gloria Stuart costar. 

(DreamWorks) 

"JOE GOULD'S SECRET" Stanley 

Tucci ("The Impostors") will 

direct and star in this story of the 

friendship between eccentric 

Greenwich Village denizen Joe 

Gould and Joseph Mitchell, a 

writer for the New Yorker. (October) 

"THE MILLION DOLLAR 

HOTEL" A detective ("Lethal 

Weapon 4's" Mel Gibson) invades 

the lives of the residents 

of a seedy hotel in his quest to 

solve a murder. "Saving Private 

Ryan's" Jeremy Davies and 

"The Fifth Element's" Milla 

Jovovich co-star for director 

Wim Wenders. U2 lead singer 

Bono, who conceived the story 

with scripter Nicholas Klein, 

may play a role. (Distribution is 

to be set) 

"DETROIT ROCK CITY" In this 

'70s-set coming-of-age comedy, 

"American History X's" Edward 

Furlong plays a devotee of the 

rock group Kiss who must go to 

outlandish lengths to get himself 

and his friends (including "Slums 

of Beverly Hills'" Natasha 

Lyonne and "East Great Falls 

High's" James DeBello) into a 

sold-out concert. Band members 

Gene Simmons, Peter Criss, Ace 

Frehley and Paul Stanley play 

themselves; the quartet previously 

starred in the 1978 TV 

movie "Kiss Meets the Phantom 

of the Park." (New Line) 

"JELLO SHOTS" Bill Cosby 

would not approve. Jerry 

O'Connell ("Scream 2"), Sean 

Patrick Flanery ("Suicide 

Kings"), Brad Rowe ("Billy's 

Hollywood Screen Kiss"), Tara 

Reia ("Urban Legend") and 

Amanda Peet ("Playing By 

Heart") star in this film, told 

from eight different perspectives, 

about a night out drinking 

that turns disastrous. Michael 

Cristofer (HBO's "Gia") directs 

and David McKenna ("American 

History X") scripts. (New 

Line) 

"THE THIRD MIRACLE" The 

Vatican sends a priest 

("Stepmom's" Ed Harris) to investigate 

miracles performed by 

a woman ("Psycho's" Anne 

Heche) who's been nominated 

for sainthood. In the process, his 

own faith is reaffirmed. (Distribution 

is to be set) 

"BLACK AND WHITE" 

Filmmaker James Toback ("Two 

Girls and a Guy") will write and 

direct this drama about a group 

of rich, white New York City 

teenagers who get dangerously 

entwined in the hip-hop subculture. 

Ben Stiller ("Permanent 

Midnight"), Robert Downey Jr. 

(also of "Two Girls..."), Stacy 

Edwards ("In the Company of 

Men"), Claudia Schiffer ("Blackout"), 

Brooke Shields ("Freeway"), 

Elijah Wood ("The Faculty"), 

Gaby Hoffman ("200 Cigarettes") 

and boxing champion 

Mike Tyson co-star. (Palm) 

"SUNDOWNING" A former 

boxing champion goes on a 

treasure hunt with his son and 

grandson in this drama, which 

will star Kirk Douglas 

("Greedy"), Dan Aykroyd 

("Grosse Pointe Blank"), Corbin 

Allred (TV's "Teen Angel") and 

Lauren Bacall ("The Mirror Has 

Two Faces"). (Miramax) 

"WHAT LIES BENEATH" Harrison 

Ford ("Six Days, Seven 

Nights") and Michelle Pfeiffer 

('The Deep End of the Ocean") 

will star in this supernatural thriller 

for director Robert Zemeckis 

("Contact"). (DreamWorks) 

"TAKEDOWN" in this thriller 

that's based on actual events, 

Skeet Ulrich ("Ride With the 

Devil") will portray Kevin 

Mitnick, a hacker who eluded 

the FBI for more than two years 

before being tracked down by 

high-tech genius Tsutomu 

Shimomura ("The Joy Luck 

Club's" Russell Wong). Forest 

Whitaker ("Species"), Master P 

("I Got the Hook-Up"), Donal 

Logue ("The Thin Red Line"), 

Angela Featherstone ("200 Cigarettes"), 

Christopher McDonald 

("The Faculty"), Amanda 

Peet ("Playing By Heart") and 

Ethan Suplee ("Dogma") costar; 

Joe Chappelle ("Phantoms") 

directs. (Miramax) 

"13 DAYS" Phil Alden Robinson, 

who helmed the Kevin Costner 

starrer "Field of Dreams," 

may direct the actor again in this 

true story set in 1962 during the 

Cuban missile crisis and told 

from the point of view of Kenneth 

O'Donnell, President Kennedy's 

chief of staff. (Universal) 

"THE CROW: SALVATION" 

Kirsten Dunst ("Small Soldiers") 

is the sister of a murder victim 

in this third installment of "The 

Crow." She teams up with the 

wrongly accused-and undead- 

Crow ("Lawn Dogs'" Eric 

Mabius), who returns from the 

grave to solve the murder and 

clear his name. (Dimension) 

"THE BLUE STREAK" A gentleman 

thief ("Life's" Martin Lawrence) 

disguises himself as a 

police officer to recover stolen 

money in this comedy. Les Mayfield 

("Flubber") helms. (Columbia) 

"I KNOW WHAT YOU 

SCREAMED LAST SUMMER" 

Zeroing in on what producer 

Steve Nemeth ("Why Do Fools 

Fall in Love") calls "a genre 

that's 'screaming' to be 

spoofed," this film will parody 

recent teen horror films. (Distribution 

is to be set) 

YOU KNOW 

"SCREAM IF 

WHAT I DID LAST HALLOW- 

EEN" Whether it's a case of 

"great minds think alike" or 

"monkey see, monkey do," another 

send-up of the slasher 

genre is in the works. Jason 

Friedberg and Aaron Seltzer 

("Spy Hard") are scripting. (Dimension) 

"DRACULA" Joss Whedon 

(TV's "Buffy the Vampire 

Slayer"), the writer/director to 

whom the revivified vampire 

genre owes a debt of fangs, will 

bite into the animated film market 

with a cartoon musical version 

of "Dracula." (Fox) 

"FRIENDS AND LOVERS" 

Friendships are put to the test 

when passion erupts among a 

group of purportedly platonic 

pals on a ski holiday in this romantic 

comedy, to star Robert 

Downey Jr. ("Two Girls and a 

Guy"), Claudia Schiffer ("The 

Blackout"), Stephen Baldwin 

("One Tough Cop"), Danny 

Nucci ("Titanic") and Alison 

Eastwood ("Midnight in the 

Garden of Good and Evil"). 

(Lions Gate) 

ET CETERA: Jodie Foster has 

signed on to star opposite Chow 

Yun Fat in Fox 2000's "Anna 

and the King". Jean-Claude 

Van Damme will reprise his role 

as a one-man army battling 

robotic warriors in Columbia's 

"Universal Soldier II"... 

Leonardo DiCaprio ("Celebrity") 

is attached to star as jazz 

trumpeter Chet Baker in 

Miramax's as-yet-untitled 

biopic. 

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8 Boxoffice 

FEBRUARY 

TRAILERS 

In which valentines arrive 

from the heart ofHollywood 

Elsewhere in this issue, Regal topper Mike Campbell 

calls this the best of times and the worst of times for the 

industry. Hollywood's release lineup this month could be 

«.i>.«-u a.3 u iui .«> «./\«iii|î^ III :3U^pui i yjt iiij j 

Campbellese, the hefty number of offerings lu ««.itti j. 

few years ago was considered an off month shows that this 

is the best of times—and the worst of times, too. 

all 

Somewhere between "where will we get all the movs 

to fill all our megaplexes?" and "where will we pul 

these movies even with our megaplexes?" there's a 

hasn't found it yet. Case in point: Feb. 5, when four 

studio titles weigh in—with two of those offerings being 

of the same genre (and six more studio efforts banging 

on the holiday door one week later). 

Still, it's better to have a wealth of suitors than no callers 

at all. Just hope they bear boxoffice bon-bons. 

FEBRUARYS 

Life 

Funnymen Eddie Murphy 

("Holy Man") and Martin Lawrence 

("Nothing to Lose") team 

up in this comedy about a couple 

of criminals who finally figure 

out the value of life after 

being sentenced to spend it in 

prison. Noah Emmerich ("The 

Truman Show") and Lisa Nicole 

Carson (TV's "ER" and "Ally 

McBeal") co-star. Ted Demme 

("Beautiful Girls") directs a 

script by "Destiny Turns on the 

Radio" team Robert Ramsey 

and Matthew Stone; Brian 

Grazer ("Psycho") produces. 

(Universal, 2/5) 

True Crime 

Veteran Clint Eastwood directs 

and stars in this thriller 

based on an Andrew Klavan 

novel about an experienced 

newspaper reporter whose 

jaded cynicism is challenged 

by his latest interviewee: a 

death-row inmate on his way to 

his execution. With just 26 

hours to go before the event, the 

journalist becomes convinced 

that the accused murderer is innocent 

and races against time to 

come up with the proof. 

Eastwood 

is joined by Isaiah Washington, 

James Woods and Denis 

Leary, among other familiar 

names. Stephen Schiff ("Lolita") 

scripts; Eastwood and longtime 

associate Tom Rooker produce 

with "Driving Miss Daisy" team 

Lili Fini Zanuck and Richard D. 

Zanuck. (Warner Bros., 2/5) 

Ruslimore 

This comedy chronicles a 

year in the life of Max Fischer 

(Jason Schwartzman), who's 

devoted to the prestigious Rushmore 

Academy even though 

he's the worst student in school 

Threatened with expulsion. 

Max sets his sights on a first 

grade teacher, but his mentor, 

too, develops a crush. Let the 

war games begin. Olivia Williams 

("The Postman") and Bill 

Murray co-star. Wes Anderson 

directs a script he wrote with 

"Bottle Rocket" partner Owen 

Wilson; Barry Mendel and Paul 

Schiff ("PCU") produce. (Buena 

Vista, 2/5) 

Ravenous 

"The Full Monty's" Robert 

larlyle takes a star turn in a film 

)f an entirely different sort. This 

Irama/horror flick centers 

iround a handful of U.S. soliiers 

isolated in the snowy Sijrra 

Nevadas during the mid- 

J800s. A psychopath who's 

tasted human flesh before 

tempts them to soothe their 

hunger pains by feasting on 

each other. Guy Pearce ( L.A. 

Confidential") and David Arquette 

co-star. Antonia Bird 

(1994's controversial "Priest") 

directs a script by Ted Griffin; 

Adam Fields ("Money Train"), 

David Heyman and Tim Van 

Rellim produce. (Fox, 2/5) 

The Harmonists 

Set in 1920s Germany, this 

quasi-musical perioci film 

traces the rise and fall of the 

Comedian Harmonists, an a 

cappella German sextet patterned 

after an American group 

called the Revelers. Ulricn 

Noethen (best known for his 

German television work) garnished 

a German Film Award 

for his role leading these young 

men on their swift rise to stardom. 

Unfortunately, these guys 

are having too much fun to take 

Hitler's unprecedented rise to 

power seriously—despite the 

fact that half the troupe is Jewish. 

Meret Becker co-stars. Joseph 

Vilsmaier directs and 

executive produces; Jurgen 

Buscher and Klaus Richter 

script; Hanno Huth, Reinhard 

Klooss and Danny Krausz produce. 

(Miramax, 2/5 NY/LA) 

20 Dates 

For every Hoi lywood success 

story, there are 10or20failures; 

Myles Berkowitz, apparently, is 

one of these. In his docu-comedy 

"20 Dates," Berkowitz tries 

to improve both his love life and 

his professional career by documenting 

his social life over the 

course of 20 dates. Perhaps by 

the end of this project, he'll 

have improved at least one of 

the three. Berkowitz stars, and 

he directs and scripts; Tia Carrere 

("True Lies") co-stars. Elie 

Samaha ("Monument Ave.") 

and Mark McGarry produce. 

(Fox Searchlight, 2/5) 

Hideous Kinicy 

"Titanic"phenom Kate Winslet 

stars in tnis hippie drama as 

mother who, 

a young English 

disillusioned by her irresponsible, 

polygamist mate, packs up 

her two young daughters and 

heads for Morocco in search of 

spiritual fulfillment. There she 

hooks up with an acrobat/conman 

who, after realizing that 

not all Europeans are ricn, attempts 

to take care of his 

pseudo-family. Gillies Mac- 

Kinnon ("A Simple Twist of 

Fate") directs a script, written by 

brother Billy, based on a novel

'on 't 

let sticky floors, 

m^-J^l^m^^bathrooms 

ana concession areas rum 

the entertain 

^ 

experience 

ent 

">, 

kSS^ 1

y Esther Freud; Ann Scott ("Painted Angels") 

produces. (Stratosphere, 2/5) 

Pizzicata 

Shot in the Salentino region, located in 

the heel of southern Italy, this World War 

II 

drama traces the burgeoning romance 

between the sole survivor of a United States 

bomber crash and the lovely daughter of 

the widower who takes him m. Filmmaker 

Edoardo Winspeare shows off the culture 

and customs of his native land as the young 

woman teaches the lost American the 

"pizzica," the dance of joy and love. Cosimo 

Cinierei ("Intolerance"), Fabio Frascaro 

and Chiara Torelli star. Dieter Horres 

produces. (Milestone, 2/3) 

FEBRUARY 12 

My Favorite Martian 

Jeff Daniels returns to his "Dumb & 

Dumber" roots in this comedy (based on 

the classic television series) about newspaper 

reporter Tim O'Hara, who discovers a 

Martian who crash-landed on Earth. The 

two come up with a brilliant plan to disguise 

the alien as Tim's uncle until tl ey can 

repair his damaged ship and send him on 

THE DEEP END 

OF THE OCEAN 

Michelle Pfeitfer 

stars in this drama 

as a mother who, 

over the course of a 

number of years, 

deals with the loss 

and guilt associated 

with the kidnapping 

of her son. Even 

when the boy is returned, 

both ne and 

the rest of the family 

have to adjust to the 

fact that he's been 

calling someone 

else "Mom" and 

"Dad" for all these 

years. Treat Williams 

("The Devil's 

Own") and Whoopi 

Goldberg co-star. 

Ulu Grosbard directs; 

Jacquelyn 

Mitchard adapts her 

novel, with a scripting 

assist from Stephen 

Schiff ("True 

Crime"); Pfeiffer 

partner Kate Guinzberg 

produces with 

the actress. (Columbia, 

2/26) 

his way home. Christopher Lloyd, Elizabeth 

Hurley ("Austin Powers") and Daryl 

Hannah co-star. Donald Petrie ("The Associate") 

directs a script by "Casper's" Sherri 

Stoner and Deanna Oliver; "Dr. Jekyll and 

Ms. Hyde's" Robert Shapiro and Jerry Leider 

produce with Marc Toberoff. (Buena 

Vista, 2/12) 

8mm 

Nicolas Cage stars in this thriller as Tom 

Welles, a small-town private eye who gets 

in over his head when he tries to track 

down the origin of a particularly disturbing 

reel of 8mm film. The case and his shenanigans 

with street punk Max (Joaquin Phoenix) 

keep him increasingly away from his 

family as his interest in the mystery borders 

on obsession. Catherine Keener ("Your 

Friends and Neighbors") co-stars. Joel 

Schumacher directs a script by "Seven's" 

Andrew Kevin Walker; Judy Hofflund and 

Gavin Polone produce. (Columbia, 2/12) 

Biast from tlie Past 

Brendan Eraser headlines an all-star cast 

in this romantic comedy about a 30-yearold 

man who has spent his entire life in a 

bomb shelter. When he finally surfaces to 

restock supplies and find a partner for 

repopulating the earth, he's not ready for 

the world that awaits him outside. Alicia 

Silverstone, Christopher Walken, Sissy 

Spacek and Dave Foley (TV's "Newsradio" 

and "A Bug's Life") co-star. "The First 

Wives Club s" Hugh Wilson directs and 

scripts with story writer Bill Kelly; Wilson 

also produces with Penny Harlin ("The 

Long Kiss Goodnight"). (New Line, 2/12) 

Message in a Bottle 

After helming the disappointing "The 

Postman," Kevin Costner settles for simply 

starring in this romance from Warner Bros. 

A woman stumbles upon a romantic letter 

stuffed inside a washed-up bottle and determines 

to find its owner. Fortuitously 

enough, the author is a handsome, wiaowedshipbuilder 

recovering from the unexpected 

death of his wife. Their chance 

meeting blossoms into love as she helps 

him get over his past and move forward. 

Luis Mandoki ("When a Man Loves a 

Woman") directs a screenplay by Gerald 

Di Pego ("Phenomenon"); Costner, Denise 

Di Novi ("Practical Magic") and "The 

Postman's" Jim Wilson produce. (Warner 

Bros., 2/12) 

Simpiy Irresistible 

TV's "Buffy the Vampire Slayer" star 

Sarah Michelle Cellar stars in this romantic 

comedy (originally known as "Vanilla 

Fog") about a department store executive 

who, try as he might, can't help failing in 

love with the mysterious, magical owner of 

a newly inherited restaurant. Sean Patrick 

Flanery ("Powder") co-stars as the lovestruck 

exec. Mark Tarlov directs his first 

feature film; it's scripted by Judith Roberts 

and Elisabeth Robinson; Robinson also 

produces with John Fiedler ("Pecker") and 

joe Carcacciolo. (Fox, 2/12) 

Whispers Project 

In the tradition of "Homeward Bound," 

Disney presents this live-action family film 

about a baby elephant named Whispers 

who gets separated from his mother. During 

his desperate search, he hooks up with 

Groove, an outcast who reluctantly adopts 

the lost baby and leads him on an adventure 

to The Great River, a Utopia for elephants. 

Beverly and Dereck Joubert direct 

and produce. (Buena Vista, 2/12) 

God Said Ha! 

Given that she was a four-year member 

of the "Saturday Night Live" cast, it's only 

natural that Julia Sweeny would handle the 

toughestyearof her life with humor. Drawingfrom 

ner popular stage play of the same 

name. Sweeny directs and scripts this comedy 

about dealing with her parents' move 

into her newly purchased dream home, her 

brother's death from cancer and her own 

bout with the disease. Rana Joy Glickman 

produces with financial backing from executive 

producer and Miramax golden boy 

Quentin Tarantino. (Miramax, 2/12 NY) 

llluminata 

Billed as an "erotic farce," John 

Turturro's "llluminata" traces the trials and 

tribulations of an early 20th-century resident 

playwright whose unfinished masterpiece 

is turned down by his theatre 

company. As he works to get it staged, he's 

both helped and hindered by a motley 

10 BOXOFFICE

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crew of theatre types: the critic, the star, 

and the young tnespians. Turturro stars, 

and he directs, scripts (with Brandon Cole) 

and produces (with "A Price Above Rubies'" 

John Penottie); Rufus Sewell ("Dangerous 

Beauty"), Christopher Walken and 

Susan Sarandon co-star. (First Look, 2/12) 

Tango 

This drama focuses on a talented fi Immaker 

and tango artist as he tries to deal with 

a recent separation from his wife. Miguel 

Angel Sola and Cecilia Narova star as the 

sparring couple. Carlos Saura ("Flamenco") 

directs and scripts; Juan C. 

Codazzi, Carlos L. Mentasti and Luis A. 

Scalella produce. See our Sneak Preview in 

this issue. (Sony Classics, 2/12) 

Dona Barbara 

This drama from Venezuelan writer/director 

Betty Kaplan is actually a remake of 

a 1940s movie of the same name and an 

adaptation of the Romulo novel. A story of 

a wayward son who returns to the land of 

his ancestors to learn about himself, the 

epic romance stars Esther Goris and Jorge 

Perugorria. Peter Rawley produces. (Legacy, 

2/12) 

The Apple 

First-time Iranian director Samira 

Makhmalbaf has made quite an impression 

on the international film scene. At 1 8 years 

old, she is the youngest filmmaker to be 

invited to both Cannes and the New York 

Film Festival. "The Apple" is her exploration 

of a recent scandal in which an unemployed 

65-year-old man and his blind wife 

kept their twin girls imprisoned in their 

home for 1 1 years. Makhmalbaf managed 

to get the principal players to play themselves 

even as the girls, who had developed 

no social skills and could barely speafc or 

walk, struggle to readjust to the outside 

world. Makhmalbaf's father Mohsen 

Makhmalbaf ("Gabbeh") assists with the 

script. (New Yorker, 2/12) 

Paulina 

Fascinated with the life story of Paulina 

Cruz Suarez, director Vicky Funari decided 

to share it with the world in this quasi-documentary. 

Here, in documentary footage, 

Paulina confronts her parents who sold her 

to the town boss as a child slave. Through 

dramatic reenactments, we see her and 

others' versions of what took place afterward: 

her rape and escape to Mexico City 

at the age of 1 5. Suarez stars as herself and 

contributes to the script; Funari also scripts 

as well as produces with Jennifer Maytorena 

Taylor. (Turbulent Arts, 2/1 2) 

FEBRUARY 19 

Office Space 

Mike Judge ("Beavis and Butt-head Do 

America") directs and scripts this live-action 

comedy based on his cartoon shoot 

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"Milton." Jennifer Aniston stars as a waitress 

(apparently reprising her role on 

"Friends") who has to put up with her 

boyfriend's plot to wage political warfare 

at the software company where he works. 

Ron Livingston ("Swmgers") and Gary Cole 

("A Simple Plan") co-star. Guy Reidel, Michael 

Rotenberg ("Son in Law ) and Daniel 

Rappaport produce. (Fox, 2/19) 

Snow Falling on Cedars 

Part love story, part courtroom drama, 

"Snow Falling on Cedars" stars Ethan 

Hawke in an adaptation of David 

Guterson's best-selling novel about U.S. 

internment of Japanese-Americans during 

World War 11. The movie examines the 

ramifications of such camps on the population 

of a tiny Pacific Northwest island in 

the years following the war. Youki Koudo, 

Max Von Sydow ("What Dreams May 

Come") and James Cromwell co-star. 

"Shine's" Scott Hicks directs; Kathleen 

Kennedy, Frank Marshall, Harry Ufland 

("One True Thing") and Ron Bass 

("Stepmom") produce. (Universal, 2/19) 

FEBRUARY 26 

The Corrupter 

The inimitable Chow Yun-Fat ("The Replacement 

Killers") stars in this action/thriller 

set in an intimidating NYPD, 

where an idealistic rookie witnesses firsthand 

how power and influence can lead 

even the most respected officers astray. 

Mark Wahlberg (coming off the thrill ride 

"The Big Hit") and Ric Young ("Seven Years 

in Tibet") co-star. James Foley (Wahlberg 

starrer "Fear") directs the actor once again; 

Robert Pucci scripts; Dan Halsted ("U- 

Turn") produces. (New Line, 2/26) 

Brokedown Palace 

Along the lines of last summer's "Return 

to Paradise," this drama pairs Claire Danes 

and British sweetie Kate Beckinsale ("Cold 

Comfort Farm") as a couple of young 

women who run into trouble while vacationing 

in Thailand and ultimately get arrested 

for drug trafficking. Bill Pullman 

co-stars as their attorney. Jonathan Kaplan 

("Bad Girls") directs; David Arata makes 

his scripting debut; Adam Fields (this 

month's "Ravenous") and A. Kitman Ho 

("The Ghost and the Darkness") produce. 

(Fox, 2/26) 

The Deep End of the Ocean 

See our coverage on page 10. 

B. Monkey 

Oscar-nominated director Michael 

Radford ("II Postino") applies his romantic 

touch to this dark drama about the (im)possibilities 

of redemption. Alan ("I Shot Andy 

Warhol's" Jared Harris) can't help falling in 

love with B. (Italian starlet Asia Argento), 

despite the criminal past she in the end 

can't escape. The lovers cling briefly to B.'s 

fresh start before the edge they're living on 

threatens to crumble. Rupert Everett (My 


12 BOXOFFICE

Best Friend's Wedding") and Jonathan 

Rhys Meyers ("Velvet Goldmine") co-star. 

Michael Thomas adapts Andrew Davies' 

novel; Stephen Woolley ("The Butcher 

Boy") and Colin Vaines produce. (See 

photo, p. 8.) (Miramax, 2/26 NY/LA) 

School of Flesh 

Last summer's "Six Days, Seven Nights," 

"A Perfect Murder" and "Bulworth" continued 

the hallowed Hollywood tradition of 

older male characters dating/marrying 

younger women. Leave it to the French to 

turn the tables: Director Benoit Jacquot ("A 

Single Girl") presents a contemporary romance 

set in Paris between a younger man 

and an older woman. Vincent Martinez 

and Isabelle Huppert ("La Ceremonie") star 

as the unlikely couple. Jacques Fieschi 

scripts; Patrick Quinet, Fabienne Tsaii, 

Fabienne Vonier and Claude Waringo produce. 

(Stratosphere, 2/26) 

FEBRUARY UNDATED 

Je M'Appelle Crawford 

Don't be intimidated by the title: "Je 

M'Appelle Crawford" is no heavy French 

art film. Rather, it's a light comedy set in 

Los Angeles that stars "The Drew Carey 

Show's" Craig Ferguson. Crawford Mac- 

Kenzie (Ferguson) is a talented young hairdresser 

from Glasgow who misreads an 

invitation to attend the World Freestyle 

Hairdressing Championships as a challenge 

to participate and compete. Once he 

gets there, however, he refuses to let that 

slow him down and succeeds in capturing 

the competition's most prestigious award: 

David Rasche, Mary McCormack 

the Platinum Scissors. Frances Fisher ("Titanic"), 

("Deep Impact") and Chris Langam co-star 

along with a host of fashion/entertainment 

cameo players. Kevin Allen directs; Ferguson 

ana Sacha Gervasi script; Philip Rose 

produces. (Warner Bros., Feb. undated) 

Metroland 

Christian Bale ("Velvet Goldmine"), Lee 

Ross ("Secrets and Lies") and Emily Watson 

("Breaking the Waves") star in this romantic 

comedy about a couple of guys whose 

hatred for the sprawling Lonclon suburbs 

lead them in entirely different directions. 

One spends his life thoroughly avoiding 

"Metroland," while the other marries and 

settles there. When they reunite, it's a time 

to reevaluatetheir respective lifestyles. Elsa 

Zylberstein ("Jefferson in Paris") co-stars. 

Pnilip Saville (whose work has been seen 

mostly on British TV) directs a screenplay 

adapted by Adrian Hodges from the novel 

by Julian Barnes; Andrew Bendel produces. 

(Lions Gate, Feb. undated) 

Three Seasons 

This drama has the distinction of being 

the first full-length American feature film 

shot in Vietnam since the Vietnam War. 

Indie guru Harvey Keitel, who helped narrate 

the critically acclaimed documentary 

"Dear America: Letters Home from Vietnam," 

stars as a veteran who returns to the 

battlefields to search for his half-Vietnamese 

daughter. Tony Bui directs his own 

script and produces with Jason Kliot. (October, 

Feb. undated) 

Cosmos Flower 

Director Junichi Suzuki ("Sukiyaki") 

tackles the AIDS virus in this drama from 

Japan. High-schooler Akiko and her mother 

return to their small hometown in the countryside 

where everyone is well aware of her 

disease, if not understanding of it. A couple 

of bouts of sickness panic the townspeople 

further until Akiko's best friend stands up 

for her, encouraging understanding from 

this isolated, suspicious society. Akane 

Oda, Megumi Matsushita and Mari Natsuki 

star. (Phaedra, Feb. undated) 

Response No. 274 January, 1999 13

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The Milky Way 

All Nasser's drama explores the political 

and social tensions at work in postwar 

Galilee, when the Israelis sustained a harsh 

military rule. Mabruq (Suhel Hadad) has 

survived as an orphan by filling the role of 

the village idiot, all the time nursing a crush 

on the mutejamileh. Eventually the political 

pressure becomes too much to take, 

and the harsh mukhtar (town elder) falsely 

accuses a troublesome schoolteacher of 

falsifying work permits. Mohammad Bakri, 

Salim Dao, Makram Khoury and Yussef 

Abu Warda co-star. Nasser ("The Babysitter") 

directs and produces, and he scripts 

with Ghalib Sha'ath. (Kino, Feb. undated) 

The Empty Mirror 

What if Hitler had lived to contemplate 

his misdeeds? This feature-debut drama 

from Barry J. Hershey examines just such a 

scenario, depicting tneFuhrerdrinkingtea, 

painting his self-portrait, dictating his 

memoirs, as well as analyzing his rise to 

powerandhisfallfrom it. Norman Rodway 

stars as Hitler; Camilla Soeberg portrays 

Eva Braun. Hershey scripts with R. Buckingham; 

David D. Johnson, M. Jay Roach 

and William Dance produce. (Lions Gate, 

Feb. undated; could move to Jan.) 

Fever Pitch 

Football—better known as soccer in the 

United States— plays a starring role in this 

romantic comedy from Britain. Colin Firth 

("A Thousand Acres") plays a thirtysomething 

English teacher who has a difficult 

time choosing between his leading lady, 

the Arsenal football team, and a new love 

interest. Ruth Gemmell co-stars as the 

woman scorned. David Evans directs; Nick 

Hornby adapts his semi-autobiography; 

Amanda Posey produces. (Phaedra, Feo. 

undated NY/LA) 

Windhorse 

This indie drama supplements the Tibetan 

tragedy illustratea in "Seven Years in 

Tibet" and Martin Scorsese's "Kundun" 

with a more contemporary tale shot on 

video, partly while undercover in Tibet. An 

aspiring club singer finds her stardom 

stunted when her cousin publicly vocalizes 

her distaste for the Cninese occupation. 

Jampa Kelsang and Dadon star, along 

with others who requested their names be 

withheld. Paul Wagner directs and produces; 

first-timers Julia Elliot and Thupten 

Tsering script. (Shadow, Feb. undated) 

Zone 39 

Aussie John Tatoulis melds elements of 

the psychological thriller and sci-fi genres 

in this character study set in the future. As 

two warring superpowers reach an uneasy 

truce, Leo Megaw (Peter Phelps) is assigned 

as a border guard in an isolated 

region of the country. His escalating drug 

use, which helps summon the image of his 

beloved dead wife (Carolyn Bock), pushes 

him further and further toward the edge of 

insanity. Deborah Parsons (Tatoulis "In 

Too Deep") scripts; Colin South and Tatoulis 

produce. (Phaedra, Feb. undated) 

14 BoxoFncE 

Response No. 130

LATE MOVIE MOVES,,, 

Still Crazy 

Stephen Rea ("The Crying Game") and 

Billy Connolly bring their British humor to 

this comedy about a glam-rock '70s band 

trying to make it big again in the 1990s. 

Strange Fruit, having experienced an explosive 

breakup at an influential music fest 

20 years ago, try to recapture the youth, 

music and opportunities (both professional 

and romantic) the band had the first time 

around. Brian Gibson ("What's Love Got to 

Do with It") directs; "Excess Baggage's" 

Dick Clement and Ian La Frenais script; 

Amanda Marmot produces. (Columbia, 

1/22 after Dec. Oscar run) 

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Paste. 

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At First Sight 

Val Kilmer and Oscar winner Mira 

Sorvino ("Mighty Aphrodite") pair in this 

romantic drama culled from the writings of 

physician Oliver Sacks ("Awakenings"). 

Kilmer plays a blind man who, with encouragement 

from love interest Sorvino, 

suddenly regains his sight through experimental 

surgery. Now he must become reacquainted 

with a sparkling new world he 

previously knew only through sound and 

touch. Kelly McGillis and Steven Webber 

(TV's "Wings") co-star. Irwin Winkler ("The 

Net") directs, and he scripts with Steve 

Levitt; Winkler also produces with Rob 

Cowan (also "The Net"). (MGM, 1/1 7) 

Love Etc. 

Charlotte Gainsbourg ("The Little Thief 

stars in this French rom/com as a shy 

woman who thinks she's found love in the 

even shyer Benoit, until Benoit's outgoing 

buddy Pierre becomes jealous and sets out 

to seduce her. Yvan Attal and Charles Berling 

co-star. Marion Vernoux directs and 

f)roduces; Dodine Herry adapts a novel by 

ulian Barnes. (Phaedra, Jan. undated) 

Nobody 

Japanese director Toshimichi Ohkawa 

presents this action/thriller about a trio of 

businessmen who, out for a couple of 

drinks, end up in a bar brawl after simply 

standing up for themselves. The situation 

escalates, people start dropping dead, and 

they don't even know wno they're up 

against. Masaya Kato, Jinpachi Nezu and 

Riki Takeuchi star. (Phaecfra, Jan. undated) 

Another Day in Paradise 

Notorious "Kids" director Larry Clark 

goes more mainstream in this gritty crime 

drama about a makeshift family of thieves. 

Hardened crooks (James Woods and Melanie 

Griffith) discover their more familial 

sides when they adopt a couple of young 

troubled lovers and teach them their thieving 

ways. But the high-flying lifestyle does 

not prove nearly as attractive in the end as 

first thought. Vincent Kartheiser ("Alaska") 

and "Two Guys and a Girl's" Natasha 

Gregson Wagner co-star. Newcomers Stephen 

Chin and Christopher B. Landon 

adapt a story by Eddie Little; Chin, Clark 

and Woods produce. (Trimark, 1 2/30) 

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January, 1999 15

Sneak Preview 

WRITERS' SALON 

Je 

Crawford MacKenzie (Craig Ferguson, left) and Drew Carey (as himself) conspire to win tfie 

Platinum Scissors Award in Warner Bros. ' "Je M'Appelle Crawford. 

M'Appelle Crawford" took just 12 

months to progress from an idea that 

actor/writer Craig Ferguson and his longtime 

friend Sacha Gervasi were kicking 

around over lunch to a wrapped film. 

In the flamboyant comedy, Ferguson (best 

known as Drew Carey's gleefully sadistic boss, 

Mr. Wick, on TV's "The Drew Carey" show) 

stars as Crawford MacKenzie, a gifted Scottish 

hairdresser who thinks that he's been invited 

to L.A. to compete in the World Freestyle 

Hairdressing Championship. But when he arrives 

in the U.S. with aBBC documentary film 

crew in tow, he discovers that the World International 

Hairdressing Federation meant to invite 

him as a guest, not a participant Undaunted, 

Crawford sets out to win the coveted Platinum 

Scissors Award. He enhsts the help of Candy 

Harper, a powerful Hollywood publicist 

played by Frances Fisher ("Titanic"), and comedian 

Drew Carey (as himself) to unseat the 

reigning champion (David Rasche). But the 

WMF president ("Deep Impact's" Mary Mc- 

Cormack) tries to thwart him at every turn. 

"Sacha and I had been looking at 'Bravdieart' 

and 'Trainspotting' and 'Rob Roy' and 'Shallow 

Grave' and all these very different types of 

movies that were coming [out] related to Scotland," 

says Ferguson. "And they all had a 

common theme in that they were all tough 

"J used to know quite a 

lot of guys in Glasgow, 

when I lived there in the 

early- to mid-'80s, who 

were hairdressers and 

folk musicians and 

interior designers and 

florists, and! thought, 

'These are the heroes of 

our generation/" 

— Craig Ferguson 

and macho and grimy. But the Glasgow I know 

is 

rather fey and effete and clean. And so I 

thought [I'd like to create] something to represent 

the way the city mostly is. It's a rather 

gentle northern Victorian town. And I used to 

know quite a lot of guys in Glasgow, when I 

lived there in the early- to mid-' 80s, who were 

hairdressers and folk musicians and interior 

designers and florists, and I thought these are 

the heroes of our generation." 

Says co-scripter and executive produco* 

Gervasi, "We wrote [this script] from a place of 

just making ourselves laugh. We had absolutely 

no idea that [anything would come of it]. And I 

don't mean to be deliberately coy or anything 

because we're not We literally wrote the script 

as we wanted it to be and we cracked each other 

up for two months. So we decided that whateva: 

happened was going to be gravy because we 

just had such a great experience writing it." 

"It's one of those rare scripts that you can't 

put down. It's really well written," says producer 

PhiUp Rose. Director Kevin Allen recounts, 

"I came over [to the U.S.] for two other 

projects and read the script on the plane. I met 

Craig and Sacha that day and we developed a 

plan of action that basically involved getting 

the film made during Craig's hiatus from 'The 

Drew Carey Show.'" 

"Kevin was the first director we met and 

within an hour he was the director of 'Crawford.' 

That was a Monday. Tuesday morning 

we went out with it and on Friday it was sold," 

says Gervasi. 

Warner Bros, picked it up after a three-day 

bidding war in which both studios and independents 

participated. "And they green-Ut the picture. 

They weren't just buying the script, tiiey 

were giving us a start date," adds Gervasi. "Itwas 

an unusual situation in that relatively unknown 

filmmakers were able to, because we had such 

a great piece of material, dictate terms. 

"It was one of those [projects] where you 

literally stand out of the way and let it happen." 

Ferguson credits the script's popularity to 

the fact that it's "a feel-good movie that doesn't 

have kids and a dog in it. I tend to like smart 

movies and it makes me laugh." 

entire shoot took seven weeks—six 

Theweeks in Los Angeles and one week in 

Scotland. The movie starts and ends in 

Glasgow; Rose felt strongly that those scenes 

should be shot on location even though "Je 

M'Appelle Crawford" is essentially a smallbudget 

film. "You could probably find a couple 

of houses [in L.A.] that might look Uke diey're 

Scottish but [they wouldn't have the same 

Hair-Raising Hijinx With Craig Ferguson & Co. 

on the Set of "Je M'Appelle Crawford'' 

16 BoxomcE 

by Lisa Osborne

atnwsphere]. There's different light here—and 

w here are you going to get the Highlands? 

"We have a scene that takes place in an 

Indian restaurant and we had trouble finding 

an Indian that had a Scottish accent It was 

important to go there." 

When asked if the mo\ie was difficult to 

cast. Rose replies, "Yes and no. It wasn't hard 

to cast because everybody wanted the roles, 

but it was hard to cast because there wasn't the 

money. Agents are a littie reluctant to expose 

their clients to these kind of scripts because 10 

percent of nothing is nothing, and that's how 

they earn their money—as a percentage." 

Rose urges fellow p«txiucers to use all resources 

available to them to get good scripts 

out to high-cahber actors and actresses. "Frances 

[Fisher] got this script through my wife at 

jweschool. It's very bizarre. That's how scripts 

are getting to people like this." 

The 

highli^t (blcxid, naturally) of "Je 

M' Appelle Crawford" is undoubtedh' the 

hair show. ""The hairstyles are phenomenal" 

says Rose. "They are to this mo\ie w hat the 

costumes are to "Priscilla [Queen of the Desert].' 

what the space rocket is to "Apollo 13."'Cameos 

by hair legends John Paul DeJoria. Jose Eber 

and Giuseppe Franco, and models Veronica 

Webb and Kyhe Bax, help set the scene. 

But w hat of the character Crawfcxd Mac- 

Kenzie? '"He's a nice guy. I like him," says 

Feiguson. "He shares the "never say die, never 

give up' spirit that I've attempted to live by," 

adds Gervasi. 

"Je M'Appelle Crawford's" producer Philip Rose (left) and co-writer/executive producer Sacha Gervasi. 

Rose predicts that "Je M' Appelle Crawford" 

will appeal to all audiences. "It's not 

a gay movie even though the subject matter 

is hairdressing and the guy happens to 

be gay. 

"Ifyou conpare it to The Full Monty,' who 

went to see that? It wasn't just suppessed 

EngUshmen wanting to take their clothes off. 

It was everybody." 

Says Ferguson, 'It's a clean, good laugh. 

And I don't mean clean as in 'you can bring all 

the family.' I mean there's a purity about it, 

there's a hope. It's a "punch the air in triunq)h' 

ccHnedy." 

"Je M'Appelle Crawford. " Starring Craig 

Ferguson, Frances Fisher, Mary McCormack 

Sara Gilbert, David Hasselhqff and Drew 

Carey. Directed by Kevin Allen. Written by 

Craig Ferguson andSacha Gervasi. Produced 

by Philip Rose. A Warner Bros, release. Comedy. 

Opens February. 

No brain wrap. 

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Sneak Preview 

SAURING MUSIC 

Spanish Filmmaker Carlos Saura Adds 

to His Musical Canon With ^^Tango" 

by Shlomo Schwartzberg 

MUSIC OF THE LIGHT: Filmmaker Carlos Saura again examines the 

aural art in his drama/dance musical 'Tango, " from Sony Classics. 

Tango," 

Carlos Saura's 30th 

feature film, continues the 

Spanish filmmaker's exploration 

of musical forms previously 

delved into in such films 

as his classic "Carmen" (1983) 

and, more recently, "Flamenco" 

(1995). Music, says the courtly 

Saura, sitting comfortably recently 

in a Toronto hotel room, is 

a constant in all his work. 

"I feel that all my films, in a 

sense, have to do with music. I feel 

that all my films are musical. 

Music for me is essential." That 

even includes movies like the antifascist 

drama 'Taxi" (1996) and 

his 1980 kids-on-the-run "Deprisa, 

Deprisa" ("Fast, Fast"), 

where music is a force in the 

background of the action. 

'Tango," which juxtaposes the 

relationship between an Argentinean 

filmmaker and the mistress of 

a gangster with a similar story 

refracted in a performance of the 

famous tango, is very different 

fix)m a dance movie Uke "Flamenco." 

"There are a lot of variations 

in flamenco music, some 

very complex," Saura says. 

"A lot of flamenco dancing 

today is codified. It's a dance of a 

school, but it still permits the best 

dancers a margin [of flexibility]. 

In 'Tango,' everything is codified. 

It's created ahead of time—the 

dances have been choreographed 

and rehearsed and elaborately prepared," 

Saura says. 

That's not as restrictive for a 

filmmaker to put on film as it 

sounds. Movies like "Tango" 

allow Saura "a very wide creativity, 

in lighting, in cinematography, 

and also in the ways ofmoving the 

camera. Usually, they're made in 

a studio [and allow] for the possibiUties 

of movements. It actually 

allows me to experiment more." 

Yet, filtered through 

Vittorio Storaro's gorgeous 

camerawork, comes a lush, 

gUttery Hollywood look. Was 

Saura perhaps influenced by 

Hollywood musicals seen in 

his youth? The Huesca native 

doesn't mind the suggestion 

but dismisses it, even as he 

admits he's not exactly sure 

how to define his movies. "I 

like American musicals a lot. 

But I don't think they have a 

lot ofinfluence on me. It's another 

world, a world where a man and a 

woman just start to sing. That always 

surprises me." 

One 

American connection 

that might surprise moviegoers 

is the presence of 

Lalo Schifrin, who composed 

'Tango's" score but who will always 

be known to U.S. audiences 

as Uie composer of the TV theme 

for "Mission: Impossible." But 

Schifrin is an Argentinean, and 

'Tango" seems to have been a 

coming home, a homage to the 

music he loves most of all. 

Obviously, Saura ranges all 

over the filmmaking map in terms 

of style and subject. Hating to be 

pigeon-holed, he 

is tired of being 

asked why he varies 

his filmic palette. 

"It's almost 

like criticizing Picasso 

for wanting 

to paint a woman, 

then wanting to 

paint a horse, 

then wanting to 

paint a bird. It's 

natural for me. 

"Maybe the 

problem is that 

there are so many things that interest 

me," he adds. "I would love 

to do, for example, a science fiction 

film. I haven't found the moment 

to do it. Or a comedic 

farce—a lot of things. One has to 

choose, and I do what I can." 

Saura doesn't like to think 

about his old films. "I don't see 

them and I don't reflect on them. 

It's interesting because I'm very 

interested in memory—^but other 

people's memories, not mine. I 

adrnire some directors who are 

always reflecting on their work. 

Charles Chaplin, for example. 

When I lived with Geraldine 

[Chaplin's daughter] in his house, 

almost every afternoon we 

(( 

All my films 

are musical. 

Musicforme 

is essentiaV^ 

watched his old films. So, when 

they first stuck them on, he might 

not have exactly been there but he, 

always at some point, came in and 

watched himself. He always felt 

good watching his old movies 

with his family all around him." 

Like so many international 

filmmakers, Saura faces the 

American entertainment juggernaut, 

with Hollywood films dominating 

the boxofifice in Spain as 

in most other places across the 

globe. "The only advantage I have 

is that, in a certain way, my films 

sell all over the world." Though 

'Tango" just recently entered intemational 

distribution, Saura has 

already finished another film, 

"Esa Luz!" The film retums him 

to the issue of the 

Spanish Civil 

War, explored already 

in such 

Saura films as 

"Ay, Carmela!" 

(1990) and a pivotal 

time in the 

lives of Spaniards 

of Saura's generation. 

"I want to 

leave 

a testimonial, 

my own testimony 

about the 

war. I need to 

leave something behind." He is 

also planning a fibn about the 

Spanish painter Goya, with 

Storaro again lensing. 

In 

many ways, the 67-year-old 

Saura is the only hnk between 

the cinema of compatriot Luis 

Bunuel and the new generation of 

Spanish filmmakers that includes 

Pedro Almodovar and Bigas 

Luna. He differs from someone 

like Almodovar, not just due to 

age but also because the director 

of"Women on the Verge of a Nervous 

Breakdown" has a poUtical 

bent, as do many of the country's 

current crop of directors. But tfie 

new directors, Saura adds, "are 

very interesting. But there 

has always remained directors 

from my generation." 

How then might Saura believe 

he fits into the pantheon 

of Spanish cinema? "I see myself 

more as a survivor," he 

says with a laugh. "It's really 

amazing that I've been able to 

do thirtysome films, and always 

I've done the fihns I 

wanted to do. 

"Some were good, some 

were medium, some were not 

even that," Saura says. "But I've 

done what I wanted to do." Mi 

"Tango. " Starring Miguel 

Angel Sola, Cecilia Narova, Mia 

Maestro and Juan Carlos Copes. 

Directed and written by Carlos 

Saura. Produced by Juan Carlos 

Codazzi, Carlos Mentasti and 

Luis A. Scalella. Drama/musical 

Rated PG-13. A Sony Pictures 

Classics release. Opens 2/12. 

18 Boxofuce

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i 

SPECIAL REPORT: ShoWest '99 

JUBILANT JUBILEE 

Milt Moritz Plans to Celebrate ShoWest's 

25th Anniversary in Style by Christine James 

the first ShoWest in San Diego, 

AtCalif., in 1974, it's doubtful that anyone 

could have imagined the innovations 

that would arise in exhibition over the 

span of 25 years-or the role the convention 

itself would have in their creation. 

As a forum for the exchange of information 

and ideas geared toward making the exhibition 

experience the best it can be, ShoWest attracts 

the industry's best and brightest, all eager to 

trade thoughts, facts and postulations. The 

megaplex. Digital sound. Stadium seating. 

And just around the comer: Electronic cinema. 

All liiese developments were once merely a 

gleam in a ShoWest conventioneer's eye. By 

annually drawing together the leaders in exhibition, 

distribution and manufacturing, Sho- 

West undeniably had a hand in making these 

dreams a reality and advancing theatregoing to 

the next level. And with its ever-evolving series 

of panels, seminars and meetings, the convention 

has also become an integral means of 

sharing the information with the rest of the 

exhibition world. 

ShoWest has grown proportionately with 

the industry. Since 1974, the nation's screen 

count has exploded from 1 2,000 to 30,000; the 

convention's attendance has similarly flourished, 

swelling from 200 attendees at the first 

show to 3,400 registrants expected in 1999- 

with total trade show traffic anticipated to be 

as high as seven or eight thousand people. 

Milt Moritz, the gregariously demeanored 

recently-appointed president and CEO of 

NATO California/Nevada and general chairman 

of ShoWest, was a panelist at that very 

first convention. At the time, he was the senior 

vice president of worldwide marketing for 

American International Pictures, a company 

his father co-founded. But Moritz got his start 

in exhibition, working in his father's theatres 

and running two of his own before serving in 

the military. Most recently, he held the position 

of vice president of advertising and publicity 

for Pacific Theatres before embarking on what 

he terms "a very semi-type of retirement." But 

it wasn't long before he was drawn back into 

exhibition with an invitation to his current 

post. "Lo and behold, I got a call: 'What are 

you doing?' And here I am!" Moritz feels his 

varied background in exhibition, distribution 

and marketing is of great benefit to his position 

with ShoWest: "It's a perfect mix. There's not 

''We're [scheduling] 

things that are pertinent, 

that exhibitors will 

find interesting, [so 

that] they'll say, 'I 

learned something that 

I otherwise would not 

have had access to." 

-Milt Moritz, General 

Chairman, ShoWest 

a better way for being prepared for this kind of 

a position. And, over the years, [I've been to] 

15 or 16 different ShoWests. I think it works 

very well, knowing how it was coming as a 

conventioneer [as well as a sponsor and panelist] 

and seeing that side." 

Moritz recalls that in 1974, "it was a much 

smaller business. The first ShoWest was only 

• 

a local convention, just for people within the 

state. And I must say the people who have been 

involved have really built this into the granddaddy 

of them all. There is not another con- 

vention in the industry that really comes near 

it [in terms of] the size and the scope, and 

people coming literally from all over the 

world. Last year we had 44 intemational countries 

attending. We had more representation 

from intemational [markets], by four or five . 

times, than the total registration of the first 

convention." 

Major theatre expansions overseas, a recent I 

development of die last few years, will be one 

of several topics of focus at this year's Sho- 

; 

West, to be held March 8-11 at Bally 's Hotel i 

in Las Vegas. Kicking off on Monday, March 

8 will be Intemational Day, which will include 

a pre-breakfast press conference and discus- 

; 

sion panels with intemational distributors exhibitors 

. ' 'We' 11 have exhibitors from countries 

; 

like South Africa, Mexico, Russia-all these 

places that you've heard about [but you wonder], 

'Do they really have theatres there?' Personally, 

rm very much looking forward to that, 

because I'd like to know what's happening in 

South Aftica." 

; 

Another seminar Moritz is eagerly antici- i 

pating is a presentation to be given by several 

sions of theatres of the future. "We will also 

have a couple of major developers, including 

the Mills people, who did the Ontario Mills, ; 

and [they'll speak about] how they go about 

: 

finding the right energy and synergy that goes 

into these places to make it work," says Moritz. 

Another panel on the slate is "Managing Top 

i 

Theatre Megaplexes," which will feature five 

or six general managers of the nation's highest-grossing 

megaplexes each speaking on a 

different element of operations. "These 

megaplexes have anywhere from 40,000 to 

60,000 people a week. You have to [wonder], 

'How do you just handle this kind of thing? 

The boxoffice, the concession, how do you 

staff it, how do you keep this all going and 

intemational architectural firms on their vij 

20 Boxoffice 

m

make it work so smoothly?' And that's going 

to be moderated by [Loeks Star Theatres president] 

Barrie Lawson Lodks and [Haridns Theatres 

president andCEO] Dan Haridns, twopeqjle 

w ho really run superb theatre operatic«is." 

Also in the worics is a digital cinema presentation. 

"We're going to attempt to do a side-byside 

presentation [with film] so you can 

compare the two. The technology is here. I 

w ould venture to say that anywhere ftom three 

to four years, film, rolling stock, will be a thing 

of the past. It will be so archaic, people will say 

, 'How did you do it?!'" 

In 

addition to programming an interesting, 

informative agenda, Moritz has also put his 

energies into attempting to rectify some of 

ShoWest's past problems, 

namely overcrowding and 

scheduling conflicts. This 

\ ear's trade show, with its 

record-setting 541 booths, 

will have its operating 

time expanded to 1 9 hours. 

"We're going to open it 

earlier-Monday nightand 

we're going to have a 

champagne preview for 

two hours. [The trade 

show exhibitors are] going 

to get their fair share. I don't think anybody 

will be able to say T didn't have enough time 

to sell.'" 

Mwitz is also unveiling a data collection 

system in which each booth will be equipped 

with a machine into which visitors can insert 

ShoWest-issued ID cards. "At the end of the 

show, we will give each trade show exhibitor 

a list [complete with contact information] of 

all the people who came to their booth. I just 

feel I want to do more for the trade show 

: exhibitors. 

"As far as the crowding, that is a problem. 

• 

but it's not going to be a problem, we hope. We 

just can't do anything about the numbers, because 

people want to come. We have approximately 

3,400 people in two rooms [for the 

events]. One room is the room where we 

have the dais; in the second room, people 

still see the product reels, they get the same 

treatment. The only thing they have to sacrifice 

is they have to see the dais on the 

videoscreen. 

"[The alternative would have been to] cut 

[registration] down to what we can accommodate 

in the main room. And we just felt that it 

wasn't fair to exclude people, to say 'No, you 

can't come.' So the way we handled it is, 

[since] it's an exhibitor convention, for the 

purpose of motion picture exhibitors, exhibitors 

have first crack at the main room. We send 

out the mailings, and if they get them back 

promptly, they're in the main room. If not, 

they're in the other room. And that's all you 

really can do. However, there is light at the end 

of the tunnel! In the year 2000, we're moving 

to the Paris hotel. The Paris is the sister hotel 

to Bally's. It's right next door. They will have 

a common arcade connecting the two. And 

they have a room that will seat 4,000 people. 

So we will be able to have everybody in one 

room. So we're asking everyoie, please bear 

with us for one more year! As far as this year, 

we're doing programming changes." 

The biggest of these px)gramming changes 

is that this year the Coca-Cola event and 

awards ceremony, which has traditionally 

closed the show, has been switched to the first 

night. In addition to Cdce, sponsors on board 

at press time include Buena Vista, Miramax, 

New Line, Universal, Wamer Bros., Iwerks, 

MovieFone, Pepsi, Nestle, Reynolds & Reynolds 

and the Newsp^Der Publishers Association, 

and Moritz promises a memorable event 

hosted by 20th Century Fox, thou^ he declines 

to give details: "20th Century Fox is 

going to give a presentation which is going 

to be very, very special. People who are going 

''We're trying to put a 

lot of excitement hack 

into the convention, 

make some changes. 

We're going to try to 

make me convention 

more user-friendly," 

to be there [will see] 

the hottest product 

coming down the 

pike. It will probably 

be the soughtafter 

attraction next 

year. I'll just leave it 

there." 

The return 

of 

Wamer Bros., who 

did not sponsor an 

event at last year's 

ShoWest, has been 

regarded as coup and a sign of faith in the 

convention's new leadership and direction. 

But Moritz feels there's a simpler explanation. 

"Not every year do [distributors] have something 

[big to prc)mote]. And there's no guarantee 

that I'm going to have the same guys back 

in the year 2000. It depends on whether or not 

they have something important enough to [go 

to the time and expense to host a presentation] 

When they do make a presentation, [they get 

their money's worth]." 

top of everything else Moritz has put 

Oninto action since taking his post last 

June, he has organized a celebration of 

ShoWest's 25th anniversary. "We are preparing 

a five-minute film reel retrospective of 25 

years ofShoWest, [and at the trade show champagne 

preview], 

we'll have a special 

ceremony, because 

we have nine companies 

that have 

been with us fcff all 

of the 25 years as 

sponsors. We want 

to give them that 

recognition-I don't 

think you can say 

I br NATO t KMTO of CaOfomU/Nnxli 

that about many CMânizations, that they have 

that kind of loyalty." And Mcdtz will take 

special pleasure in presenting a special onetime 

honor, the ShoWest Silver Jubilee 

Award, to Jerry Forman, one of the 

convention's founders-and Moritz's former 

boss at Pacific Theatres. 

Also being honored will be Regal tojper 

Mike Campbell, who has been named the 1999 

ShoWester of the Year. Though the other 

awardees had not been announced at press 

time, Moritz stressed that he plans to do his 

best to give the winners their due. 

The Customer Service and Showmanship 

awards will be jxesented at the Exhibitw Relations 

event. "We are going to give the people 

who have won these awards proper recognition, 

and really make it a nice aitemoon for 

these folks. We're going to treat them as ifthey 

were a star throughout the whole convention. 

You'll see their pictures in every one of our 

slide jxesentations, and when they go home, 

they're going to feel, 'Boy, it was really worth 

the effort' 

"We're trying to put a lot ofexcitement back 

into the convention, make some changes. 

We're going to do things to try to keep our 

members informed. Every moHiiing there will 

be an agenda with the day's events on it [distributed 

every morning at the breakfasts]. 

We're going to try to make the cowivention 

more user-fiiendly. We're coming up with a 

pocket-type calendar that will fit in your 

pocket, and when you c^n it up, you have the 

whole schedule of everything. And on the 

back, we'U have the whole layout of the tradeshow, 

plus we'll have a layout of the hotel 

showing where all the events are. We're 

creating a website [www.showest.org] 

where you can get information about the 

trade show, and get data on any booth, what 

kind of product, the contact, phone numbers 

and so forth." 

Most of all, Moritz wants to px)vide attendees 

with information and an experience 

they couldn't get anywhere else. "We're trying 

to [schedule] things that are pertinent, 

that exhibitors will find interesting, [so that] 

they'll go home and say 'I learned something 

that I otherwise would not have had access to. 

The entertainment was there, but it was a 

learning experience.' I don't want to have the 

little forums that the regional groups could do 

on their own. I want to do things for the guys 

out in the field who wouldn't have access-they 

would never have access to these international 

architect firms or major shopping center [moguls]. 

Or how do you get in touch with the 

general manager of the Loews Plaza in New 

York? You nevo- would! Here, we're actually 

going to have him and 

say, 'How do you do 

this?'" 

t seems fitting that, 

on this special anniversary, 

the reins 

of exhibition's biggest 

convention are in the 

assured hands of 

somecMie who's been 

there fto)m the beginning; irwre importanfly, 

the innovations Modtz has orchestrated in the 

few months since heading up ShoWest Ixxle 

very well for the next 25 years of the convention. 

"The one thing I've always tried to tell 

my people who have worked for me is 'Eton't 

put barricades in fix>nt of yourself. Don't talk 

yourself out of an idea. ' Once yoxi gea too much 

experience, dien yoxi say 'CMi, it can't be done.' 

You talk yourself out of it. Not knowing what 

can't be done is pHX)bably the best filing you can 

have going." 

MM 


Cover 

THE STATE 

OF OUR ART 

The Best & Worst of Times: The Head of Regal Cinemas^ 

Newly Crowned King of the Exhibition Universe^ Gives 

BOXOFFICE's First Annual State of the Industry Address 

by Michael L. Campbell 

It 

is the best of times in theatre exhibition: 

megaplexing, consoUdation, stadium seating, 

state-of-the-art technology, availability 

of capital, boxoffice revenue growth, film 

production strength, and rising consumer 

spending on leisure-time activities. 

It is the worst of times in theatre 

exhibition: megaplexing, consohdation, 

stadium seating, state-ofthe-art 

technology, availability of 

capital, boxoffice revenue growth, 

film production strength, and rising 

consumer spending on leisuretime 

activities. 

Megaplexes 

can be wonderful 

assets and models 

of efficiency. They can 

generate higher attendance per 

screen, greater per-capita spending 

on refreshments, and lower 

variable and fixed costs as a percentage 

of sales. Megaplexes can 

boost overall attendance in most 

markets and create an exciting and 

enjoyable moviegoing experience 

by offering more convenient 

showtimes and grandiose, themed 

facilities. It is the best of times in 

theatre exhibition! 

Meg^lexes can siphon moviegoers 

from existing theatres like a 

huge vacuum cleaner. In many 

cases, those existing theatres that 

are being cannibalized are not old, tired or 

small theatres, but theatres of eight, 1 or 

even 12 screens that might be only a few 

years old. In some instances, our industry is 

witnessing the obsolescence oftheatre buildings 

that have been in existence for five years 

or less. At the time these theatres were constructed, 

they were expected to be sound 15- 

to 20-year investments. 

REGAL BEARING: Mike Campbell. 

Megaplexes, when located too close to 

other megaplexes, cannot expand the moviegoing 

audience sufficiently to adequately 

support both complexes, resulting in subpar 

returns on investment. As an industry, 

we are no longer gambling $3 million to 

$5 million on our theatres. Instead, the 

stakes have risen to $15 million to $25 

million for a single complex. It is the worst 

of times in theatre exhibition! 

onsoUdation is taking place 

at an unprecedented rate in 

cV--^ttheatre exhibition. Regal 

Cinemas is certainly a prime example 

of growth through acquisition 

and new building, now operating 

more than 3,400 screens nationwide. 

Over half of Regal's current 

screen base is accounted for by 

virtue of our having acquired numerous, 

high-quality regional theatre 

circuits. This consolidation 

within a fragmented industry has 

allowed Regal, and other growing 

companies, to take advantage of 

corporate overhead efficiencies 

and greater purchasing power for 

supplies, services and equipment. 

In addition, we have been able to 

spread the financial risk of operating 

in our industry over a very laiê 

base of screens, whereby no single 

location will make or break our 

company. It is the best of times in 


Consolidation has a dark side 

also. In years past, once an acquisition 

was completed, the acquirer could generally 

count on stable, steady cash flow streaming 

into the corporate coffers from the acquired 

properties for years to come. This is no longer 

22 Boxoffice

Januan , 1999 23 

necessarily the 

case. Multiplexes 

that are clean, well 

maintained, technically 

sound and 

located in good 

areas can become 

obsolete overnight 

as new niegaplexes 

are built In times 

past, exhibitors 

would lo(^ at marbrts 

and film zones 

and make decisions 

on building 

new complexes 

based on whêr 

or not the maik^ 

was adequately 

screened with viable 

theatres. In 

today's environmafit, 

thaie is little 

hesitation to build 

in markets that are. 

by traditional standards, 

adequately 

screened. As a result 

acquirers must 

be comfortable that 

theatres 

being acquired 

are viable, 

''Megaplexes can 

he wonderful 

assets and models 

of efficiency,,.. 

Megaplexes can 

boost overall 

attendance in 

most markets 

and create an 

exciting and 

enjoyable 

moviegoing 

experience.... 

[But] megaplexes 

can siphon 

moviegoers 

from existing 

theatres like a 

huge vacuum 

cleaner.'' 

long-term invest- 

Tossans, from which 

sufficient cash 

flow will be generated 

to service debt and generate accq)table 

returns. It is the worst of times in exhibition! 

Stadiimi 

seating is the rage in the industry 

today. Moviegoers are flocking to theatres 

with stadium seating to experience 

unobstructed sightlines and superior presentation. 

In maik^s where stadium theatres are 

constructed, we have witnessed overall increases 

in attendance that can be attributed to 

more convenience and a more pleasurable 

moviegoing experience. It is the best of times 

in theatre exhibition! 

There are downsides to stadium seating. The 

cost to construct stadium auditoriums is significantly 

higher than with traditional sloped 

floors, a fact that squeezes exhibitors' returns 

on investment And, although the maJOTity of 

patrons embrace stadium seating, a vocal minority 

of senior citizens and handicapped patrons 

are making known their exposition to 

stadium seating. Although stadium seating 

meets the requirements ofestablished building 

codes and the ADA (Americans with Disabilities 

Act), there is a growing movement to 

make stadium seating more accessible. If this 

is accomplished, it could result in even higher 

initial investments by exhibitors for new theatres 

or, even more onerously, it could involve 

altaing stadium theatres already in operation. 

It is the worst of times in theatre exhibition! 

Film 

production remains at near-record 

levels. Studios are releasing films targeted 

at all demogr^hic niches and releasing 

them spiead mwe evenly thtouôut 

the year. This is benefiting exhibiticHi through 

increased attendance at times of the year that 

have hist«ically 

been viewed as "off-play 

time." Woridwide boxoffice and other ancillary 

revenue streams are fiinneling mcxe dollars 

back to the studios, ftnther fiieling film 

producti(» to fill our megaplexes. It is the best 

of times in theatre exhibition! 

Although film pxxiuction has increased in 

recent years, production and marketing costs 

have skyrocketed at an alarming rate. Even 

with boxoffice growth at home and abroad and 

revenue growth ftom video, cable, pay-perview 

and the other windows, studios are experiencing 

pressure on their operating returns and 

margins. As a result exhibitors are under pressure 

to rehnquish a bigger piece of the 

boxoffice pie to the studios. In light ofour own 

increasing investment in new theatre complexes, 

we cannot afford to alter the revenue 

splits that we have maintained histcxically. It 

is the wMst of times in theatre exhibition! 

TIhe 1990s have been boom times in the 

financial maricets. Interest rates remain 

low and investment capital, both equity 

and debt, has been abundant. Exhibitors 

have raised capital for new building through 

public markets and private transactions. 

Landlords and real estate developers have 

also raised huge amounts of capital for 

building new retail developments and renovating 

and enhancing existing centers. It is 

the best of times in theatre exhibition! 

Is this abundance of capital potentially dangerous? 

You bet it is! Every real estate developer 

now wants a megaplex to 

anchor or 

enhance new and existing retail developments. 

They aggressively pursue exhibitors to 

achieve this with little regard to the implications 

of potentially overscreening certain 

areas. Older, inferior theatres do need to be 

replaced with state-of-the-art cwnplexes; the 

ccHisumer expects and demands it In addition, 

as suburban areas continue to grow and populaticxi 

bases shift, exhibitors must meet the 

demand for convenient modem theatres. The 

question remains, "How many screens do we 

need and how many can we suj^rt?' 

I 

am a firm believer in the magic of fiiee 

enteiprise and letting mark^ conditions 

ultimately mle the day. I believe that when 

our industry does emerge on the other side of 

the rebuilding and ccmsoUdation taking place 

today, it can be a healthier industry. However, 

we can expect to experience a litde pain as we 

run the gauntlet It can be the best of times in 


Hi 

MichaelL Campbell, tobehonoredwUhthe 

ShoWester award at ShoWest '99, ispresident, 

chairman and CEO of Regal Cinemas, which 

tops our Giants of Exhibition survey (see p. 

24), thanks to the Knoxville, Term. -based circuit's 

merger with Act III last August. Bailing 

competing mergers. Regal looks to remain #7 

come 2000, as the circuitforecasts it will operate 

4, 700 screens by year-end 1999.

I 

PHONE: 

I 

FAX: 

I 

i 

i 

i 

January, 1999 25 

Giants of Exhibition 

A Directory of North America's 

50 Largest Circuits Ranl(ed by Size 

(asof Jan. 1,1999) 

1. REGAL CINEMAS ic 

' 

7132 Commercial Park Drive 

Knoxville, TN 37918 

i 

423-922-1123 

423-922-6739 

VVEBSnt: www.regalcinemas.com 

EXECUTIVE ROSTER: 

Michael L. Campbell, President, 

Chairman & CEO 

Gregory Dunn, Exec. VP, COO 

R. Keith Thompson, Sr. VP, Real 

! Estate & Dvlpmnt 

Denise Gurin, Sr. VP, Head Film 

Buyer 

Robert J. 

Del Moro, Sr. VP, 

Purchasing 

Phil Zacheretti, Sr. VP, Mktg. & Adv. 

Mark Monroe, VP, Treasurer 

Michael Levesque, VP, Ops., North 

Curtis Ewing, VP, Ops., Midwest 

rim Wood, VP, Ops., West 

Michael Kivett, VP, Ops., South 

I.E. Henry, VP, Mgmt. Info. Systems 

Roger Frazee, VP, Technical Services 

Randy Smith, VP, Human 

Resources Counsel 

Leon Hurst, VP, Security & Quality 

Control 

{ohn Roper, VP, Development 

•Tim Reeid, VP, Development 

Ronald Kooch, VP, Construction 

Ray Dunlap, VP, Theatre Equipment 

Randall Blaum, VP, Advertising 

Susan Seagraves, VP, Corp. 

Controller 

Barry Steinberg, Asst. Head FUm 

Buyer 

foseph Marlowe, Asst. Controller 

Fred Buffum, Dir. of Ops., North 

Bill Koontz, Dir. of Ops., South 

Mark Reis, Dir. of Ops., Midwest 

Chris Blevins, Dir., Amusement 

Vending 

jRosemarie CumeU, Dir., Film 

Reporting Sys. 

(ohn Curry, Dir., Food Service 

Lisa Depew, Dir., Risk Mgmt. 

Dean Duncan, Dir., Imax Dvlpmnt. 

(anet Frazee, Dir., Operational 

Support Svcs. 

Rich Given, Dii., Advertising 

rim Hoelle, Dir., Training & 

Personnel Dvlpmnt. 

Lesia Keck, Dir., Co-op Adv. 

Audrey May, Dir., Payables & Cash 

Mgmt. 

Mancy Nitzberg, Dir., Property 

Mgmt. 

Debbie Robertson, Dir., Human Rsrcs. 

5teven W. Sengson, Dir., Leasing 

Fimm Walsh, Dir., Ent. Centers 

Curtis Woods, Dir., Network & 

Computer Svcs. 

Fed Hatfield, Promotion Mgr. 

Susan D. Milam, Food Svc. Mgr. 

John Durliat, Environmental 

Engineer 

John Gallagher, Sr. Film Buyer 

Kevin Keller, Sr. Film Buyer 

Kelly Palmer, Sr. Film Buyer 

Paul Serwitz, Sr. Film Buyer 

Joel CumeU, FUm Buyer 

Alice Cooper, Film Buyer 

Paul Ginsburg, Film Buyer 

Bob Sedlak, Film Buyer 

Claudia Staton, FUm Buyer 

Bob Tessier, FUm Buyer 

YEAR FOUNDED: 1989 

TOTAL SITES: 412 

TOTAL SCREENS: 3650 

SITES LAST YEAR: 254 

SCREENS LAST YEAR: 2350 

RANK LAST YEAR: 2 

NEW (1998) SCREENS: 1300 

PROJECTED SCREENS, 12/99: 4700 

THEATRE EMPLOYEES: 15,000 

CORPORATE EMPLOYEES: 260 

THEATRE LOCATIONS: 29 states: 

AK, AL, AR, CA, DE, FL, GA, ID, 

n>4, KY, LA, MD, MI, MO, MS, 

NC, NJ, NV, NY, OH, OK, OR, 

PA, SC, TN, TX, VA, WA, WV 

2. CARMIKE CINEMAS 

P.O. Box 391 

Columbus, GA 31902 

PHONE: 706-576-3400 

FAX: 706-576-3419 

WEBSITE: www.carmUce.com 


Michael W. Patrick, President & 

CEO 

John O.Barwickin, CEO 

Larry M. Adams, Sr. VP, 

Information Systems 

Fred VanNoy, Operations 

H. Madison Shirley, Concessions 

Anthony Rhead, Booking 

Jim Davis, Equipment Buyer 

Marilyn Grant, Advertising 

F. Lee Champion, Secretary 









THEATRE EMPLOYEES: 9000 



AL, AR, CO, DE, FL, GA, lA, ID, 

IL, ]N, KS, KY, LA, MD, MI, MN, 

MO, MT, NE, NM, NY, NC, ND, 

OH, OK, PA, SC, SD, TN, TX, UT, 

VA, WA, WV, WI, WY 

3. CINEMARK USA ir 

7502 GreenvUle Ave., Suite 300 

DaUas, TX 75231 

PHONE: 214-696-1644 

FAX: 214-369-9972 

WEBSITE: wvvfw.dnemark.com 


Lee Roy MitcheU, Chairman & CEO 

Alan Stock, President 

Tandy MitcheU, Exec. VP 

Jerry Brand, VP, FUm Licensing 

Robert Carmony, Sr. VP, Operations 

Mike CavaUer, General Counsel 

Walter Hebert, VP, Purchasing 

Randy Hester, VP, Mktg. & Conun. 

Don Harton, VP, Construction 

Ken Higgins, President, Cinemark 

de Mexico 

Margaret Richards, VP, Real Estate 

Jeff Stedman, Sr. VP, CEO 

Tim Warner, F*res., Cinemark Intl. 

PhUip Wood, VP, Mgmt. Info. Sys. 

Terrdl Falk, VP, Lge. Format Theatres 


TOTAL SITES (WORLDWIDE): 276 

(237 U.S.; 39 intl.) 

TOTAL SCREENS (WORLDWIDE): 

2731 (2361 U.S.; 370 intl.) 









AR, AZ, CA, CO, DE, FL, GA, L\, 

IL, IN, KS, KY, LA, MI, MN, MS, 

NC, NE, NJ, NM, NY, OH, OK, 

OR, PA, SC, TN, TX, UT, VA, WI; 

Argentina; Brazil; Central America; 

Chile; Ecuador; Mexico; Peru 

Cinemark USA (Central) 

1818 Coit Rd., Piano, TX 75075 

PHONE: 972-985-4673 

FAX: 972-519-8444 


Tom Hannegan, Region Leader 

Cinemark USA (Gulf States) 

13280 NW Freeway, Suite F123 

Houston, TX 77040 

PHONE: 713-460-1468 

FAX: 713-460-2258 


Patti Castillo, Region Leader 

Cinemark USA (N.E.) 

2570 Bethel Rd., Columbus, OH 43220 

PHONE: 614-538-0404 

FAX: 614-538-0405 


Charly Street, Region Leader 

Cinemark USA (S.E.) 

425 CodeU Drive 

Lexington, KY 40509 

PHONE: 606-269-5404 

FAX: 606-269-5601 


Michael Nett, Region Leader 

Cinemark USA (Southern) 

3407 WeUs Branch Pkwy. 

Austin, TX 78728 

PHONE: 512-388-7547 

FAX: 512-388-7548 


BUI BoUing, Region Leader 

Cinemark USA (Western) 

3601 S. 2700 W. 

West VaUey City, UT 84119 

PHONE: 801-%9-6737 

FAX: 801-%9-9322 


Kim PhUUps, Region Leader 

4. LOEWS CINEPLEX 

ENTERTAINMENT 

711 5th Ave., New York, NY 10022 

PHONE: 212-833-6200 

FAX: 212-833-6292 


Lawrrence J. Ruisi, President & CEO 

John J. 

Walker, Sr. VP & CFO 

John C. McBride Jr., Sr. VP & 

General Counsel 

Joseph Sparacio, VP, Finance 

Mindy Tucker, VP, Strategic Planning 

Travis Reid, President, U.S. Ops. 

Michael P. Norris, Exec. VP 

Robert Leruhan, Exec. VP 

Seymour Smith, Exec. VP & General 

Counsel 

Shaima King, Sr. VP, Film Buyer 

Terrence L. Jackson, &. VP, Real Estate 

Bryan Bemdt, VP, Finance 

David Badain, VP & Deputy 


Marc Pascucci, VP, Adv. & Publicity 

Fred Gable, VP, Concessions 

Eric Swartwood, VP, Constr./ Design 

Freeman Fisher, VP, Distrib. 

Relations & Field Promotions 

Steve BunneU, VP, FUm Buyer 

PhU Groves, VP, Fibn 

Peter Fbumier, VP, Human Resources 

Jim Fagerstrom, VP, Mgmt. Info. Sys. 

Brian Blatchley, Divisional VP, Ops., 

East Coast 

Roger Smith, Divisional VP, Ops., 

Midwest 

Len Westenberg, Divisional VP, 

Ops., West Coast 

Kenneth Benjamin, VP, Real Estate 

* = On The Move: Denotes Screen Increase Of More Than 10%

26 BoxoFncE 

' 

' 

' 

Greg Young, VP, Real Estate 




2700 

SITES LAST YEAR: 467 (Loews: 140; 

Cineplex: 327) 


(Loews: 938, Cineplex: 1740) 

RANK LAST YEAR: N/ 






AZ, CA, CT, DC, FL, GA, ID, IL, 

IN, KY, MA, MD, MI, MN, NH, 

NJ, NY, OH, PA, TX, UT, VA; 

Canada; Hungary; Spain; Turkey 

Cineplex Odeon Canada 

1303 Yonge St., Toronto, Ont. M4T 2Y9 

PHONE: 416-323-6600 

FAX: 416-323-6677 


Allen Karp, Chairman, CEO & Dir. 

Jim Vassos, Sr. VP & CFO 

Michael Kennedy, Sr. VP, Film 

Marci Davis, Sr. VP, Mktg./Comm. 

Dan McGrath, Sr. VP, Ops. 

Sam DiMichele, Sr. VP, Real Estate 

Ken Siegel, VP, Real Estate 

5. UNITED ARTISTS 

THEATRE CIRCUIT 

9110 E. Nichols Ave., Suite 200 

Englewood, CO 801 12-3405 

PHONE: 303-792-3600 

FAX: 303-790-8907 

WEBSITE: www.uatc.com 


Kurt C. Hall, President & CEO 

Dennis Daniels, Exec. VP, Ops. 

Charles Fogel, Regional VP 

Chris Taylor, Regional VP 

Neal Pinsker, Regional VP 

Raymond C. Nutt, Sr. VP, 

Corporate Ops. 

Vince Fusco, Dir., Internal Audit 

Kim Wermuth, Dir., Sales 

Becky Sanders, Dir., Risk Mgmt. 

Shelley Streeter, VP, Mktg. & Adv. 

Bruce Taffet, Exec. VP, Concessions 

Wally Helton, Dir., Concessions 

Mark Osbom, Dir., Marketing 

Gary Engvold, Dir., Purchasing/FF&E 

Diane Taylor, Dir., Natl. Accounts 

Mike Fade, Exec. VP, Film 

Bob McCormick, VP, Head Film Buyer 

Ted Cooper, VP, Film 

Jim Ruyball, Exec. VP, Bus. Dvlpmnt. 

Gene Hardy, Exec. VP & Gen. Counsel 

Doug Wolkin, VP, Legal 

Tim Tarpley, Exec.VP, Dvlpmnt. 

Lisa Izzo, Dir., Real Estate, Natl. 

Trent Carman, Sr. VP & Treasurer 

Steve Koets, Sr. VP, Tax 

Judy Pacquet, Sr. VP, Info. Svcs. 

David Giesler, VP/ControIler 

Jill Anderson, Dir., Benefits & Payroll 

Nola Emerie, Dir., Accounts Payable 



(341U.S.;4intl.) 


2315 (2294 U.S.; 21 intl.) 









AR, AZ, CA, CO, CT, FL, GA, IN, 

LA, MD, MI, MN, MO, MS, NC, 

NV, NJ, NM, NY, PA, SC, TX, VA, 

WA, WV; Singapore; Thailand 

UATC (California) 

21700 Oxnard St., Suite 1000 

Woodland Hills, CA 91367 

PHONE: 818-593-4000 

FAX: 818-593-4040 


Bob McCormick, Head Film Buyer 

Neal Pinsker, Regional VP 

UATC (New Jersey) 

3521 U.S. Rte 1, Princeton, NJ 08540 

PHONE: 609-520-8822 

FAX: 609-520-9277 

UATC (New York) 

540 Madison Ave., 30th Floor 

New York, NY 10022 

PHONE: 212-754-6363 

FAX: 212-754-3334 

UATC (Texas) 

11801 McCreeRd. 

Dallas, TX 75238 

PHONE: 214-319-5540 

FAX: 214-349-5942 

6.AMC 

106 W. 14th St., Kansas City, MO 64141 

PHONE: 816-221-4000 

FAX: 816-480-4617 


Stanley Durwood, Co-Chairman 

Peter C. Brown, Co-Chairman 

Philip Singleton, President 

James Beynan, Treasurer 

John Shirley, Dir., Food Mktg. 

Richard Fay, President, Film Mktg. 




2291 





PROJECTED SCREENS, 12/99: N/A 




AZ, CA, CO, DC, DE, FL, GA, IL, 

KS, LA, MA, MD, MI, MO, NC, 

NE, NJ, NY, OH, OK, PA, TX, 

VA, WA; Japan; Portugal; Spain 

7. HOYTS CINEMAS ir 

One Exeter Plaza, Boston, MA 02116 

PHONE: 617-267-2700 

FAX: 617-262-2751 


Peter Ivany, CEO 

Alan Johnson, COO 

Terry Moriarty, CFO 

Hal Cleveland, Sr. VP, Dvlpmnt. 

Jud Parker, Sr. VP, Film 

Dan Vieira, Sr. VP, Ops.& Mktg. 

Marianne Gibson, Concessions 

Ralph Stafford, Equip. Buyer 

Carlisa Brown, Advertising 

YEAR FOUNDED: 1986 (U.S.) 


(116 U.S., 77 intl.) 


1542 (945 U.S., 597 intl.) 






(U.S.) 

THEATRE EMPLOYEES: 2800 (U.S.) 

CORPORATE EMPLOYEES: 87 (U.S.) 


CT, MA, MD, ME, NH, NJ, NY, 

PA, RI, VA, VT, WV; Argentina; 

Australia; Austria; Chile; 

Germany; Mexico; New Zealand 

8. GENERAL CINEMA 

THEATRES 

1280 Boylston St. 

Chestnut Hill, MA 02467 

PHONE: 617-277-4320 

FAX: 617-277-8875 


Paul Del Rossi, Chairman 

William Doeren, President & COO 

Frank Stryjewski, Sr. VP, Operations 

Poston Tanaka, Sr. VP, Devlpmnt 

Ben Barbosa, VP, Film, West 

Alan deLemos, VP, Film, East 

Tammy Diorio, Equip. Buyer 

Page Thompson, VP, Concessions, 

Advertising 

Stephen Pritzker, Advertising 



(158 U.S.; 14 intl.) 


1262 (1128 U.S.; 134 intl.) 









CA, DE, FL, GA, IL, IN, LA, MA, 

MD, ME, MI, MN, NC, NJ, NM, 

NY, OH, OK, PA, RI, SC, TN, TX, 

VA, WA; Argentina; Chile; Mexico 

General Cinemas (East) 

22 Flutie Pass, Suite A 

Framingham, MA 01701 

PHONE: 617-264-8000 

FAX: 508-628-4431 

General Cinemas (l\/lidwest) 

80 Yorktown Shopping Center 

Lombard, IL 60148 

PHONE: 630-495-9130 

FAX: 630-495-2023 

General Cinemas (West) 

21650 Oxnard St., Suite 1950 

Woodland Hills, CA 91367 

PHONE: 818-999-4400 

FAX: 818-598-4719 

9. NATIONAL AMUSEMENTS 

200 Elm St., Dedham, MA 02026 

PHONE: 781-461-1600 


Sumner M. Redstone, Chair. & Pres. 

Shari E. Redstone, Exec. VP 

Jerome Magner, Sr. VP, Finance 

William J. Towey, Sr. VP, Operations 

Edgar A. Knudson, Sr. VP, Adv./Pub. 

George Levitt, Sr. VP, Film Booking 

William J. Moscarelli, VP, Real 

Estate, Latin America 

Thaddeus Jankowski, VP & Gen. Cnsl. 

Mark Walukevich, VP, Film, Intl. 

John Bilsborough, VP, Ops., Intl. 

Peter J. Brady, VP, Construction 

Richard Sherman, VP, Finance 

David Sweetser, VP, Real Estate, U.S. 

James Hughes, VP, Concessions 

Stephen Sohles, VP, Mgmt. Info Sys. 

James Murray, VP, Operations 

John Zawalich, Asst. VP, Sales & Mktg. 

Patricia Reeser, Asst. VP & Deputy 


Dana Wilson, Asst. VP, Corp. Comm. 



(103 U.S.; 19 intl.) 


1235 (988 U.S.; 247 intl.) 


SCREENS LAST YEAR: 1 177 



PROJECTED SCREENS, 12/99: 14: 




CT, lA, IL, IN, KY, MA, Ml, NH 

NJ, NY, OH, PA, RI, VA; Latin 

America; United Kingdom 

10. EDWARDS CINEMAS ^ 

300 Newport Center Dr. 

Newport Beach, CA 92660 

PHONE: 949-640-4600 

FAX: 949-721-7170 


James Edwards III, President & CE 

Joan Edwards Randolph, Sr. Exec. 

VP, Chief Corp. Officer 

John Fuller, CFO 

Marcella Sheldon, Exec. Secy. 

Chris LeRoy, VP, Film 

Frank Haffar, VP, Concessions, 

Equipment, Construction 

Kevin Frabotta, VP, Ops. 

Lawrence Davidson, VP & Gen. Cr 

Kurt Macfarlane, VP & Chief Engine 

Carola Anderson, VP, Film/Ins. Qair 

Don Barton, VP, Adv. & Mktg. 

Karine Melkonian, Controller 

Sandi Martin, Properties 








PROJECTED SCREENS, 12/99: 82S 



THEATRE LOCATIONS: CA, CO, 1 

Edwards Theatres (Film Div. 

12424 Wilshire Blvd., Ste. 720 

Los Angeles, CA 90026 

PHONE: 310-447-7890 

FAX: 310-447-0941 

11. FAMOUS PLAYERS 

146 Bloor St. W., Toronto, Ontario 

CANADA M5S 1P3 

PHONE: 416-969-7800 

FAX: 416-964-3924 


John Bailey, President 

Damien Cheng, Sr. VP, Bus. Plannin 

Ton Kars, Sr. Exec. VP & CFO 

Roger Harris, Sr. VP & GM, Ops/Ml, 

Brian Holberton, Sr. VP, Design & j 

Contruction Dvlpmnt. 

Michael Scher, Sr. VP, Secy. & 


Joe Strebinger, Sr. VP, Film 

Laura Brillinger, VP, IMAX Ops/Mkj 

Nigel Bullers, VP, New Theatres 

\ 

Dean Einarson, VP, Finance and } 

Controller 

Dennis Kucheraw^, VP, Corp. 

Public Relations 

Stuart Pollock, VP, Mktg. 

Jeff Rush, VP, Concessions 

Hartmut Sahl, VP, Design & Const: 

Doug Smith, VP, Human Resource 

& Industrial Relations 

YEAR FOUNDED: 1920 1 










THEATRE LOCATIONS: 8 province 

Alberta, B.C., Manitoba, N.B., N.S 

Ontario, Quebec, Saskatchewan

Famous Players (Montreal) 

1255 University Blvd. 

Montreal, Quebec H3B 3W4 

PHONE: 514-861-7744 

FAX: 514-861-4969 

Famous Players (Vancouver) 

1086 Park Royal 

W. Vancouver, B.C. V7T lAl 

PHONE: 604-926-7321 

FAX: 604-926-5831 

12. SILVER CINEMAS/ 

LANDMARK THEATRES ir 

4004 Beltline Rd. Suite 205 

Addison, TX 75001-4363 

PHONE: 972-503-9851 

FAX: 972-503-9013 

E-MAIL: info@silvercinemasinc.com 

WEBSITE: www.silvercinemasinc.com 


Tom Owens, President 

Steve Holmes, CEO & CFG 

Ron Reid, Sr. VP, Ops. 

Steve Kauzlaric, Treasurer 

Paul Ledbetter, Gen. Counsel 

Paul Richardson, Sr. VP, E)vlpmnt. 

Acquisitions 

Bert Manzari, Head Film Buyer 

(Landmark) 

A.]. Roquevert, Film Buyer (Silver) 

Cary Jones, VP, Mktg. (Landmark) 

Mark Ryan, Dir., Mktg. (Silver) 

Kathy Gillman, Dir., Concessions 

Lormie Gillman, Dir., 

Construction/ Purchasing 

Rob Woods, Advertising 

(Landmark) 

Brian Wonder, Dir., Mgmt. Info Sys. 











THEATRES LOCATIONS: 20 states: 

AZ, CA, CO, FL, L^, IL, LA, MA, 

MI, MN, MO, NE, NM, NY, OH, 

OK, TX, VT, WA, WI 

Silver Cinemas (Landmark) 

7?77 S. Barrington Ave. 


13. CENTURY THEATRES 

150 Pelican Way 

San Rafael, CA 94901 

PHONE: 415-448-8418 

FAX: 415-448-8358 

WEBSITE: viAvw.centurytheatres.com 


Joseph Syufy, President 

Raymond W. Syufy, CEO 

Nancy Klasky, VP, Marketing 

Jim Naify, VP, Film 

Bill Hulme, Exec. VP, Operations 

Bob Shimmin, VP, Concessioi\s 

Lisa Rahn, VP, Concessions 

Chris Duffie, Equipment Buyer 

Alicia Kuttner, Dir., Adv. 








PROJECTED SCREENS, 12/99: N/ 



THEATRE LOCATIONS: AK, AZ, 

CA, CO, NM, NV, OR, UT 

14. HOLLYWOOD THEATRES 

2911 Turtle Creek Blvd., Suite 1150 

Dallas, TX 75219 

PHONE: 214-528-9500 

FAX: 214-520-2323 


Thomas Stephenson Jr., Pres. & CEO 

Robert Painter, COO 

James R. Featherstone, CFO 

Harold Sawtelle, Dir., Operations 

Gary Golden, Head Film Buyer 

Brad Wardlow, Concessions 

Tracy Bundy, EHr., Mktg. 

Bryan Rakowski, Info Sys. 











THEATRE LOCATIONS: AL, ID, 

KS, MO, OH, OK, TX 

15. KERASOTES THEATRES ^ 

104 N. 6th St., Springfield, IL 62701 

PHONE: 217-788-5200 

FAX: 217-788-5207 


Anthony L. Kerasotes, President & 

CEO 

Dean L. Kerasotes, Exec. VP & COO 

Roger Hurst, CFO 

John G. MUler, GM, Ops., 

Concessions, Mktg. 

Tim Johnson, Asst. GM, Ops. 

Pat Rembusch, Head Film Buyer 

Robert Gallivan, Dir., Real Estate 

Fred Walraven, Dir., Tech. 

Svcs . / Purchasing 

Barry Tester, Mgr., Advertising 







NEW (1998) SCREENS: -1 




LOCATIONS: lA, IL, IN, MN, MO, 

OH 

16. MARCUS THEATRES ^ 

250 E. Wisconsin Ave. 

Milwaukee, WI 53202 

PHONE: 414-905-1500 

FAX: 414-905-2189 

WEBSITE: www.marcustheatres.com 


Bruce J. 

Olson, President 

Steve Marcus, Chairman & CEO 

Mike Kominsky, Exec. VP & Film 

Buyer 

Mike Ogrodowski, VP, Film Booker 

Richard Neals, VP, Film Booker 

Don Perkins, VT, Operations 

Mark Gramz, VP, Operatior^ 

Pat Striebel, Advertising 

Carlo Petrick, Promotions 











THEATRE LOCATIONS: IL, MN, 

OH,WI 

EDIFICE, INC. 

EDIFICE, INC. 

EDIFICE, INC. 

EDIFICE, INC. 

NOW SHOWING 

AT OVER 

700 SCREENS 

DESIGN/ BUILD 

GENERAL CONTRACTORS 

THEATRE SPECIALISTS 

704-332-0900 



17. WESTSTAR CINEMAS 

(dba Mann Theatres) 

1 6530 Ventura Blvd., Suite 500 

Encino, CA 91436 

PHONE: 818-784-6266 

FAX: 818-784-6518 

WEBSITE: www.manntheatres.com 


Jeffrey Lewine, President & CEO 

John Waterman, CFO 

Patrick Corey, Ops., Concessions 

Janet Jackson, Booking 

Sandy Baker, Advertising 











THEATRE LOCATIONS: CA, CO 

18. PACIFIC THEATRES ir 

120 N. Robertson Blvd. 


PHONE: 310-657-8420 

FAX: 310-657-6813 


Jerome Forman, President 

Christopher Forman, CEO 

John Hunter, CFO 

Chan Wood, Exec. VP, Head Film 

Buyer, Dir. of Adv. 

Scott Brazwell, Ops. 











THEATRE LOCATIONS: CA, HI 

Pacific Theatres (Hawaii) 

Consolidated Amusement 

290 Sand Island Rd. 

Honolulu, HI 96820 

PHONE: 808-847-1985 

FAX: 808-847-9270 


Phil Shimmin, President & COO 

19. CLEARVIEW CINEMAS ir 

97 Main Street, Chatham, NJ 07928 

PHONE: 973-377-4646 

FAX: 973-377-4303 


A. Dale Mayo, Chair., Pres. and CEO 

Joan Romine, CFO/Treasurer 

Brett Marks, VP, Development 

John Halecky, VP, Corp. Relations 

Paul Kay, Sr. VP, Ops. 

Wyrm J. Salisch, Dir., Spec. Programs 

Craig Zeltner, VP, Film 

Robert D. Lister, Gen. Counsel & Secy. 




SITES LAST YEAR: N/A 

SCREENS LAST YEAR: N/A 

RANK LAST YEAR: N/A 




THEATRE LOCATIONS: CT, NJ, 

NY, PA 

20. GKC THEATRES 

755 Apple Orchard St. 

Springfield, IL 62703 

PHONE: 217-528-4981 

FAX: 217-528-6490 


Beth Kerasotes, President 

George Kerasotes, CEO 

Jeff Cole, VP& CFO 

Eileen Grace, Theatre Ops. 

Krystal LaReese, Dir., Concessions 

Bryan Jeffries, Booking 

Kyra Morgan, Equipment Buyer 

Jim Whitman, Advertising 

Matt Heissinger, VP, Planning/Constr. 











THEATRE LOCATIONS: AZ, IL, 

IN, MI, WI 

GKC Theatres (Illinois) 

2103 N. Veterans Pkwy, Ste. 300 

Bloomington, IL 61704 

PHONE: 309-662-1158 

FAX: 309-663-4695 


Scott Oetgen, District Manager 

GCK Theatres (Michigan) 

4511 Fashion Sq., Saginaw, MI 48604 

PHONE: 517-797-6028 

FAX: 517-797-2144 


Ben Martinez, District Manager 

GCK Theatres (Northern 

Illinois) 

Peru Mall, Suite MT-1 

3940 Rte. 25 

Peru, IL 61354 

PHONE: 815-224-3447 

FAX: 815-224-3621 


Ruth Kreiser, District Manager 

21. MALCO THEATRES ic 

5851 Ridgeway Ctr. Pkwy. 

Memphis, TN 38120 

PHONE: 901-761-3480 

FAX: 901-681-2044 

WEBSITE: www.malco.com 


Steve Lightman, President & CEO 

Bill Blackburn, CFO 

James Tashie, Sr. VP 

Robert Levy, Sr. VP 

Herbert Levy, Exec. VP 

Larry Etter, Concessions 

Jeff Kaufman, Booking 

Mike Thomson, Equipment 

Buyer 

Sandy Nicholson, Advertising 

James Lloyd, Technical Support 











THEATRE LOCATIONS: AR, KY, 

MO, MS, TN 

Act III Theatres • Carmike Cinemas • Cinamerica Theatres • Cineplex Odeon • Cynos Anedos Cinemas • Dickinson Theatres • Eastem Federal • Edwards Cinemas 

As I went to sit in my seat 

my hands held a drink cold & sweet, 

but when I sat down 

my face showed a frown, 

cause my drink spilled all over my feet. 

Since then I have been to a place 

that provides me a neat little space, 

where I can sit back 

with my cup in a rack, 

and relax with a smile on my face. 

Are your patrons smilingi 

Call, The Caddy Guys 

1-800-845-0591 

Caddy Products • 10501 Florida Avenue • Minneapolis, MN 55438 • 612-828-0030 • Fax 612-829-0166 

Mann Theatres • Marcus Theatres •Metropolitan Theatres* National Amusementa Pacific Theatres 'Regal Cinemas •United Artists Theatre Circuit 

28 BOXOFFICE 

Response No. 421

22. WEHRENBERG 

THEATRES 

12800 Manchester 

St. Louis, MO 63131 

PHONE: 314-822-4520 

FAX: 314-822-8032 


Ronald P. Krueger, President 

John Louis, Exec. VP 

Charles Nicks, VP & CFO 

Ronald Krueger II, Dir., Operatior« 

Larry Mattson, Concessions 

Doug Whitford, VP, Film 

Bill Menke, Equipment Buyer 

Kelly Hoskins, Dir., Mktg. 







NEW (1998) SCREENS: 




THEATRE LOCATIONS: AZ, IL, MO 

23. REGENCY CARIBBEAN 

1512 Fernandez Juncos 

Stop 22 1/2 

Santurce, Puerto Rico 00910 

PHONE: 787-727-7137 

FAX: 787-728-2274 


Victor Carrady, President & CEO 

Robert Carrady, Sr. VP, CEO, Film 

Buyer, Equip. Buyer 

Lorraine Carrady Quirm, Real Estate 

Joe Ramos, Theatre Ops., 

Concessions 

Alfredo Morales, Theatre Ops. 

Joel Matos, Equip. Buyer 







NEW (1998) SCREENS: N/A 




THEATRE LOCATIONS: Puerto 

Rico, Dominican Republic, U.S. 

Virgin Islands 

Regency Caribbean (Cinema 

Centre Del Cibao S.A.) 

Estrella Sadala #20 

Santiago, Domirucan Republic 

PHONE: 908-971-4880 

FAX: 908-971-5991 

EXECUTIVE ROSTER: Armando 

Perez, Administrator 

Regency Caribbean (Cinema 

Centre Dominicano S.A.) 

Ave. George Washington 

Santo Donungo, Dominican 

Republic 

PHONE: 809-688-8710 

FAX: 809-686-2642 


Carol Carrady, VP & COO 

Regency Caribbean (U.S. 

Virgin Islands) 

P.O. Box 9700 

St. Thomas, USVI 00820 

PHONE: 340-774-2855 

FAX: 340-775-2855 


Francheska Wenner, Administrator 

24. DICKINSON THEATRES 

5913 Woodson Road 

Mission, KS 66202 

PHONE: 913-432-2334 

FAX: 913-432-9507 

WEBSITE: www.dtmovies.com 

E-MAIL: gdowns@dtmovies.com 


Georgia Dickinson, Chairman 

Emeritus 

Wood Dickinson, President & CEO 

Steve Taul, CFO/Treasurer 

Scott Dickinson, VP 

Bill Burnett, Exec. VP, Operations 

Frank Torchia, VP, Head Film Buyer 

Ted Manichia, Dir., Concessions 

Joe Thomas, Booking 

Ron Horton, Booking 

Angle Hoffman, Booking 

John Hartley, Dir., Purchasing/MainL 

Gary Downs, Dir., Mktg. 

Steve Krueger, Secy. 











THEATRE LOCATIONS: KS, MO, OK 

Dickinson (Western) 

3151 Penstemon 

Wichita, KS 

PHONE: 316-630-8222 

FAX: 316-636-4340 


Ken Crockett, Western District 

Advisor 

25. WALLACE THEATER 

CORP. ^ 

3375 Koapaka Street, Suite 345 


PHONE: 808-836-6055 

FAX: 808-836-6077 


Scott WaUace, President 

Denise Wong, CFO/Treasurer 

Brett Havlik, GM/Equip. Buyer 

RusseU Cook, Hawaii and North & 

South Pacific 

Todd Bloomhuff, Mainland USA 

Dick Gambogi, Booking 

David Lyons, Dir., Adv. & Mktng. 











THEATRE LOCATIONS: CA, HI, 

MO, NV; American Samoa; 

Guam; Marshall Islands; 

Federated States of Micronesia, 

Saipan 

Wallace (Hawaii Area Office) 

500 Ala Moana Blvd. 


PHONE: 808-524-4042 

FAX: 808-545-8051 

Wallace (Mainland) 

1043 Emerald Bav Rd. 

South Lake Tahoe, CA 96150 

PHONE: 530-542-4294 

FAX: 530-542-4297 

Problems With Static, 

Dust AND Print Flaking? 

Winner for Best Direction 

Beltrac® Public Guidance Systems... 

Versatile, Beautiful, Adaptable. ^ 

KiNETRONics Has The Solutions! 

Project Clear, Sharp Images and Crisp Sound 

li^ 

If there were 

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best public guidance direction, 

Beltrac would get tfie votes. You will 

find Beltrac in theaters and just about 

any other place where efficient 

5t3ticVac 

film cleaner 

(shown with Clnenu IndcK] 

APS Anti-Sutic 

Platter System 

guidance of the public is important. 

> Every day millions line up 

^ behind Beltrac. For complete 

information, call 

(800) 959-1 036 and 

place your vote 

today. 

®.(g) 

kinetronics 

m CORPORATION iUSAl 

In North S. South America: 

'78 Main Street • Sarasou, FL 34236 USA 

1-941-951-2432 • Fax 1.941. 955.5992 

RAC System 

Refiilable Compressed Air 

Canisters S Compressor 

Contact your favorite Cinema 

Equipment Supplier or 

Kinetronics Corporation 

In Europe, Asia and Australia: 

P.O. Box 45 00 5 1 • D-53344 Alfter • GERMANY 

« 49-2222-62105 • Fax 49.2222.65974 

www.ldnetronics.com or email info

30 BOXOFFICE 

26. GOODRICH QUALITY 

THEATRES 

441 7 Broadmoor S.E. 

Kentwood, MI 49512 

PHONE: 616-698-7733 

FAX: 616-698-7220 


Robert E. Goodrich, President 

Ross Pettinga, CFO 

William T. McMannis, VP, GM 

Martin Betz, Ops., Equip. Buyer 

Dale Dolten, Concessions 

Wanda Hoist, Film Buyer 

Jim McHoskey, Film Booker 

Donna VanSweden, Adv. 

Matthew Johnson, Mktg. Mgr. 











THEATRE LOCATIONS: IL, IN, MI 

Goodrich (Indiana) 

300 Farabee Dr. N. 

Lafayette, IN 47905 

PHONE: 765-447-1361 

FAX: 765-447-3218 


Scott Kuieck, District Mgr. 

Goodrich (Saginaw, l\/lich.) 

3250 Kabobel, Saginaw, MI 48604 

PHONE: 517-793-7806 

FAX: 517-793-5595 


Reed Simon, Michigan District Mgr. 

26. HARKINS THEATRES 

7517 E. McDonald Dr., Suite One 

Scottsdale, AZ 85250 

PHONE: 602-955-2233 

FAX: 602-443-0950 


Dan Harkins, President & CEO 

Wayne KuUander, Exec. VP 

Greta Newell, Controller 

Mike Bowers, VP, Ops. 

Tim Spain, VP, Concessions 

Lou Lencioni, Booking 

Kelly Maloney, Dir., Mktg. 

Kirk Griffin, Equip. Buyer, Dir., 

Engineering 











THEATRE LOCATIONS: AZ 

28. GEORGIA THEATRE CO. 

2999 Piedmont Rd. 

2nd Floor 

Atlanta, GA 30305 

PHONE: 404-264-4542 

FAX: 404-233-8184 


WLUiam J. Stembler, President & CEO 

Dennis P. Merton, CFO & Treasurer 

John Stembler Jr., VP 

Curt Harris, VP, Ops, Concessions 

& Equip. Buyer 

Kip Smiley Jr., Head Film Buyer 

Terri Leseueur, Asst. Film Buyer, 

Marketing 

Tricia Thompson, Adv. 











THEATRE LOCATIONS: FL, GA 

29. O'NEIL THEATRES 

(Trad-A-House Corp.) 

1926-C Corporate Square Dr. 

Slidell, LA 70458 

PHONE: 504-641-4720 

FAX: 504-641-5726 

E-MAIL: cjj@cmq.com 

WEBSITE: www.movie-info.com 


Tim O'Neil Jr., President 

Christina Reeb, Booking 

Michelle Armond, Concessions 

Steven L. Moss, Ops, Equip. Buyer 

C. Jean Johnson, Adv., Office Mgr. 











THEATRE LOCATIONS: AL, FL, 

GA, LA, MS, TN, TX 

30. EASTERN FEDERAL ir 

901 East Blvd., Charlotte, NC 28208 

PHONE: 704-377-3495 

FAX: 704-358-8427 


Ira S. Meiselman, President & CEO 

Paul Lloyd, VP, Finance & Concessions 

R. Scott Baldwin, VP, Ops. 

Curtis Fainn, Film Buyer 

Nancy Y. Herron, Advertising 

William Wilson, Dir., Real Estate 











THEATRE LOCATIONS: FL, NC, SC 

31. SIGNATURE THEATRES if 

1600 Broadway, Suite 300 

Oakland, CA 94612 

PHONE: 510-268-9498 

FAX: 510-268-9843 


Philip Harris III, President 

George Mann, VP, CFO 

Joseph Cuculich, VP, Ops., GM 

Christopher Aronson, VP, Film/Adv. 

Michael Goakey, Dir., Constr/Purch. 

Diane Carelli, Dir., Advertising 

Gwen Wiseman, Controller 

Hans Van Wesenbeeck, Info Sys. Mgr. 




. ..U CASSABJNO, INC. 

CINEMA SERVICES 

We are proub to announce our 

Twenty-lîfll^ year serving tê 

Movie Inbustry hoil) âiionaiiy anb 

Internaiionaily. 

SPECIALIZING IN 

SALES, INSTALLATION & REPAIR 

Front Ends 

Curtain Tracking & Controls 

Wall Drapery 

Floor & Wall Carpeting 

Projection 

Acoustic Wall Paneling 

Seating 

Low-vokage Lighting 

407 Old Country Road, Belmont, CA 94002 

Tel: 650-595-5496 • Fax: 650-595-5197 

E-Mail: Cnmaservcs@AOLCOM 

International Offices in; Chile, Argentina, brazil & Mexico 


THE BEST! 

Know who you deal with 

personally! One phone call 

gets the owner of America's 

best equipped shop and 

design lab. IDEAS to save 

time, money and difficulties. 

MADDEN r^ 

THEATRE SUPPLY COMPANY 

10201 Bunsen Way 

Louisville, KY 40299 

(502) 499-0050 

(502) 499-0052 FAX: 

Louis Bornwasser, Owner 

Design-Consultation-Sales 

Response No. 40


SCREENS LAST YEAR; 95 






THEATRE LOCATIONS: CA. HI 

32. CINEMA 

ENTERTAINMENT 

P.O. Box 1 12o, St. Cloud, MN 56302 

PHONE: 320-251-9131 

FAX: 320-251-1003 


Robert Ross, President 

David Ross, CEO 

George Becker, CFO/Treasurer 

Tony Tillemans, VP 

Ed Villalta, Operations 

Stan McCulloch, Booker 

YEAR FOUNDED: 1%1 










LOCATIONS: lA, MN, ND, WI 

33. ENTERTAINMENT 

CINEMAS 

807 Washington St. 

Stoughton, MA 02072 

PHONE: 781-341-2800 

FAX: 781-341-4170 


Bill Hanney, President & CEO 

Keith Ash, CFO 

Mike Harmon, VP, Ops/Equip. Buyer 

James McGrath, Operations 

Patrick Morgan, VP, Construction 

Marty Zides, Film Buyer 

Rosemary Tanzi, Mktg. 

Jo-Ann Overstreet, Concessions 











LOCATIONS: CT, MA, NH, RI 

34. METROPOLITAN 

THEATRES 

8727 W. Third St. 


PHONE 310-858-2800 

FAX: 310-858-2860 


Bruce C. Corwin, President 

David Corwin, CFO/Treasurer 

Allen Gilbert, Exec. VP 

Marshall Stone, Op>s., Concessions, 

Equip. Buyer 

Mike Doban, FUm Buyer 

Alan Stokes, Advertising 

Bill Hughes, Dir., Real Estate/Dvlp. 











THEATRE LOCATIONS: CA, CO 

35. LOEKS-STAR THEATRES 

3020 Charlevoix Dr. S.E. 

Grand Rapids, MI 49546 

PHONE: 616-940-0866 

FAX: 616-940-0046 

WEBSITE: www.star-theatres.com 


Jim Loeks, Chairman 

Barrie Lawson Loeks, President 

Kenyon Shane, COO 

Dorian Brown, CFO 

Jay Laninga, Treasurer 

Robert Kleinhans, VP, Ops. 

Jon KareU, Equipment Buyer 

Krys Bylund, VP, Advertising 

Phil Urrutia, VP, Star Southfield 











THEATRE LOCATIONS: MI 

36. EMPIRE THEATRES 

115 King St., Stellarton, Nova Scotia 

CANADA BOK 150 

PHONE: 902-755-7620 

FAX: 902-755-7640 


Stuart G. Eraser, President 

Kevin MacLeod, Dir., Theatre Ops., 

Equip. Buyer 

Brian MacLeod, Concessions 

Greg MacNeil, Film Buyer 

Dean Leland, Dir., Adv. 









THEATRE EMPLOYEES: N/A 

CORPORATE EMPLOYEES: N/A 

THEATRE LOCATIONS: New 

Brunswick, Newfoundland, Nova 

Scotia, P.E.I. 

37. B & B THEATRES 

114 W. Second St. 

P.O. Box 171 

Salisbury, MO 65281 

PHONE: 660-388-5219 


Robert Bagby, Partner 

Elmer Bills, Partner 

Sterling Bagby, Partner 




SITES LAST YEAR; 27 

SCREENS LAST YEAR; 100 






LOCATIONS: KS, MO, OK 

TAKACOM PRODUCTS 

AT-D39 THREE LINE 

DIGITAL ANNOUNCER 

• Non-Barge-ln Announcing 

• Programmable Automatic Timer 

• Remote Recorcjing ancJ Control 

• Call Counters 

TS-U33 

Featuring the 

NON "BARGE-IN" SYSTEM 

BEEPERLESS REMOTE CONTROL 

• The TS-U33 can update your announcement 

through the operator console, or via a remote 

telephone 

• Up to 30 lines with 5-line increments 

• Up to 3 channels (there are 2 "Swap/link subchannels' 

for each channel) 

• Parallel Port for the Printer 

®AM/COMM® SYSTEMS INC. 

2398 Pine Street 

San Francisco, CA 941 15 

Tel: 415-674-3100 Fax:415-674-3144 

E-mail: am.comm@ibm.net 

^^WEAR 

Presents: 

Show Biz!" 

Fashion Accessories 

New Washable Vests 

MEN'S &WOMENS 

• Ties 

• Bows 

• Cummerbunds 

• Scrunchies 

• Aprons 

• Headwear 

http://www.flavorwear.com 

Call or Fax for FREE 

Brochure & Swatch 

1-800-647-8372 

FAX (760) 749-6164 

flavorwr@ix.netcom.com 

28425 S. Cole Grade Rd. 

Valley Center, CA 92082 

Response No. 82 Response No. 477 


38. SOCAL CINEMAS 

13 Corporate Plaza 

Newport Beach, CA 92660 

PHONE: 949-640-2370 

FAX: 949-640-7816 


A. Bruce Sanborn, President 

Gary L. Richardson, COO 

Bonnie Sanborn Richardson, 

Treasurer 

Sean Warner, Theatre Ops. 

Rich Maxey, Concessions 

Pete Cole, CIS/Film 








PROJ. SCREENS, 12/99: 120 



THEATRE LOCATIONS: CA 

39. MUVICO THEATRES ir 

3101 N. Federal Hwy, 6th Hoor 

Fort Lauderdale, FL 33306-1042 

PHONE: 954-564-6550 

FAX: 954-564-6553 


Hamid Hashemi, President & CEO 

Jerry Gruenberg, VP, Film Buyer 

Michael Melvin, VP, Development 

Dennis Waldron, VP, Ops. 

Randi Emerman, Dir., Mktg. 

John Townsend, Dir., Construction 

Michael Vogelsang, Comptroller 

Deane L. Hashemi, Special Projects 











THEATRE LOCATIONS: FL 

40. MANN THEATRES OF 

MINNESOTA 

704 Hennepin Ave., Suite 225 

Minneapolis, MN 55403 

PHONE: 612-332-3303 

FAX: 612-332-3305 


Steve Mann, President 

Benjie Mann, VP 

Ken Polta, Operations 

Jim Payne, Operations 

Neil O'Leary, Film Booking 











THEATRE LOCATIONS: MN 

40. LANDMARK OF CANADA 

522-11 Avenue S.W., 4th floor 

Calgary, Alberta, CANADA T2R OC8 

PHONE: 403-262-4255 

FAX: 403-266-1529 

E-MAIL: landmark@telusplanet.net 


?? =JS 

AVOID 

CONSTRUCTION 

PROBLEMS! 

ft 

Sb 

CALL A PROFESSIONAL" 

25 + years theatre construction 

experience 

• Design/Build 

• Complete turnkey 

• Financing avaiiabie 

• We will meet your deadlines 

••*•• Circuits, Independents, newcomers 

Licensed throughout the U.S. 

Stadium seating retrofits 

Pre-englneered steel buildings 

Free estimates/site visit 

NEW CONSTRUCTION, ADDITIONS, 

RENOVATIONS. CONVERSIONS 

: I I 

32 BOXOFHCE 

LARQO COriSTRUCTIOM IMC. 

555 STREET ROAD, BEMSALEM, PA 19020 

215-245-0300 • FAX 215-638-7933 


^ffda 

Hector H. Ross, Chairman 

Brian F. Mcintosh, President 

Philip H. May, Secretary/ 

Treasurer 

Frank Kettner, Sr. VP 

Charles D. K. May, Sr. VP 

M. Barry Myers, Sr. VP 

Kevin Graham, Theatre Ops., 

Concessions, Equip. Buyer 

Geoff Linquist, Theatre Ops., 


Kevin Norman, Mgr., Film Buying 

Donald Langkaas, Mgr., 

Advertising & Creative Svcs. 

Gordon Imlach, Mgr., Mktg. & 

Promotion 

Chuck Bradley, Mgr., Construction 

& Dvlpmnt. 










CORPORATE EMPLOYEES: N/A 

THEATRE LOCATIONS: Alberta, 

British Columbia, Manitoba, 

Saskatchewan, Yukon 

42. JACK LOEKS THEATRES 

* 

1400 28th St. S.W. 

Grand Rapids, MI 49509 

PHONE: 616-532-6302 

FAX: 616-532-3660 

E-MAIL: JohnLoeks@bigscreen 

movies.com 


John Loeks Jr., President, CEO & 

COO 

Nancy Hagen, CFO/Treasurer 

Roger Lubs, VP, Operations, 


Mike Mihalich, Booking 

Ron Van Timmeren, VP, Adv. 











THEATRE LOCATIONS: MI 

43. DOUGLAS THEATRES 

1300 P St. 

Lincoln, NE 68508 

PHONE: 402-474-4909 

FAX: 402-474-4914 

E-MAIL: dbdtc@navix.net 

WEBSITE: www.dougtheatres.com 


David Livingston, President & CEO 

Deborah Brehm, VP 

Doug Kinney, Theatre Ops., 

Concessions 

Frank Rhodes, Booking 

Bill Beck, Equip. Buyer 

Margaret Proffitt, Advertising 








PROJ. SCREENS, 12/99: 89 



THEATRE LOCATIONS: NE 

44. CLASSIC CINEMAS 

603 Rogers St. 

Downers Grove, IL 60515 

PHONE: 630-968-1600 

FAX: 630-968-1626 

Willis Johnson, Pres. & Equip. Buyer 

Chris Johnson, VP, Ops., Concessions 

Lou Michael, Film Buyer 

Shirley Johnson, Advertising 











THEATRE LOCATIONS: IL 

45. CENTRAL STATES 

THEATRES 

505 5th Ave., Suite 414 

Des Moines, lA 50309 

PHONE: 515-243-5287 

FAX: 515-243-5892 


Myron N. Blank, President 

Arthur Stein Jr., COO 

Ray Jackson, CFO 

Roger D. Hansen, Operations 

Jim Nicholas, Concessions, Equip. 

Buyer 

George Catanzano, Booking 

Jim Emerson, Advertising 











THEATRE LOCATIONS: lA, NE 

45. R.LFRIDLEY THEATRES 

1321 Wah\ut St., Des Moines, lA 50309 

PHONE: 515-282-9287 

FAX: 515-282-8310 


Robert L. Fridley, President & CFO 

Terry Dotson, VP, Operations 

Beth Morgan, Concessions 

Brian Fridley, Booking 

Brad Ramer, Equipment Buyer 

Carl Seebaugh, Advertising 











THEATRE LOCATIONS: lA, NE 

47. CINEMASTAR LUXURY 

THEATERS 

12230 El Camino Real #320 

San Diego, CA 92057 

PHONE: 619-509-2777 

FAX: 619-509-9426 


Frank Moreno, President & CCX) 

Jack Crosby, CEO 

Norman Dowling, CFO/Treasurer 

David LaFleur, Theatre Ops. 

John Eltz, Concessions 

Allen Elrod, Booking

P.>n Cahill, Advertising 

Dana Carter, New Dvlpmnt. 

\ EAR FOUNDED: 1989 

TOTAL SFFES: 8 




R.\NK LAST YEAR: 47 





THEATRE LOCATIONS: CA; Mexico 

GLassFOPrn GtassFOPm GtassForm GLassForm 

Genuine 

GLassFOPm' 

fiberglass trash receptacles 

and bench seating 

48. R/C THEATRES 

231 \V. Cherry HiU Ct., P.O. Box 1056 

Reisterstown, MD 21 136 

PHONE: 410-526-4774; FAX: 410-526-6871 


Irwin R. Cohen, President & CEO 

J. 

Wayne Anderson, COO 

David G. PhilUps, Exec. VP 

Scott R. Cohen, Booking & Adv. 

Philip Ridenour, VP, Theatre Ops. 




SFFES LAST YEAR: N/A 







THEATRE LOCATIONS: FL, MD, NC, PA, VA 

49. CHAKERES THEATRES 

222 X. Murray St., Springfield, OH 45503 

PHON'E: 937-'323-6447 

FAX: 937-325-1 100 

Michael H. Chakeres, President & CEO 

PhiUp H. Chakeres, VP & COO 

Hden Paden, Controller 

Harry N. Chakeres, VP 

Pauline N. Chakeres, VP 

Joe Brooks, Concessions 

Fred Schweitzer, Film Buyer 

Paul Ramsey, Advertising 




SFFES LAST YEAR: N/A 







THEATRE LOCATIONS: KY, OH 

call 

1-800-995-8322 

• 

durable 

• 

easy to maintain 

or fax: 1-630-761-8859 

• 

custom colors and shapes 

• interior & exterior use 

• solid/granite/sandform finishes 

GLassForm GLassForm GtassForm GtassFOPm 


AOT 

MAROEVICH, O'SHEA & COGHLAN 

San Francisco, CA 

(415)957-0600 

TOLL FREE (800) 951-0600 

License No. 0589960 

50. CROWN THEATRES 

64 North Main SL, South Norwalk, CT 06854 

PHONE: 203-846-8800; FAX: 203-846-9828 

WEBSITE: www.cTown-theatres.com 

EXECUTFVE ROSTER: 

Daiuel M. Crown, President & CEO 

Matt Daly, Exec. VP & COO 

David Cliffonl, Exec. VP & CFO 

Glenn T. Garfinkel, Exec. VP & Gen. Counsel 

Chris Dugger, Dir., Theatre Operations 

Ron Lesser, Booking 

Steve Gould, Advertising 

Catherine Normerunacher, Controller 

Thomas Becker, Dir., Special Projects 




SFFES LAST YEAR: 13 







THEATRE LOCATIONS: CT, FL, IL, MD, NY 

INSURING CLIENTS NATIONWIDE 

SUPPUERS • PRODUCERS 

www.maroevich.com 


Everything you always wanted to know 

about movies but were afraid to click. 

http://www.boxofflce.com/download.html 


* 1999 Barometer Star Poll * 

Who were the biggest and breakthrough stars of 1998? Voice xjour opinions in our 1999 Barometer 

Star Poll, to be piwlished in the March 1999 BOXOFFICE. The list below includes actors and actresses 

from films that debuted in 1998. Use the prepaid reply-card ballot to cast your votes. 

BE SURE TO RETURN YOUR BALLOT NO LATER THAN JAN. 15, 1999. 

MALE STAR 

OF THE YEAR 

1. Ben Affleck ("Shakespeare in Love," 

"Armageddon," 'Thantoms") 

2. Woody AUen ("Wild Man Blues," "Antz") 

3. Hank Azaria ("Godzilla," "Celebrity") 

4. Kevin Bacon ("Wild Things," "Digging to 

China") 

5. Alec Baldwin ("Mercury Rising") 

6. Stephen Baldwin ("One Tough Cop") 

7. William Baldwin ("Shattered Image") 

8. Antonio Banderas ("The Mask of Zorro") 

9. Ian Bannen ("Waking Ned Devine") 

10. Warren Beatty ("Bulworth") 

11. Roberto Benigni ("Life is Beautiful") 

12. Kenneth Branagh ("The Theory of 

night," "Celebrity," "The Gingerbread Man," 

"The Proposition") 

13. Jeff Bridges ("The Big Lebowski") 

14. Matthew Broderick ("Godzilla") 

15. Avery Brooks ("American History X") 

16. Edward Bums ("Saving Private Ryan," 

"No Looking Back") 

17. Nicolas Cage ("Snake Eyes," "City of 

Angels") 

18. Michael Caine ("Little Voice") 

19. Jim Carrey ("The Truman Show") 

20. Jackie Chan ("Rush Hour," "Mr. Nice Guy") 

21. George Clooney ("The Thin Red Line," 

"Out of Sight," "FuU Tilt Boogie") 

22. Sean Connery ("Playing By Heart," "The 

Avengers") 

23. Harry Connick Jr. ("Hope Roats") 

24. Billy Crudup ('The Hi-Lo Country," 

"Without Limits") 

25. Billy Crystal ("My Giant") 

26. Matt Damon ("Rounders," "Saving Private 

Ryan") 

27. Jeff Daniels ("Pleasantville") 

28. Robert De Niro ("Ronin") 

29. Johnny Depp ("Fear and Loathing in Las 

Vegas") 

30. Danny DeVito ("Living Out Loud") 

31. Le

114. Eric Stoltz ("Mr. Jealousy") 

115. Donald Sutherland ("^^^thout Limits") 

116. Kiefer Sutheriand ("Dark City") 

117. Billy Bob Thornton ("A Simple Plan," 

"Armageddon." "Primary Colors") 

118. John Travolta ("A Civil Action," "The 

Thin Red Line." "Primary Colors") 

119. Stanley Tucci ("The ImpostOTs") 

120. Chris Tucker ("Rush Hour") 

121. Mnce Vauîn ("Psycho," 'tHay Pigeons." 

"Reuim to Paradise") 

122. Jon Voight ("Enemy of the State," 'The 

General") 

123. Mark Wahlberg ("The Big Hit") 

124. Denzel Washington ("The Siege," "He 

Got Game." "Fallen") 

125. Marion Wayans ("Senseless") 

126. Tom \Mlkinson ("Shakespeare in Love," 

"The Governess." "Rush Hour") 

127. Robin Williams ("What Dreams May 

Come." "Patch Adams") 

128. Bruce Willis ("The Siege," 

"Armageddon." "Mercury Rising") 

129.Elijah Wood (The Faculty.""Deep Impact") 

130. James Woods ("Another Day in Paradise." 

"John Carpenter's Vampires") 

DL Chow Win-Fat (The Replacennent KiDeis") 

FEMALE STAR 

OF THE YEAR 

1. Joan Allen ("Pleasantville") 

2. GiUian Andersmi ("Playing By Heart," 

•The Might\'." "X-Files: Fight the Future") 

3. Jennifer Aniston ('The Object of My Affection") 

4. Fairuza Balk ("American Histcxy X," 'The 

Waterboy") 

5. Drew Barrymore ("Ever After," "Home 

Fries." "The Wedding Singer") 

6. .Angela Bassett ("How Stella Got Her 

Groove Back") 

7. Kate Beddnsale ("Last Days of Disco") 

8. Annette Bening ('The Siege") 

9. HaUe Berry ("Why Do Fools Fall in 

Love?." "Bulworth") 

10. Brenda Blethyn ("Little Voice") 

11. Sandra Bullock ("Practical Magic," 

"Hope Hoats") 

12. Carol Burnett ('Moon Over Broadway") 

13. Neve Campbell ("54," "Wild Things") 

14. Helena Bonham Carter ("Tlie ThecKy of 

FUght,""AMerryWar") 

15. Cher ('Tea With Mussohni") 

16. Toni CoUette ("Velvet Goldmine") 

17. Jennifer Connelly ( "Dark City") 

18. Jamie Lee Curtis ("Halloween H20") 

19. Qaire Danes ("Polish Wedding," "Les 

Miserables") 

20. Embetfa Davidtz ("Fallen," 'The Gingerbread 

Man") 

21. Judy Davis ("Celebrity") 

22. Judi Dench ('Tea With Mussolini," 

"Shakespeare in Love") 

23. Cameron Diaz ("Very Bad Things," 

"There's Something About Mary") 

24. Minnie Driver ("The Govoness," "Hard 

• 

Rain") 

25. Krsten Dunst ("Small Soldiers," "Strike") 

26. Jerma Elftnan ("KrippendcHfs Tribe") 

27. Bridget Fonda ("A Simple Plan") 

28. Claire Forlani ("Meet Joe Black") 

29.VivicaA.Fox("WhyDoFbolsFaninLove?') 

30. Janeane Garofalo ("Qay Pigeons," "Permanent 

Midni^t") 

31. HeatherGraham ('TwoGiris and aGuy," 

"Lost in Space") 

32. Melanie GrifiBtfa ("Another Day in Paradise," 

"Celebritv") 

33. Rachel Griffiths ("HUary and Jackie") 

34.SahnaHayek("54") 

35. Anne Heche ("Psycho," "Return to Paradise," 

"Six Days, Seven Nights") 

36. Natasha Hmstridge ("Species D") 

37. Barbara Hershey ("A Soldier's Daughter 

Never Cries") 

38. Jennifer Love Hewitt ("1 Still Know What 

You Did Last Summer," "Can't Hardly Wait") 

39. Jane Hmrocks ("Little Voice") 

40. HoUy Hunter ("Uving Out Loud") 

41. Elizabeth Huriey ('Permanent Midnigjtf ') 

42. Famke Janssai ("Celebrity." "Deep Rising") 

43. .\ngelina Jolie ("Playing By Heart") 

44. Nicole Kidman ("Practical Magic") 

45. Jessica Lange ("Cousin Bette," "Hush") 

46. Queen Latifah ("Living Out Loud") 

47. Tea Leoni ("Deep Impacf ') 

48. Sophie Marceau ("Firehght") 

49. Catherine McCormad^ ("Dancing at 

Lughnasa" "Land Girls," "Dangerous Beauty") 

50. JuBanne > loore ("Psycho," "Big Lebowski") 

51. Thandie Nev^tcm ("Beloved") 

52. Gwyneth Paltrow ("Shakespeare in 

Love," "A Perfect Murder," "Hush," "SUding 

Doors," "Great Expectations") 

53. Anne Parillaud ("Shattered Image") 

54. Maria Pitillo ("GodziUa") 

55. Kelly Preston ("Jack Frost," "Holy Man") 

56. Vanessa Redgrave ("Deep Impact," 

"Deja Vu," "Mrs. Dalloway") 

57. Christina Ricd ('The Opposite of Sex," 

"Buffalo '66," 'Pecker") 

58. Denise Richards ('Wild Things") 

59. Julia Roberts ("Stepmom") 

60. Gena Rowlands ("Playing By Heart," 

"The Mighty," "Hope Floats," 'Paulie") 

61. Meg Ryan ("You've Got Mail," "Hurlyburly," 

"City of Angels") 

62. Susan Sarandon ("Stqjmom," 'Twili^t") 

63. Aimabella Sdorra ("What I>reams May 

Come," "Mr. Jealousy") 

64. Kristin Scott-Thomas ("Hoise Whisperer") 

65. Chloe Sevigny ("Last Days of Disco") 

66. AUy Sheedy ("High Art") 

67. Mira Sorvino ('The Rq>lacement Killos") 

68. Sharon Stone ("The Mighty," "Sphere") 

69. Madeleine Stowe ("Playing By Heart," 

'The Prx^sition") 

70. Meryl Stre^ ("Dancing at Lughnasa," 

"One Tme Thing") 

71. Charlize Thercm ("Mighty Joe Young," 

"Celebrity") 

72. Emma Thompson ("Primary CoIots") 

73. Uma Thurman ("The Avengers," "Les 

Miserables") 

74. Jennifer Tilly ("Bride of Chucky") 

75. Robin Turmey ("Niagara, Niagara") 

76. Emily Watson ("Hilary and Jackie") 

77. Olivia Williams ("Rushmore") 

78. Vanessa L. WiDiams ("Dance Witii Me") 

79. Oprah \Mnfre> ("Beloved") 

80. Reese ^^ itherspo«i ("Pleasantville") 

81. Alfre Woodard ("Down in the Delta") 

82. Renee Zellweger ("One Tme Thing," "A 

Price Above Rubies," "Deceiva") 

BREAKOUT STAR-MALE 

1. Ray Allen "He Got Game") 

( 

2. Christian Bale ("Velvet Goldmine") 

3. Adrien Brody ("The Thin Red Line") 

4. Chayaime ("Dance With Me") 

5. Kieran CuUdn ('The Mighty") 

6. Taye Di^s ("How Stella Got Her Groove 

Back") 

7. Joseph Flames ("Shakespeare in Love," 

"EUzabeth") 

8. Vincent Gallo ("Buffalo '66") 

9. Brendan Gleeson ("The Genial," "I Went 

Down") 

10.SeanGullette("Pi") 

11. John Hannah ("SUding Doors") 

12.JoshHartnettf"Faculty.""HalloweenH20") 

13. Elden Henson ("The Mighty") 

14. Philip Seymour Hoffman ("Patch 

Adams." "Happiness") 

15. Adrian Lest^ ("Primary Col«s") 

16. Jet Li ("Lethal Weapon 4") 

17. James Marsden ("Disturbing Bdiavior") 

18. Jonathan Rhys Meyers ("Velvet Goldmine." 

"The Go\emess") 

19. LochljTi > lunro ("ANi^t at the Roxbury," 

"Dead Man on Campus") 

20. Gheorghe Muresan ("My Giant") 

21. Eamorm Owens (,"The Butcher Boy") 

22. Ryan PhiDippe ("Playing By Heart," "54") 

23. Giovaimi Ribisi ("Saving Private Ryan'O 

( 

24. Sam Rock>êll "Cdd»ity," "Lawn Dogs'O 

25. Jason Schwartzman ("Rushmc«e") 

26.DougrayScott( "En er .After. ""DeepInpacf) 

27. Brendan Sexton III ('Pecker," "Hurricane 

Streets") 

BREAKOUTSTAR-FEMALE 

1. Jane Adams ("Happiness") 

2. Mischa Barton ("Lawn Dogs") 

3. Gate Blanchett ("Elizabeth") 

4. HaUie Kate Eisenberg ("Pauhe") 

5. Kimberly Elise ("Beloved") 

6. Carta Gugino ("Snake Eyes") 

7. Katie Holmes ("Disturbing Behavio") 

8. Scarlett Johansson ('The Hose Whi^joa") 

9. Hatt> Jones ("Madeline") 

10. Catherine Keener ("Your Friaids and 

Neighbors." "The Real Blonde") 

11. Lindsay Lohan ("The Parent Trap") 

12. Natasha Lyonne ("Slums ofBeveriy HiDs") 

13. Gretchen Mol ("Celebrity") 

14. Fernanda Montoiegro ("Central Staticm") 

15. Dmma Murjrfiy ("Star Trek Insunecticm") 

16. Monica Potter ("Patch Adams," "Without 

Limits") 

17. Leelee Sobieski ("A Soldier's Daughter 

Never Cries," "Deep Inpact") 

18. Natasha Gregson Wagner ("Anodier 

Day in Paradise." 'Two Girls and a Guy," 

"First Love, Last Rites") 

19. MicheUe Williams ( "Halloween H20") 

20. Catherine Zeta-Jones ("Mask of Zotto") 


| 

| 

| 

nology Source Inc., has announced its acqui- 

sition of certain assets and patents of Cine 

Coasters Inc. Caddy, a leading cupholder 

manufacturer, will begin production of the 

acquired cupholder products at their headquarters 

in Minneapolis. 

j' 

I 

I 

' 

EXHIBITION 

BRIEFINGS 

BARRIE LAWSON LOEKS NAMED 

NEW CHAIRPERSON OF NATO 

The National Association of Theatre Owners, 

the largest trade organization in the film 

and theatre industry, has elected its first female 

chairperson. Barrie Lawson Loeks, president 

and co-owner of Loeks-Star Theatres, 

has replaced William Stembler as chairman 

of NATO. 

NATO, which boasts more than 700 members 

and represents over 1 8,000 screens, coadministers 

the Rating and Classification 

Association, collects and disseminates industry 

data, and plays an active role in evaluating 

new technology and developments. It also 

monitors proposed regulations and legislation 

that m ight affect the i ndustry and, if necessary, 

arranges lobbying efforts. 

Loeks, along with her husband Jim Loeks, 

served as co-chairman and co-CEO of 

Sony/Loews Theatres from 1 992 to April 1 998, 

when Loews and Cineplex Odeon merged to 

form Loews Cineplex Entertainment Inc. The 

Loeks-Star Theatre chain, a partnership between 

the Loekses and Loews Cineplex, has 

1 1 5 screens throughout Michigan. 

GLOBAL BOXOFFICE PREDICTED 

TO REACH $24 BILLION BY 2007 

According to a report from Baskerville 

Communications Corp., boxoffice throughout 

the world is predicted to reach $24 

billion by the year 2007—a 34 percent increase 

from 1998. The increase in actual 

ticket admissions, however, is expected to 

rise only by 3.9 percent during the same 

period of time. 

The report cites booming megaplex construction, 

most prominently throughout Latin 

America and Europe, as a leading factor for 

the rise in boxoffice. Baskerville credits increased 

prices charged by the new 

megaplexes for the growth in boxoffice, despite 

a relatively low number of anticipated 

moviegoers. 

Worldwide movie screens are estimated to 

increase by 22 percent to a whopping 

132,800 by 2007. The United States is predicted 

to lead boxoffice takes with $8.1 billion 

in sales, with Japan in second at $1.7 

billion. Indonesia is expected to experience 

the largest amount of growth, increasing by 

458 percent. 

NO Y2K PROBLEM FOR MALCO 

Aiming to make the year 2000 a time for 

celebration, Memphis-based Maico Theatres 

is planning to add 94 screens throughout the 

greater Memphis area, bringing its total to 1 82 

screens in 18 locations. All complexes will 

feature the best in sound, seating and projection. 

Included are four 16-screen complexes 

at Collierville, Desoto, Raleigh Springs Mall 

and the former Summer Drive-In site. 

HOORAY FOR HOLLYWOOD 

& HIGHLAND 

TrizecHahn Development Corp. has announced 

that construction is underway on its 

640,000-sauare-foot entertainment center in 

Hollywooa, to be anchored by the historic 

Mann's Chinese Theatre (which is currently in 

the process of adding five new screens). The 

ambitious project, named "Hollywood & Highland" 

after the corner on which it's located, 

will also house clubs, television broadcast 

facilities, studio venues, retailers, restaurants 

and, most notably, a live broadcast theatre, 

designed by architect David Rockwell, that 

will bring the Academy Awards back to Hollywood. 

The first Oscar broadcast at the new 

site is scheduled for March 2001 

TRAINSPOTTING 

Showscan Entertainment, a producer and 

exhibitor of movie-based entertainment attractions, 

has announced plans to release 

"Dynamite Train," a new thrill ride film. This 

film, first previewed at the lAPPA trade show 

in Dallas, puts audience members aboard a 

runaway train loaded with dynamite. The outcome 

of the adventure, according to 

Showscan, is either "survival or a one-way 

ride." The company also previewed two other 

simulation films, "Desperado" and "Street 

Fighter," at the trade show. Dennis Pope, 

president and CEO of Showcan, says that the 

company "not only intend[s] to have the largest 

selection of thrill ride films, but the highest 

quality as well." Showscan, in conjuction 

with Imagica USA and Dynamic Digital 

Depth Inc., will also be converting some of its 

current films to 3-D format. 

ELIZABETH CROWNED NEW LCE SITE 

LoewsCineplex Entertainment will be constructing 

a 22-screen, 108,000-square-foot 

theatre in Elizabeth, N.J. Construction is 

scheduled to begin in Spring 1 999, with completion 

planned for the following December. 

The new LCE theatre will feature stadiumstyle, 

high-backed rocking seats, with a maximum 

capacity of 5, 000. The auditoriums will 

be equipped with Sony Dynamic Digital 

Sound and screens nearly twice the size of the 

average theatre screen. Multiple indoor 

boxoffices, easily accesibleconcession stands 

and a manager's kiosk in the lobby—open to 

the public—will be prominent features in the 

new theatre. 

REGAL TREATMENT IN CALIFORNIA, 

OHIO AND FLORIDA 

Regal Cinemas, Inc. has announced completion 

of two 1 6-screen, 67,000-square-foot 

theatres—one located in Chula Vista, Calif., 

and another in Willoughby, Ohio. The theatres 

offer clientele stadium style seats with 

extra padding and individual cupholders; 

computerizecT ticketing that allows two-day 

advance sales; and three formats of digital 

sound (Digital Theater Systems, Dolby Digital, 

and Sony Dymanic Digital Sound). Regal 

will also begin construction on an 1 8-screen, 

75,300-square-foot theatre in Boynton Beach, 

Fla., to feature the same amenities. The theatre 

is scheduled to open by late Spring 

1999. 

AJAY GOES ULTRAPLEX 

Memphis-based Ajay Theatres has announced 

an aggressive expansion plan to add 

58 new screens to their current 32, located 

primarily throughout the Southeast. In 

addition 

to digital sound, state-of-the-art projection 

equipment and "love-seat"-style seats, 

the theatres, branded under the name Ultraplex, 

will feature a new Ajay-developed 

quick-serve concession delivery system. 

Ajay's popular pricing plan, which includes 

an "early bird" discount for shows before 

noon and free popcorn and Pepsi to patrons 

who visit on "Bargain Night Tuesdays," will 

continue at all locations. 

TRANS-LUX REACHES SUMMIT 

Trans-Lux, which owns and operates 44 

movie theatre screens throughout the southwestern 

United States, has recently begun 

constuction on a six-screen theatre complex 

in Summit County, Colo., and is currently 

focusing on increasing its number of screens, 

especially throughout the Mountain States. 

Trans-Lux has also announced the appointment 

of Dean F. Carris as director of real 

estate. Carris' duties will include site evaluation, 

acauistion analysis and obtaining permits 

and approvals for development of the 

growing chain. 

UA REPORTS 3RD QUARTER LOSSES 

The United Artists Theatre Group has announced 

revenue results for the 1998 third 

quarter. United Artists Theatre Company, the 

parent company of UATG, reportedly earned 

$184.0 million, down 2.7 percent from the 

1997thirdquarter. Kurt C.Hall, president and 

i 

CEO of the company, cites "the sale or closure 

of 2 5... non-strategic or underperformingthe- : 

atres [101 screens] and the unprecedented 1 

level of new construction in the industry" as 

leading factors for the lackluster results in 

earnings. Hall expects UATG to expand its 

key market positions during the fourth quarter 

with the opening 

i 

of 64 new screens in five 

new complexes. 

CADDY COASTS TO SUCCESS 

Caddy Products, a division of Media Tech- I 

CA, TX GET PIX FIX WITH ORIX 

ORIX Real Estate Equities Inc. has announced 

its plans to develop three new cinema 

complexes—a 16-screen, 64,000- 

square-foot multiplex in Rancho Mirage, 

Calif.; an 1 8-screen, 83, 000-squa re-foot theatre 

complex in San Antonio, Texas; and a 1 4 

auditorium, 53,000-square-foot theatre in . 

Winchester, Va. All three theatres will feature 

stadium-style seating and state-of-the-art i 

sound systems. ORIX will work in conjuction 

j 

with Metropolitan Theatre Corp. on the Ran- 

; 

cho Mirage complex, RealSource Develop- 

, 

ment L.L.C. on the San Antonio complex, and 

Marquee Cinemas, in conjunction with AHF 

Partners Inc., on the Wincnester project. 

36 Boxoffice

January, 1999 37 

NATIONAL 

NEWS 

SHOWEST WATCH 

The silver anniversary ShoWest looks to 

have the much-missed Warner Bros, and 

Buena Vista back as sponsors of events. To 

jazz matters from the get-go, the Coca-Cola 

awards ceremony moves to Tuesday evening, 

viîth Thursday being a Disney-backed "Tarzan" 

celebration. New Line and Miramax will 

repeat from '98, although Sony (lacking a 

big-ticket summer title) and DreamWorks 

(lacking any summer titles) could stay on the 

sidelines; Universal and longtime MIA MGM 

could have some involvement. 

SOUND CHECK 

The founder of THX has now teamed with 

Dolby Laboratories for the 6.1 -channel Dolby 

Digital-Surround EX. The new technology will 

further enhance existing surround-sound systems 

by adding a channel directly behind the 

audience, differentiating between the sounds 

coming from the back of the auditorium and 

those coming from the sides and creating 

smoother "fly-over" and "fly-by" sounds and 

a more encompassing experience. Surround 

EX is compatible with existing 5.1 digital systems 

via installation of a Dolby SA-10 surround 

adapter. The format made its debut, 

along with Dolby's newly developed identifying 

soundmark (an audible version of the 

"double-D" logo), on its own trailer, "Rain," 

with the Dec. 1 1 release of Paramount's "Star 

Trek: Insurrection." Its first feature-film use, 

appropriately enough, will be on George 

Lucas' much-anticipated "Star Wars: Episode 

1—The Phantom Menace" this May. 

LIGHTING STRIKES 

A great sound experience has long been a 

goal of filmmakers and exhibitors alike (see 

Dolby's Surround EX, above). But picture 

quality has been back-burnered—until now. 

At ShowEast '98, Kodak announced its 

ScreenCheck Experience. Headed by AMC 

vet Don Lane, the program is designed to 

improve onscreen specs. After meeting certain 

criteria, theatres can enlist the services of 

a Kodak technician, who will evaluate the 

theatre's projection equipment and measure 

the amount of light reflecting off the screen. 

Exhibitors will then receive Kodak trailers and 

other promotional materials designating their 

screens as quality certified. 

RIDING THE NWAVE 

A new distribution entity has been created 

by typographically challenged large-format 

production company nWave Pictures under 

the name nWave Pictures Distribution. The 

division is headed by Mark Katz, former 

vp/sales for Sony Pictures Classics' large-format 

division. In a demonstration of tne increasing 

maturation of the giant-screen arena, 

nWave Pictures Distribution is expected to 

function according to traditional distribution 

and acquisition precepts by handling the release 

of in-house productions plus buying 

worthy titles created by outside filmmakers. 

MAKING MORE WAVES 

Wavelength Releasing debuted its all-digital 

film "The Last Broadcast" in indie theatres 

in five markets, including Philadelphia and 

Minneapolis; produced on a Windows NT 

platform, the documentary (about psychics 

and technicians seeking the legendary Jersey 

Devil) was transmitted via satellite and displayed 

via Kennesaw, Ga. -based Digital 

Projection's Power Displays. The film could 

show in several other markets, including New 

York and L.A., in the spring. Interestingly, 

given exhibitor hopes for electronic cinema, 

Digital Projection's Tim Butler told a trade 

paper that the format "will by no means ever 

replace film. It's just a viable alternative." If 

that became true, electronic cinema— like the 

three-maker digital sound—would not cut 

costs by fully replacing current technology, 

but simply add a new line item. Ouch. 

KICK THE CAN 

CineComm's Digital Cinema system, developed 

in conjunction with technology suppliers 

Qualcomm and Hughes-jVC, is another 

entrant in the digital-screen sweepstakes. It 

compresses and encrypts motion pictures 

then uplinked to satellites, which in turn 

would download the information to theatres 

worldwide; the film would be decompressed 

and decrypted as it unfolds on the bigscreen. 

Digital Cinema also incorporates multi-language 

sound and picture tracks to aid faster 

global distribution, thus allowing encryption, 

digital fingerprinting and simultaneous world 

release to reduce the opportunities for piracy. 

Exhibitors would benefit from the system's 

ease of use, flexible scheduling, program accuracy, 

cost efficiency and automatic diagnostics. 

But see Mr. Butler, above. 

FAMILY MATTERS 

Beverly Hills media investment bank 

Bannon & Co. entered into a joint venture 

with SG Cowan Securities in 1996 but became 

a full-fledged member of the family last 

fall in an acquisition for an undisclosed 

amount. Owned by the French bank Societe 

Generale, Cowan has been fattening its investment 

banking in several major industries, 

including media and entertainment, a branch 

that will now be co-headed by Bannon's Steve 

Bannon and Scot Vorse. Well-regarded entertainment 

analyst Harold Vogel, however, left 

Cowan in early October, replaced by Warburg 

Dillon Read media and entertainment 

analyst Ed Hatch. Vogel's departure is rumored 

to be attributed to the management 

shakeup due to the recent acquisition. 

CHASING CASSANDRA 

Chase Manhattan wing Chase Capital Partners 

and 10-year-old boutique Cassandra 

Group have created a private equity investment 

fund intended for entertainment companies 

with annual revenue of $5 million to 

$250 million. The Cassandra Chase Entertainment 

Partners fund will have a capital base of 

$50 million to $1 00 million. Among Cassandra 

Group's clients has been Good Machine. 

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incraen, thanks in part to 

"Deep Impact* and "The Truman Show.* 

MOSTLY MOUSEY 

Disney reported net profit down 24 percent 

to $296 million for the fourth quarter and 

annual profit up 4 percent to $1.9 billio 

(with revenue up 6 percent to $23 billion); b 

comparison, past-years' profit growth habeen 

in the 1 5 percent to 20 percent range. 

But the numbers included fast writedowns on 

"Holy Man* and "Beloved,* in part explaining 

the creative-content division quarterly 

numbers of $253 million in operating income 

(down 39 percent) on 8 percent higher revenue 

($2.9 billion) and annual tallies of $1.4 

billion in operating income (off 1 7 percent) 

arKi $10.3 billion in revenue (up 2 percent). 

»RLS JUST WANTTO HAVE RINDS 

^.- a ) Jisparities between Hollywood's 

top male and female stars appear to be narrowing, 

according to recent reports. Twotime 

Oscar winner Jodie Foster is to receive a 

reported $1 5 million for her tum in the Deborah 

Kerr role of Fox 2000's "Anna and the 

Kirtg,' while Julia Roberts (who nabbed more 

than $12 million for her career-rescuing tum 

in 'My Best Friend's Wedding* last year) was 

expected to grab north of $1 7 million opposite 

Richard Gere in Lakeshore/Paramount's 

upcoming "The Runaway Bride." Although 

thc»e numbers are less than the previous-to- 

"WaterBoy" per-plcture earnings cap of $20 

million enjoyed by the elite men's club that 

38 BOXOFFKX

includes Tom Hanks, Tom Cruise, Mel Gibson, 

Harrison Ford and Jim Carrey, the fact 

thatRobertsandFostercouldbejoinedinthe 

salary stratosphere by the likes of Sandra 

Bullock, Meg Ryan and Roberts' "Wedding" 

co-star Cameron Diaz give those capable of 

seeing multi-millionaires as an oppressed 

class some reason to cheer. 

TAILORING A SUIT 

Just when he thought he was out, they pull 

him back in. Legendary director Francis 

Coppola recently saw the $80 million jury 

award he received in a lawsuit against 

Warner Bros, cut to $20 million by thejudge 

who heard the case. L.A. Superior Court 

Judge Madeleine Flier threw out $60 million 

in punitive damages that a jury had granted 

to Coppola, who filed against Warner for 

failing to go forward on a proposed Coppola 

production of "Pinocchio" and foiling his 

efforts to set the project up at Columbia. As 

attorneys for Coppola and Warner exchanged 

carefully worded press releases. 

Judge Flier issued a statement saying, "There 

is not substantial evidence to support a finding 

of outrageous conduct, malice or 

fraud"—the legal standard for awarding punitive 

damages. A philosophical Coppola 

limited his comments to pointing out that the 

case would most likely be on appeal for 

several years. Perhaps thinking of his thriving 

Northern California winery sideline, 

Coppola added that "there is many a slip 

betwixt the cup and the lip." 

1 

N 

DREAMING OF SCREAMING 

Horrormeister Wes Craven has entered 

into a three-film, four-year deal with 

Miramax genre label Dimension. Part of the 

pact calls for Craven to direct and partner 

Marianne Maddalena to produce Dimension's 

"Scream 3," slated for December 

1999. Craven, who helmed the first two 

"Scream" installs, will also direct the pact's 

other two titles; for its part. Dimension is 

launching a "Wes Craven Presents" banner, 

for which Craven and Maddalena plan to 

executive produce four other horror films. 

THE FEELING IS MUTUAL 

Continuing its co-financing involvement 

with Universal and Paramount, Mutual Film 

is taking foreign rights to Universal's Jim 

Carrey/Danny DeVito "Man on the Moon" 

Andy Kaufman biopic and the studio's Bette 

Midler/Nathan Lane "Isn't She Great" Jacqueline 

Susann biopic, plus Paramount's 

"Wonder Boys" drama with Curtis Hanson 

directing Michael Douglas. 

MORE MUTUALITY 

Both Fox and DreamWorks like director 

Robert Zemeckis, they really like him; the 

two studios are discussing dividing domestic 

and foreign distribution rights for the hitmaking 

helmer's upcoming two films from 

Image Movers, Zemeckis' production company 

with partners Jack Rapke and Steven 

Starkey. "What Lies Beneath" will star Harrison 

Ford; "The Castaway" will headline 

Tom Hanks. Fox would take domestic for 

one film, with DreamWorks taking foreign; 

the territories would flipflop for the second.

INTERNATIONAL NEWS BRIEFS 


Canadian News Notes by Shiomo Schwartzberg 

AMC MAKES CANADIAN DEBUT IN TORONTO 

AMC's first two Canadian theatres have opened in the Toronto area, officially 

confirming the company's presence in the country and challenging the duopoly of the 

two major Canadian chains, Famous Players and Loews Cineplex Odeon. 

The AMC Winston Churchill in Oakville contains 24 screens and the AMC Kennedy 

Commons in Scarborough has 20 screens. Thom Valde, senior vice-president of 

operations for AMC Theatres in Canada, admits that his company has an uphill battle 

ahead of it to establish a foothold and name recognition in Canada, but insists AMC 

is getting most of the films it wants to show. "We have products from the studios 

[despite the fact that] we are in competitive zones. But we do not, however, play 

Paramount." (Paramount is owned by Viacom, which is also Famous Players' parent 

company.) Valde did express regret over not having some of the Thanksgiving films, 

having opened the theatres on December 1 8. 

AMC's theatres are well-situated, located off major highways-a factor in patrons 

noticing the cinemas even as they were being built, according to Valde. "We had lots 

and lots of feedback." He also expects AMC to benefit from the unprecedented boom 

in new theatres from ail major chains now operating in Canada. Previously, says 

Valde, poor facilities were the norm in the country. "You've got to give beopie 

somethmg really good to get them to come out of their home. With Famous Players' 

new builds, certainly, they've done that." Referring to Famous' new Coliseums and 

SilverCity complexes, he adds, "the first indications are that they've raised attendance 

dramatically." the new AMCs, with their entertainment centers and multiple screens, 

he feels, should "raise [attendance] even more. That's what we're movmg toward. 

[We're] glad to be part of that." 

FAMOUS SETS EXPANSION STRATEGY INTO MOTION; 

PLANS TO HAVE 920 SCREENS BY 2000 

Famous Players recently unveiled its new multiplexes, notably 

the SilverCity, a C$20 million (US$14.4 million), nine-screen, 

65,000-square-foot multiplex in mid-town Toronto and the 3,700- 

seat Coliseum in Scarborough. They're part of Famous' largest 

expansion in its 78-year history. Six multiplexes alone were 

launched over a five-week period in November/December. Famous, 

which currently boasts 580 screens, will, by the end of 1999, 

be up to 920 screens. 

At a press conference for the new SilverCity, Famous Players 

president John Bailey announced some of Famous' other imminent 

projects, including Colossus Toronto, to be launched in February 

in Vaughn, with the first 3-D IMAX cinema in the province, and, 

following in May or June, the 13-screen Festival Hall, also with a 

3-D IMAX cinema, in downtown Toronto. In 2000, Famous will 

refurbish the long-dark University Theatre in the city center. "We 

believe in the bigscreen experience. There are no shoe boxes in 

Famous Players,' Bailey said. 

Famous also trumpeted the C$8 million (US$5.2 million) 

boxoffice for SilverCity Mississauga' s first year of operations, with 

the theatre hitting one million admissions on the last day of October. 

SilverCity Mississauga is the third-top-grossing cinema in 

Canada; Famous' Coliseum Mississauga is number one. "We are 

the leader right now in new theatre experiences," said Bailey. 

ALLIANCE CINEMAS TO INCREASE ART-HOUSE 

PRESENCE ACROSS CANADA 

In a joint venture between Famous Players and the newly formed 

Alliance/Atlantis, three cinemas in Vancouver and two in Toronto 

will herald the beginning of an art film presence on the part of 

Famous-turf till now conceded to Cineplex Odeon. 

Exhibitor Leonard Schein, president of the new Alliance Cinemas, 

sold the Fifth Avenue, Park Theatre and Varsity in Vancouver, 

and the Cumberland and Runnymede cinemas in Toronto, formerly 

40 BOXOFHCE 

part of his Festival chain (named 

Lumiere in Toronto so as not to be 

confused with another circuit based 

there called Festival). He did so to 

meet the "challenge of doing art 

cinema across the country, to repeat 

the success of Fifth Avenue." 

The company plans to build or 

procure cinemas in Victoria, Edmonton, 

Calgary, Ottawa and 

Montreal, among other cities in 

Canada. Schein expects that the 

company will reach 74 screens in 

three years. 

Though the theatres are owned 

by Atlantis/Alliance, which has a 

distribution arm, the expected conflict 

of interest does not arise, as the 

cinemas will show films from all 

independent distributors. 

CINEPLEX IN HONEYMOON 

PHASE WITH NIAGARA FALLS 

Cineplex Odeon has announced 

a C$9 million (US $6 million), 10- 

screen multiplex for the popular 

tourist town of Niagara Falls, Ontario. 

About 200 jobs will be created by the Niagara Squares 

Cinemas, which is slated for a December 1999 opening. Stadiumstyle 

seating will be the norm at the complex, which will have 

between 165 to 500 seats in each auditorium. The 45,000-squarefoot 

theatre will also be wheelchair accessible, will offer assistive 

listening devices for hard-of-hearing patrons and will have a 10- 

station concession counter, as well as a cafe. "This cinema complex 

will feature leading-edge amenities that will change the moviegoing 

experience in Niagara Falls forever," says Allen Karp, chairman 

and CEO of Cineplex. 

TWO FESTIVAL THEATRES CLOSE IN TORONTO; 

LACK OF NEIGHBORHOOD SUPPORT CITED AS CAUSE 

At the same time that so many new screens and cinemas are 

popping up in Toronto, the Festival repertory chain (not to be 

confused with the Vancouver circuit of the same name referenced 

above) closed two of its eight theatres, citing repeated financial 

losses. Tom Litvinskas of Festival told Boxoffice that the Capitol, 

taken over by Festival 26 months ago, "didn't get the neighborhood 

support [it needed] to cover operating expenses." Keeping it open 

would jeopardize Festival's other cinemas, he said. The brand new 

SilverCity, just down the block from the Capitol, was also a factor 

in the decision to shut the rep house down, said Litvinskas. The 

Paradise, run by Festival for a decade, was "the weakest link in the 

Bloor West area," which also encompasses Festival's more successful 

Bloor cinema. "We still have 5,000 seats in Toronto; that's 

enough," he added. 

DO YOU HAVE AN EXHIBITION-RELATED NEWS 

ITEM ABOUT THE CANADIAN MARKET? 

CONTACT SHLOMO SCHWARTZBERG IN CARE OF 

, 

OUR CANADIAN NEWS BUREAU AT: 416-928-2179, 

OR FAX: 416-324-8668


EUROVIEWS 

European News Notes by Francesca Dinglasan 

LEAD STORY: SEALED WITH THE SWISS 

ASPEN, COLO.— The Swedish media titan Bonnier is building 

its first theatre in a proposed Resort Theatres of America circuit 

designed to bring the joys of the multiplex to the resort communities 

of the U.S. Pricey Colorado ski town Aspen is the place where SF 

Bio, Bonnier's exhibition arm, broke ground recently on a fivescreen, 

800-seat complex slated for a May bow. The move surprised 

some observers, given Bonnier's 1 996 sale to Carmike of the 

174-screen stateside chain it operated in the Midwest under the 

First International logo. The major Nordic player in exhibition, SF 

Bio operates 1 74 screens in Sweden, accounting for about half of 

the market; titan Bonnier is the largest media company in the 

Nordic territories. One might not expect the Aspen complex to 

force-feed Ingmar Bergman retrospectives to its potentially elite 

audience; amono the partners in tne SF Bio co-venture is Hollywood 

producer Brad krevoy—of "Dumb & Dumber" fame. 

PLEXES FLOWER IN HOLLAND 

AMSTERDAM—Competition is heating up among multiplexers 

in Holland. France-based Pathe, which currently maintains 80 screens 

throughout the Netherlands, plans to open 13- and 14-screen sites in 

Amsterdam by mid-20(X). Not to be outdone, plex-builder Minerva 

\\ ill contribute a six-to-eight screen theatre in Tilburg (scheduled to be 

online in 2001) and another similarly sized site in Haariem by 2(X)2. 

A third company. PolyFilm, recentiy opened its first multiplex in 

Zoetemeer. while Wolff, another player in the plex game, plans an 

eight-screener for Amsterdam and a 15- or 16-screen site for Utrecht 


OSLO—Launching a new era of exhibition competition in Norway, 

permission to break ground has been granted Sweden's Svensk 

Filinindustri, which plans a six- or eight-plex in Lillestrom. Norway 

has long had a tradition of municipal ownership ofcinemas; 80 percent 

ofcurrent theatres, representing 90 percent of ticket sales, are town-run. 

Other major players eyeing the region are AMC (retargeting Europe, 

which it exited in the late '80s), Nordisk (also building in Denmark, 

where it will soon have 72 screens) and Sandrew Metronome (at 106 

screens a power in Sweden and also entering Finland); Svensk and 

Nordisk are competing for a Drammen site. Meanwhile, the exhibitordistributor 

environment looked headed for meltdown over a new 

film-rental pricing pact; though considered by some to be monopoUstic, 

the previous agreement has stood for decades. Helping lead the 

drive toward lower rental fees, if not an open market, are Oslo and 

Bergen city reps who oversee municipally operated theatres. 

PAGING MR. VAJNA 

BUDAPEST—Village Road InterCom Hungary, a joint venture 

of Aussie exhibitor Village Roadshow and local operator/film 

producer Andy Vajna's InterCom, has opened its second plex, a 

10-screener at a new shopping center. The southern-sector 2,000- 

seat facility cost $2.8 million and will do business against a nearby 

six-screener. VRIC bowed an 1 1-plex two years ago in the capital's 

northern section; African giant Ster-Kinekor has a 13-screener 

slated for the western sector for 2000, and Budapest Film among 

other projects in the region plans a 20 next door to Ster-Kinekor' s. 

GAUMONT/BONTON PTP DOA 

PRAGUE—A project to bring multimillion-dollar moviehouses 

to the Czech and Slovak republics has encountered a bump with 

the breakup of a partnership between Gaumont and Bonton. Disagreements 

over construction sites, future plans and financing 

contributed to the decision to end the joint venture. Bonton 

will continue to develop multiplexes in the region and is 

currently renovating a property in the center of Prague. 

Bonton is also developing three other Czech sites. 

GORKY UNPARKED 

MOSCOW—After three years as director of Moscow's 

Gorky Film, Sergei Livnev is exiting to focus on the exhibition 

sector; replacing him at the studio known for children's 

fare is Artek children's fest head Vladimir Grammatikov. 

Livnev' s plan to integrate production, distribution and exhibition 

at Gorky ended witfi the collapse of the ruble; he is 

now enlisting U.S. partnership in a strategy to develop a 

100-site multiplex (4-8 screens per) circuit. 

GIMME SHELTER 

MUNICH—Germany's tax-shelter specialist Cinerenta 

has a second film investment fund, expected to generate 100 

million marks (US$60 million) to co-finance U.S. studio fare. Its 

first is Total Film's "Sundowning," starring Kirk Douglas and 

being released stateside by Miramax. Cinerenta' s $25 million 1997 

fund backed the Sigoumey Weaver starrer "A Map of the World." 

SENATOR'S PUBLIC STATEMENT 

BERLIN—Senator Film AG, which produces and distributes 

independent films in Germany, has completed a restructuring in 

preparation for its going pubhc sometime early this year in the wake 

of the successful '98 IPO by Kinowelt. Funds raised by public 

shares wiU be used to expand its role in the media market, including 

acquiring companies and increasing in-house production from four 

to seven feature films per year. Among Senator's high-profile hits 

are Joseph Vilsmaier's "Comedian Harmonists," coming stateside 

via Miramax, and the animated "Werner—Das Muss Kesseln." 

IWERKS DONS IKILTS 

EDINBURGH—Iwerks Entertaiimient, along with developer 

THI pic, is beginnging installment of an Iwerks 8/70 3-D theatre 

system in the Scottish capital. The large-format hall is located in a 

multiplex operated by expanding Virgin Cinemas. The setup will 

accommodate 300 viewers and provide both 2-D and 3-D capabilities. 

The multiplex housing the system is sited in Fountain Park, 

an entertainment complex in central Edinburgh. The grand opening 

is scheduled for this uj)coming fall...On its end, competitor Imax 

plans to substantially expand its European presence, with new 

theatres in Turkey, Hungary, Poland and the Czech Repubhc. 

EURONOTES... 

Pathe SA raised its five-year bond offering, expected to finance 

theatre expansion in homeland France plus Holland and Italy, to 

1.15 bilhon francs (US$206 million)...Western Europe movie 

admissions reached a total of 761 milhon in 1997, rising by 50 

million over '96 tallies, aided by exhibition expansion and localproduction 

appeal; U.K.-based Dodona Research projects that European 

admits could clear 1 biUion by 2002...Rank CEO Andrew 

Teare resigned after the Odeon Cinemas parent reported thirdquarter 

numbers that showed a 20 percent decline in pretax profits 

(to 111 million pounds, US$1 88.7 million). Rank's leisure unit saw 

profit fall 24.1 percent to 22 million pounds (US$36.8 million).. 

.Paul Biggins, for three years the marketing director of UCI, 

has left the multiplex operator for a post as vp/marketing for Planet 

Hollywood Europe... Italy's MPAA-like ANICA has opened a 

"Shooting in Italy" initiative designed to attract film shoots. 



PACIFIC OVERTURES 

Notes From the Pacific Rim by Francesca Dinglasan 

SOUTH KOREA DEBATES FILM QUOTA 

SEOUL—A quota that requires one-third of films played in 

South Korean cinemas to be Korean productions has sparked a 

debate in the country. Government officials have been at odds over 

the regulation, most notably over its possible effect on U.S. trade 

relations. U.S. officials have reportedly complained that the quota 

is in violation of a bilateral trade agreement between the United 

States and South Korea. The U.S. has provided further incentive 

for removal of the quota by offering the country $50 million in 

foreign investment. The funds would be used to build several 

multiplexes throughout South Korea. 

Among those objecting to the quota' s removal are South Korea' 

Ministry of Culture and Tourism and Korean film producers, actors, 

and directors. Supporters of the quota argue that it has contributed 

to the increase of revenue for Korean movies, and they urge that 

the regulation remain in place until the local film industry has 

attained competitiveness in the international market. The opposition 

stresses that foreign investment is badly needed to help Korea' 

ailing economy, and boxoffice profits generated from American 

films could be used to promote Korean productions. 

READING AND WAITING 

SYDNEY—Reading, a U.S.-based company currently attempting 

to develop multiplexes throughout New Zealand and Australia, 

has experienced both progress and setbacks in its efforts to establish 

itself in those markets. In conjunction with Auckland-based 

Westmark Wakefield, Reading has sealed a deal to construct a 

12- screen multiplex in Wellington, New Zealand. The theatre will 

anchor a retail center and is slated to open late this year. Meanwhile, 

Reading is waging a battle to obtain first-run films currently 

unavailable to its cinema in Sydnej^. The 800-seat multiplex, 

Reading' s first in Sydney, has been denied access to newly-released 

films by distributors. John Rochester, the company's CEO, says he 

believes local competing chains place pressure on distributors to 

withhold the desired products from Reading. 

NO ECONOMIC WOES FOR JAPANESE BOXOFFICE 

TOKYO—While Japan's recession has negatively affected 

most all of the country's industries, movie exhibitors have weathered 

the financial storm. In 1997, movie theatres saw a 17.7 percent 

gain in attendance over the previous year, with a total of 140.7 

million tickets sold. Boxoffice gain increased by 19 percent for the 

same period with total earnings of 177 billion yen (US$ 1 .5 billion) 

recorded. For most of this decade, Japan's precarious economy has 

resulted in decreased attendance at the movies. The boxoffice 

comeback is attributed to a growing number of screens and a string 

of blockbuster hits. 

17-PLEX IN SYDNEY TAKES THE BISCUIT 

SYDNEY—A 1 .6 million-square-foot complex that will feature 

entertainment, retail and office facilities is being planned for Sydney, 

Australia. The design, which incorporates a multiple-use 

layout and a multiplex theatre anchoring the complex, will be a 

completely new concept to the country. Hoyts, Australia's largest 

movie theatre operator, will manage the 17-screen plex equipped 

with 4,500 seats and advanced projection and audio equipment. 

Developed by JAGAR Property Group of North Sydney and designed 

by Newport Beach, Calif.-based Perkowitz & Ruth Architects 

Inc., the complex, known as The Entertainment Center at the 

Amotts Biscuit Factory, is scheduled to open concurrently with the 

2000 Olympics in Syclney. 

REVENUE SHARING IN CHINA 

CHINA—New Line International and China Film Corp., a 

distributor headed by the country's government, have come to a 

mutual agreement regarding revenue- sharing distributions. China 

Film Corp., which normally pays a flat monetary sum to suppliers 

for a given film, entered into its first agreement to pay based on 

revenue returns. The deal is significant in that it sets a precedent 

for other independent film companies in China to follow the 

revenue- sharing system. NLI sealed the deal with "Rush Hour," 

featuring Jackie Chan and Chris Tucker. 

HOYTS NETS HIGH PROFIT 

SYDNEY—Australia-based Hoyts, which operates 950 screens 

in the United States and over 1,500 screens worldwide, earned 

AUS$38.7 miUion (US$22.9 million) in profit for the June 30, 

1997-June 30, 1998 period. The company's 64 percent gain has 

been attributed to the performance of its movie complexes and the 

strength of boxoffice hits during the given period. Hoyts is presently 

expanding its holdings throughout Europe and Latin America, 

but has decided against pursuing interests in Asia because of 

economic instability throughout the region. 

MORE MONEY FOR SINGAPORE FILMS 

SINGAPORE—^The Television Corp. of Singapore has expanded 

its operation to include production of feature films. TCS 

has established Raintree Pictures as its filmmaking division, and 

the company intends to complete a total of eight full-length films 

by mid-to-late 2000. 

With the solid financial backing of TCS, Raintree will be given 

a budget ranging from SIN$550,000 (US$302,500) to SIN$3 million 

(US$1.65 million) for each of its productions. This will make 

Raintree Singapore's most stably funded film producers. 

GOING GAGA 

TOKYO—Gaga Communications, a movie distributor based in 

Japan, has undergone an internal restructuring. The company has 

replaced Kiyoshi Watanabe, the former head of U.S. operations, 

with Yoko Asakura, while former executive vice president Aki 

Sugihara has been selected to supervise marketing and acquisition 

ventures. Gaga has also created a Strategic Administration and 

International Department for developing new projects. 

PACIFIC RIMSHOTS 

A 16-screen AMC Entertainment International theatre is 

slated for construction in Nagoya, Japan. AMC plans to open the 

multiplex, their third in Japan, by Spring 2000... Berlin-based Hahn 

Films, which specializes in animation, has established two more 

animation studios in Asia. The first is located in Vietnam, and the 

other, in conjunction with DigiMation, has been set-up in Taipei, 

Taiwan. ..Australian circuit Village Roadshow Ltd. reported earnings 

for July 1, 1998-October 31, 1998 to be "moderately ahead" 

of earnings for the same period during the previous year. John 

Kirby, chief executive of Village, acknowledged that the economic 

crisis in Asia hampered overairprofit...Iwerks will be opening two 

new ride-simulation theatres in China. A 100- seat theatre in 

Fuzhou, PRC and a 36-seat theatre in the city of Quingdao are 

scheduled to open next month. Upon completion, Iwerks will have 

increased its presence in China from eight to 10 theatres, bringing 

its total installations in the Asia Pacific region to over 80. 

42 BoxoFncE

_f^gg^ 

HOME RELEASE CHART 

JANUARY 1999 

llOME VIDEO 

RELEASE 

DATE

BOXOFFICE 

December 

JANUARY '99 

(Current) 

February '99 March '99 

Buena Vista 

(818)567-5000 

(212)593-8900 

I 

Action, 12/25 NY/LA, 1/8 wide, Dra, 

DTS, Flat. John Travolta, William H. Macy, 

Robert Duvall, Stephen Fry, John Lithgow. 

Dir: Steve Zaillian. 

Mighty Joe Young, 12/25, Adv/Dra, PG, 114 

min, All formats. Flat. Bill Paxton, Charlize 

Theron, Rade Serbedzija, David Palmer, 

Naveen Andrews, Regina King. Dir: Ron 

Underwood. 

Thirteenth Warrior (aka Eaters of the Dead), 

Adv, All formats. Scope. Antonio Banderas, 

Diane Venora, Omar Sharif. Dir: John 

McTiernan. 

Columbia 

(310)244-4000 

(212)833-8500 

Stepmom, 12/25, Com/Dra, PG-13. 124 min, 

SDDS, SR, SRD, Scope. Julia Roberts, Susan 

Sarandon, Ed Harris. Dir: Chris Columbus. 

8mm, 2/12, Thr, 126 min, SDDS, SR, SRD, 

Scope. Nicolas Cage, Joaquin Phoenix, 

Catherine Keener, James Gandolfini, Peter 

Stormare. Dir: Joel Schumacher. 

The Deep End of the Ocean, 2/26, Dra, 113 

min, SDDS, SR, SRD, Flat. Michelle Pfeiffer, 

Treat Williams, Jonathan Jackson, Whoopi 

Goldberg. Dir: Ulu Grosbard. 

Cruel Intentions, 3/5, SDDS. Sarah Michi 

Gellar, Ryan Phillippe, Reese Witherspoo 

Christine Baranski. Dir: Roger Kumble. 

Gloria, 3/12, Dra, R. Sharon Stone, Gena 

Rowlands, George C. Scott. Dir: Sidney L 

Gol, Mar/Apr. Christina Ricci., Taye Digg,- 

Scott Wolf, Jay Mohr. Dir: Doug Liman. 

Idle Hands, Mar/Apr. Devon Sawa, Seth 

Green, Vivica A. Fox. Dir: Rodman Rende 

DreamWorks 

(818)733-7000 

(212)588-6000 

Ttie Prince ot Egypt, 12/18, Ani, PG, DTS, 

SDDS, SR, SRD, Rat. Voices: Val Kilmer, 

Ralph Fiennes, Michelle Pfeiffer, Sandra 

Bullock, Jeff Goldblum, Steve Martin, 

Martin Short, Patrick Stewart. Dirs: Brenda 

Chapman, Steve Hickner, Simon Wells. 

In Dreams, 1/22, Dra/Thr, DTS, SR, SRD, Flat. 

Annette Bening, Robert Downey Jr., Aidan 

Qutnn, Stephen Rea. Dir: Neil Jordan. 

Forces of Nature, 2/12, DTS. Ben Affleck, 

Sandra Bullock, Maura Tierney, Joe Don Baker, 

BIythe Danner. Dir: Bronwen Hughes. 

MGM/UA 

(310)449-3000 

(212)708-0300 

Tea Willi Mussolini, 12/25 ltd, Com/Dra. 

Cher, Judi Dench, Maggie Smith, Lily Tomlin. 

Dir: Franco Zetfirelli. 

The Ticket Scalper (formeriyThe Scalper), 

1/1 5, Rom/Com, SR, Flat. Andy Garcia, Andie 

MacDowell, Ron Leibman. Dir: Richard Wenk. 

Tmsettown. Ron Perlman. Dir: Tony Spiridakis. 

1/22 (MGti^GoWwyn). 

At First Sight, 2/5, Rom/Dra, PG-13, DTS, Rat. 

Val 

Kilmer, Mira Sorvino, Nathan Lane, Kelly 

McGillis, Steven Weber. Dir: Irwin Winl(ler. 

Supernova, 3/12, SF/Thr, DTS. James Sp.F 

Robin Tunney, Wilson Cruz, Angela Basse 

Lou Diamond Phillips. Dir: Walter Hill. 

Mod Squad, 3/26, Act, DTS. Tobey Maguir* 

Claire Danes, Omar Epps, Josh Brolin, Denn 

Farina. Din Scott Silver. 

Miramax 

(212)941-3800 

(213)951-4200 

Little Voice, 12/4 NY/LA Oscar run, 1/5 NY/ 

[A, 1/22 exp, R, 99 min. Jane Horrocks. She's 

All That, 1 2/9. Freddie Prinze Jr. Shakespeare 

in Love, 12/11 ltd, exp 12/25 & 1/8. 

Gwyneth Paltrow. It They Only Knew, 12/18 

NY/ LA, exp 1/8, 1/15 &1/22. Playing By 

Heart (aka Dancing About Architecture), 

12/18 NY/LA, 1/8 exp. Angelina Jolie. Down 

in the Delta, Dra, 12/25. Ate Woodard. The 

ChiWren of Heaven, 1/22 NY/LA. Mohammad 

AmirNaji. Dir: MjidMajidi. 

Spanish Fly, 1/29 NY/LA, R. Daphna Kastner, 

Martin Donovan. Dir: Daphna Kastner, 

The Harmonists (formerly Harmony), 2/5 

NY/LA. 

B. Monkey, 2/26 NY/U, Dra, R, 115 min. Flat. 

/\sia Argento. Dir: Michael Radford. 

Hard Day's Night, 35th anniv. restored rej 

3/5. The Beatles. Dir: Richard Lester. 

MyFather, The Hero, 3/19. 

Faculty, 12^25, SF. Dir: Robert Rodriguez. 

New Line 

(310)854-5811 

Blast From the Past, 2/1 2, Rom/Com, PG-13, 

106 min, SDDS, SR, SRD, Scope. Brendan 

Eraser, Sissy Spacek. Dir: Hugh Wilson. 

The Corrupter, 2/26. Mark Wahlberg, Chow 

Yun-Fat. Dir: James Foley. 

Dairy Queens, 3/12. Kirstin Dunst, Denise 

Richards, Christina Ricci, Kirstie Alley, Elle 

Barkin. Dir: Michael Patrick Jann. 

(212)649-4900 

Paramount 

(213)956-5000 

(212)373-7000 

A Simple Plan, 12/4 NY/LA, 12/18 wride, SR, 

Rat. Bill Paxton, Billy Bob Thornton, Bridget 

Fonda. Dir: Sam Raimi. 

Star Trek: Insurrection, 12/11, SF, DTS, SR, 

SRD, Scope. Patrick Stewart, Brent Spiner, 

Jonathan Frakes, LeVar Burton, Michael 

Dorn, Gates McFadden. Dir: Jonattian Frakes. 

(310)369-1000 

(212)556-2400 

Tlie TWn Red Line, 12/25, NY/LA/SF, 1/8 exp, 

Act/Dra, SR, SRD, Scope. Sean Penn, Ben 

Chaplin, George Ctooney, Adrien Brody, John 

Cusack, Woody Harrebon, Nick Nolle, Elias 

Koteas. Dir Ten-ence Malick. 

Ravenous, 2/5, SR, SRD. Robert Carlyle, Guy 

Pearce, David Arquette. Dir: Antonia Bird. 

Vanilla Fog, 2/12, SR, SRD, Scope. 

Office Space, 2/19, SR, SRD, Flat. Jennifer 

Aniston, Ron Livingston, Alexandra Wentworth. 

Dir: Dan McCormack. 

Brokedown Palace, 2/26. Bill Pullman, Claire 

Danes, Kate Beckinsale, Lou Diamond Phillips. 

Dir: Jonathan Kaplan. 

Pushing Tin, 3/5, R, SR, SRD, Scope. Johr 

Cusack, Billy Bob Thornton, Cafe Blanchett' 

Angelina Jolie. Dir: Mike Newell. 

Never Been Kissed. 3/26, SR, SRD. Scope 

Drew Barrymore, David Arquette, Molly 

Shannon, Michael Vartan. Dir: Raja Gosnell 

Entrapment. SR, SRD. Sean Connery, 

Catherine Zeta-Jones, Ving Rhames. 

Dir: Jon Amiel. 

Universal 

(818)777-1000 

(212)759-7500 

Psycho, 12/4, Thr, R, DTS, SR, SRD. Vince 

Vaughn, Anne Heche, Julianne Moore, William 

H. Macy, Viggo Morlensen. Dir: Gus Van Sant. 

Patch Adams, 12/25, Com, PG-13, All formats. 

Robin Williams. Dir: Tom Shadyac. 

Virus, 1/15. Thr. R, 96 min, DTS. SDDS, SR, 

SRD, Rat. Jamie Lee Curtis, Donald Sutherland, 

William Baldwin. Dir: John Bnjno. 

Ute, 2/5, Com, R. 135 min, SR, SRD. Eddie 

Murphy. Martin Lawrence, Obba Babtunde, 

Bokeem Woodbine. Dir: Ted Demme. 

Snow Falling on Cedars, 2/19, Rom/Dra, 

DTS, SDDS, SR, SRD. Ethan Hawke. James 

Cromwell, Youki Koudoh, Max Von Sydow. 

Dir: Scott Hicks. 

Ed TV, 3/19. Matthew McConaughey, Wooc 

Harrelson, Elizabeth Hurley, Dennis Hopper 

Ellen DeGeneres. Dir: Ron Howard. 

October Sky (formerly The Rocket Boys), 

3/31, Dra, PG, DTS, SDDS, SR, SRD. Uura 

Dern, Chris Cooper, Chris Owen, Jake 

Gyllenhaal, Chad Lindberg, William Lee 

Scott Dir: Joe Johnston. 

WamerBros. 

(818)954-6000 

(212)484-8000 

Jack Frost, 12/18, All fomiats. Scope. Michael 

Keaton, Kelly Preston, Anttiony Edwards, Mar1( 

Addy Dir: Toy Miller. 

You've Got Mall, 12/18. Rom/Com, PG, DTS, 

SR, SRD, Rat. Tom Hanks, Meg Ryan, Greg 

Kinnear, Michael Palin, Steve Zahn. Dir: Nora 

Ephron. 

TTie League (aka On Any Given Sunday). Al 

Pacino, Dennis Quaid. Dir: Oliver Stone. 

True Crime, 2/5, Dra, DTS, Flat. Clint Eastwood, 

Diane Venora, Lisa Gay Hamilton, Isaiah 

Washington, Sydney Poitier, Mary McCormack, 

James Woods. Dir: Clint Eastwood. 

Message in a Bottle, 2/12, DTS. Kevin 

Costner, Paul Newman, Robin Wright-Penn. 

Dir: Luis Mandoki. 

Je M'Appelle Crawlord. Craig Ferguson, Sarah 

Gilbert. Dir: 

Kevin Allen. 

The Harvest, 3/12, DTS. 

The King and 1, 3/19, Ani, DTS. Voice: 

Miranda Richardson.

i 

STUDIO FEATURE CHART — JANUARY 1 999 

April '99 May '99 Forthcoming

I 

BOXOFFICE Independent Feature Chart JANUARY 1999 

DECEMBER 

Artisan 

310-255-3716 

Time on Fire. Dir: Rob Morrow. 

Artistic License 

212-265-9119 

Hallelujah!, Doc, 90 min. Ron 

Athey. Dir: Catherine Cund 

Saalfield. 12/4 

Fine Line 

212-649-4800 

Theory of Flight, Dra, R, 98 min. 

Kenneth Branagh, Helena Bonham- 

Carter. Dir: Paul Greenerass. 12/23 

NY/LA, 1/22 exp 

Hurlyburly, Dra, R, 122 min. Sean 

Penn, Kevin Spacey, Meg Ryan, 

Anna Paquin. Dir: Anthony Drazan. 

12/25 NY/LA, 1/1 5/99 exp 

Gramercy 

310-385-4400 

The Hi-Lo Country. Woody Harrelson, 

Billy Crudup, Patricia Arguette, 

Penelope Cruz. Dir: Stephen Frears. 

12/30 NY/LA, exp 1/99 

Jour de Fete 

213-933-2733 

Skin & Bone. 12/16 

Lions Gate 

212-995-9662 

Shattered Image, Dra, 103 min. 

Anne Parrillaud, William Baldwin. 

Dir: Raul Ruiz. 12/4 

Affliction, Dra, 114 min. Nick 

Nolte, Sissy Spacek, Willem Dafoe, 

James Coburn, Mary Beth Hurt. Dir: 

Paul Schrader. 12/30 NY/LA 

New Yorlcer 

212-247-6110 

The Swindle, Thr, 105 min. Isabelle 

Huppert, Michel Serrault. Dir: 

ClaudeChabrol. 12/23 NY 

October 

212-539-4000 

Hilary & lackie, Dra, R. Emily Watson, 

Racnel Griffiths. Dir: Anand 

Tucker. 12/25 NY/LA, 1/8 exp 

The Day of the Beast (formerly Perdita 

Durango), Hor/Com, R. Rosie 

Perez, Javier Bardem. Dir: Alex de 

la Iglesia. 12/23 LA, 1/1 SF, 1/22 NY 

JANUARY 

Artisan 

My Name Is Joe, Dra. Louise 

Goodall, Peter Mullan. Dir: Ken 

Loach. 1/22 NY, 2/5 exp 

Artistic License 

Devils Island, Dra, 103 min. 

Baltasar Kormakur. Dir: Fridriklhor 

Fridriksson. (Could move to Feb) 

Cinema Village 

212-431-5119 

Cartoon Noir, Ani (compilation), 85 

min. Dir: Various. 1/8 NY 

Cowboy 

212-989-8179 

Mighty Peking Man. Ltd 

First Run 

272-243-0600 

Private Confessions. 1/6 NY, 1/20 LA 

The Winners, Doc, 85 min. Phil ipp 

Hirschhorn. Dir: Paul Cohen. 1/20 

Love, Etc. (France), Charlotte Gainsbourg. 

Dir: Marion Vernoux. 

Nobody (japan). Act, 100 min. 

Masaya Kato, Jinpachi Nezu. Dir: 

Toshimichi Ohkawa. 

Strawberry Fields, Dra, 100 min. 

Suzy Nakamura. Dir: Rea Tajiri. 

Polygram 

310-385-4000 

Arlington Road, Thr. Jeff Bridges, 

Tim Robbins, Joan Cusack, Hope 

Davis, Robert Gossett, Mason Gamble. 

Dir: Mark Pellington. 1/1 

Strand 

310-395-5002 

Jeanne and the Perfect Guy 

(France), Mus, 95 min. Virgine 

Ledoyen, Mathieu Demy. Dir: Olivier 

DuCastel & Jacques Martineau. 

NY/LA 

Turbulent Arts 

415-552-1952 

Uncut, Dra, 92 min. Matthew Ferguson. 

Dir: John Greyson. 1/8 SF 

FEBRUARY 

Artisan 

The Breaks. Mitch Mullany, 2/26 

Lions Gate 

Metroland, Rom/Com, 99 min. 

Christian Bale, Emily Watson, Lee 

Ross, Elsa Zylberstem. Dir: Philip 

Saville. 

Milestone 

212-865-7449 

Pizzicata, Rom, 93 min. Cosimo 

Cinieri, Chiara Torelli, Fabio 

Frascaro. Dir: Edoardo Winspeare. 

2/3 

New Yorker 

The Apple, 85 min. Dir: Samira 

Mkhmaibaf.2/12 

October 

Three Seasons, Dra. Harvey Keitel, 

Kathleen Luong, Zoe Bui. Dir: Tony 

Bui. 

Phaedra 

Cosmos Flower (japan), Dra, 1 1 

min. Oda Akane, Mari Natsuki. Dir: 

Junichi Suzuki. 

Fever Pitch. Colin Firth. Dir: David 

Evans. NY/LA 

Zone 39 (Australia), SF, 95 min. 

Peter Phelps, Carolyn Bock. Dir: 

Johnlatoulis. 

Shadow 

Windhorse, Dra, 97 min. Dadow, 

Jampa Keisang. Dir: Paul Wagner. 

Sony Classics 

Tango, Dra/Mus, PG, 115 min. Miguel 

Angel Sola, Cecilia Narova, 

Mia Maestro, Juan Carlos Copes. 

Dir: Carlos Saura. 2/12 

Stratosphere 

212-605-1010 

Hideous Kinky (tent, title), 99 min. 

Kate Winslet. Dir: Gillies Mackinnon. 

2/5 

School of Flesh. Isabelle Huppert. 

Dir: Benoit Jacquot. 2/26 

Turbulent Arts 

Paulina, Doc, 88 min. Dir: Vicky 

Funari, Jennifer Maytorena Taylor. 

2/12 SF 

MARCH 

Seventh Art 

213-845-1455 

Things I Never Told You, 90 min. 

Andrew McCarthy, Lili Taylor, Seymour 

Cassel, Alexis Arquette. Dir: 

Isabel Coixet. 

Shadow 

207-872-5111 

Port Djema (France), Adv/Dra, 97 

min. Jean-Yves Dubois, Nathalie 

Boutefeu. Dir: Eric Heumann. 1 2/1 

NY 

Sony Classics 

212-833-8851 

The General, Dra, R, 124 min. 

Brendan Gleeson, Adrian Dunbar, 

Sean McGinley, Jon Voight. Dir: 

John Boorman. 12/18 

Trimark 

310-314-3040 

Another Day in Paradise. James 

Woods, Melanie Griffith, Vincent 

Kartheiser. Dir: Larry Clark. 12/20 

LA, 1/22 exp 

46 BOXOFFICE 

LIGHTING UP SCREENS: "Illuminata" bows Feb. 12 via First Look. 

Kino 

212-629-6880 

Dr. Akagi, Dra, 128 min. Akira 

Emoto. Dir: Shonei Imamura. 

Lions Gate 

Blood, Guts, Bullets & Octane, 

Com/Thr, 87 min. Dan Leis, JoeCarnahan. 

Dir: Joe Carnahan. 1/15 

NY/LA 

The Empty Mirror, Dra, 119 min. 

Norman Rodway, Joel Grey. Dir: 

Barry Hershey. 1/29 

Palm 

312-751-0020 

Razor Blade Smile, Hor/Act, 101 

min. Eileen Daly, Christopher Adamson. 

Dir: Jake West. 

Phaedra 

213-938-9610 

A Little Bit of Soul (Australia), Com, 

90 min. Geoffrey Rush, Frances 

O'Connor. Dir: Peter Duncan. 

First Loolc 

310-855-1199 

Illuminata, Rom/Com. John Turturro, 

Susan Sarandon, Christopher 

Walken, Rufus Sewell, Beverly 

D'Angelo, Donald McCann, Georgina 

Gates, Ben Gazzara, Aida 

Turturro. Dir: John Turturro. 2/12 

Fox Searchlight 

310-369-4402 

20 Dates, R, 88 min. Myles 

Berkowitz, Tia Carrere, Richard 

Arlook. Dir: Myles Berkowitz. 2/5 

NY/LA 

Kino 

The Milky Way, Dra, 104 min. Muhammad 

Bakri, Suheil Haddad. Dir: 

Ali Nassar. 

213-467-3700 

Dona Barbara. 2/1 2 


Among Giants, R, 93 min. Pete 

Postletnwaite, Rachel Griffiths. Dir: 

Sam Miller. 

October 

The Idiots. Louise Hassing, Anne- 

Grethe. Dir: Lars Von Trier. 

Phaedra 

states of Control, Dra, 85 min. Jennifer 

Van Dyck, John Cunningham. 

Dir: Zack Winestine. 

Sony Classics 

The Dreamlife of Angels, Dra, 1 13 

min. Elodie Bouchez, Natacha 

Regnier, Gregoire Colin, Jo Prestia. 

Dir: Erick Zonca. 3/5 

The Loss of Sexual Innocence, 1 01 

min. Dir: Mike Figgis. 3/5 

Stratosphere 

Bandits, R. 1 ()') min. Katja Riemann, 

Jasmin Tabatabi, Nicolette Krebitz, 

Jutta Hoffmann. Dir: Katja Von Garnier. 

3/19 

Six Ways to Sunday.

BOXOFFICE Independent Feature Chart JANUARY 1999 

APRIL 

Legacy 

CluBland. 4/1 6 ltd 

October 

Cookies Fortune. Glenn Close, Julianne 

Moore. Dir: Robert Altman. 

Phaedra 

Heart of Light (Denmark), Dra, 92 

min. Rasmus Lybgrth. Dir: Jacob 

Crunlykke. 

Metal Skin (Australia), Dra/Thr, 1 00 

min. Tara Morice, Aden Young. Dir: 

Geoffrey Wright. 

Sony Classics 

SLC Punk!, Com R, 97 min. Matthew 

Liilard, Michael Goorjian, Annabeth 

Gish, Jennifer Lien, 

Christopher McDonald, Devon 

Sawa, Jason Segel, Summer Phoenix, 

James Duval. Til Schweiger. 

Dir: James Merenciino. 4/2 NY/LA 

The Winslow Boy, Dra, 110 min. 

Nigel Hawthorne, Rebecca Pidf;eon, 

Jeremy Northam, Gemma 

ones. Dir: David Mamet. 4/2 

This Is My Father, 120 min. Aidan 

Quinn, James Caan, John Cusack, 

Richard Harris, Stephen Rea. Dir: 

Paul Quinn. 4/23 

Stratosphere 

Xiu-Xiu: The Sent-Down Girl. 

Joan Chen. 

MAY 

Dir: 


William Shakespeare's "A Midsummer 

Night's Dream." Kevin Kline, 

Michelle Pfeiffer, Rupert Everett. 

Dir: Michael Hoffman. 5/5 

FORTHCOMING 

Artificial Eye 

212-255-1922 

Beyond the Clouds (1995, France/ 

Italy/Germany), Dra, 1 13 min. John 

Malkovich, Sophie Marceau, Fanny 

Ardant, Peter Weller, Jean Reno, 

Irene Jacob, Vincent Perez. Dir: Michelangelo 

Antonioni. 

Happiness. Michel Serrault. 

The Mother and the Whore (1973 

reissue, France), Dra, 2 1 5 min. Jean- 

Pierre Leaud, Francoise Lebrun, 

Bernadette Lafont. Dir: Jean Eustache. 

A Summer's Tale (1996, France), 

Rom/Com, 113 min. Melvil Poupaud, 

Amanda Langlet, Aurelia 

Nolin, Gwenaelle Simon. Dir: Eric 

Rohmer. 

Discovery 

301-986-1999 

Africa's Elephant Kingdom. 

Fine Line 

Besieged. Thandie Newton, David 

ThewTis, Claudio Santamaria. Dir: 

Bernardo Bertoiucci. 

The Legend of the Pianist on the 

Ocean,T)ra. Tim Roth, Pruitt Taylor 

Vince, Clarence Williams III. Dir: 

Giuseppe Tornatore. NY/LA 

The Lovers of the Arctic Circle. 

First Look 

Marcello Mastroianni I Remember, 

Doc, 198 min. Marcello Mastroianni. 

Dir: Anna Maria Tato. 

Winter 

Alegria, Dra, PG. Frank Langella, 

Julie Cox, Rene Bazinet, Heatncote 

Williams, Clipper Miano. Dir: 

Franco Dragone. 

Thursday. Thomas Jane, Aaron Eckhart, 

Mickey Rourke, Glenn Plummer. 

Dir: Skip Woods. 

Waking the Dead. 

What Rats Won't Do (U.K.), 

Rom/Com. Natascha McElhone, 

James Frain, Charles Dance. Dir: Alaistair 

Reid. 

Imax 

905-403-6500 

American Road, Doc. 

Mission to Mir, Doc. 

Lions Gate 

Dinner Game, Com. Thierry 

Lhermitte. Dir: Francis Veber. 

Northern Arts 

413-268-9301 

Continuing Adventures of Reptile 

Man. 

Levitation. 

Talk to Me. 

October 

C's Trippin'. Dir: David Rayner. 

Spring/Summer 

The Mammy. Angelica Huston. Dir: 

Angelica Huston. Fall 

Condo Painting, Doc. George 

Condo, William S. Burroughs, Allen 

Ginsberg. Dir: John McNaugnton. 

Polygram 

Notting Hill, Rom/Com. Julia Roberts, 

Hugh Grant. Dir: Roger 

Micnell. 

Where the Money Is, 

Com. Paul 

Newman, Linda Fiorentino, Dermot 

Mulroney. Dir: Marek Kaniesvska. 

Rialto 

213-933-2733 

Peeping Tom (reissue), Thr. Carl 

Boenm. Dir: Michael Powell. 

The Third Man (reissue), Thr. 

Josephe Gotten, Orson Welles. Dir: 

Carol Reed. 

Sony Classics 

Assassin, Dra. Gong Li, Li Xuejian, 

Zhang Fengyi, Sun Zhou. Dir: Chen 

Kaige 5/2f 

Seventh Art 

Honey and Ashes, Dra, 85 min. 

Nozha Khovadra, Amel Samia, 

Ledhili Mzali. Dir: Nadia Fares. 

Stratosphere 

The Boys (French-Canadian), Com. 

JUNE 

Kit Parker 

800-538-5838 

Sisters (restored), Thr, R. Margot 

Kidder, Jennifer Salt, Charles Durning. 

Dir: Brian DePalma. 

October 

The Muse. Albert Brooks, Sharon 

Stone. Dir: Albert Brooks. 6/4 

Sony Classics 

Run Lola Run (Germany), 81 min. 

Franka Potente, Moritz Bleibtreu, 

Herbert Knaup, Armind Rohde, 

Joachim Krol, Nina Petri, Heino 

Perch. Dir: Tom Tykwer. 6/1 

AUGUST 


Untitled Aileen Ritchie project Dir: 

Aileen Ritchie. 

TYE" OPENER: "Open Your Eyes" opens in the first quarter. 

Artisan 

Open Your Eyes. Penelope Cruz. 

Dir: Alejandro Amenabar. 1 st Qtr 

The 24 Hour Woman. Rosie Perez, 

Marianne Jean-Baptiste, Patti 

Lupone, Aida Turturro. Dir: Nancy 

Savoca. 1 st Qtr 

The Bumblebee Flies Anyway. 

Elijah Wood. Dir: Martin Duffy. 2nd 

Qtr 

Frogs for Snakes. Barbara Hershey, 

Harry Hamlin, Debi Mazar, Robbie 

Coltrane. Dir: Amos Poe. 2nd Qtr 

The Ninth Gate. Johnny Depp, Lena 

Olin, Frank Langella. Dir: Roman 

Polanski. Spring 

Don't Shoot 'Til We Get to Flagstaff. 

Rosanna Arquette. Dir: Carrie 

Blank. 

The Second Arrival, SF, R. Patrick 

Muldoon, Jane Sibbett. Dir: Kevin 

Tenny. 

Attitude 

212-995-9008 

The Trio. Gotz George. Dir: Hermine 

Hundgebirth. 

CQN 

213-658-6043 

Fantastic Planet. 


Best Laid Plans, R. Alessandro 

Nivola, Reese Witherspoon, Josh 

Brolin. Dir: Mike Barker. 

Dreaming of Joseph Lees. Rupert 

Graves, Samantha Morton. Dir: Eric 

Styles. 

Hard Men (U.K.), Dra, R. Vincent 

Regan, Ross Boatman, Lee Ross. 

Dir: J.K. Amalou. 

White Boys. 

Gramercy 

Being John Malkovich. 

Dad Savage. Patrick Stewart, Kevin 

McKidd, Marc Warren. Dir: Betsan 

Morris-Evans. 

I Want You, Rom/Dra. Rachel 

Weisz, Alessandro Nivola, Labina 

Mitevska. Dir: Michael Winterbottom. 

Lock, Stock and Two Smoking Barrels. 

Sting. 

Mad About Mambo. 

The Match. 

Plunkett & Macleane, Act/Adv. 

Robert Carlyle, Liv Tyler, Jonny Lee 

Miller. Dir: Jake Scott. 

Resurrection Man. Stuart Townsend, 

James Nesbitt, Sean Mc- 

Ginley, Brenda Fricker. Dir: Marc 

Evans. 

Shadow 

Carla's Song (U.K.), Rom/Dra, 127 

min. Robert Carlyle, Scott Glenn, 

Oyanka Cabezas. Dir: Ken Loach. 

Shooting Gallery 

212-243-3042 

illtown, Dra, R Michael Rapaport, 

Lili Taylor, Adam Trese, Tony Danza, 

Isaac Hayes. Dir: Nick Gomez. 

Strand 

Head On, Dra. 

Trimark 

Frida. Salma Hayek. Dir: Roberto 

Sneider. 1 st Qtr 

The Man With Rain in His Shoes. 

Lena Headey, Douglas Henshall, 

Penelope Cruz. Dir: Maria Ripoli. 

1st Qtr 

Trance (formerly Michael Almereyda's 

The Mummy, formerly The 

Eternal), Hor, R. Alison Elliot, Jared 

Harris, Christopher Walken. Dir: 

Michael Almereyda. 1 st Qtr 

Carnival of Souls. Bobbie Phillips, 

Larry Miller, Shawnee Smith. 

Adam Grossman. 

u\r. 

DISTRIBUTORS: Fax mir 

>clu'diile updates to , 

,310-456-9750.

da rR.n Rrwrti.i.i(

AFM REVIEWS 

ON GUARD! 

iîriî^m 

Starring Daniel Auteuil, Fabrice 

Luchini, Vincent Perez, Marie Gillain, 

Philippe Soiret and Claire Seboiit. Directed 

by Philippe De Broca. ^yntten by 

Philippe De Broca, Jean Cosmos and Jerome 

Tonnerre. Produced by Patrick 

Godeau. So distributor set. Action/drama. 

Sot yet rated. Running time: 128 min. 

Let it be said that no one does adaptations 

of great literature quite like the French, and 

no Frenchman does it with more panache 

than Philippe De Broca. His latest, "On 

Guard!." based on Paul Feval's popular 1857 

serialized swashbuckler "Le Bossu" ("The 

Hunchback"), stays true to form, spinning 

its epic tale of chivalry and treachery with 

a garganman gusto certain to thrill and delight 

audiences in all comers of the globe. 

One of the most splendid entertainments 

to emerge from the French film industry in 

years, the $30 million "On Guard!" also 

features one of the most prestigious ensembles 

of French talent ever assembled for one 

project. 

Set in the waning days of the 17th century, 

the film tells the story of Lagardere 

(Daniel Auteuil), a master swordsman 

turned renegade after his lord, the Duke of 

Nevers (Vincent Perez), is assassinated by 

his own cousin, the greedy Gonzague 

(Fabrice Luchini). Gonzague' s intended 

mission of eliminating all of the Duke's 

heirs other than himself, however, is foiled 

when Lagardere rescues the Duke's infant 

daughter Aurore, raising her as his own 

until the day of restitution arrives. 

Along with his contemporaries Victor 

Hugo and Alexandre Dumas, Feval embraced 

a heroic literary ethic that has long 

been popular with filmmakers. "Le Bossu," 

in particular, has proven a noteworthy favorite, 

filmed no fewer than five times previously 

(the most recent by Andre 

Hunebelle in 1959). But even the best of 

these scarcely compares to the achievement 

of "On Guard! ," a credit to both De Broca' 

artistry and Auteuil' s magnetism. 

Like Cyrano de Bergerac, D'Artagnan 

and the Scarlet Pimpernel all rolled into 

one, Auteuil' s Lagardere is an irresistible 

hero, a paragon of nobility and passion surrounded 

by a spectacle of near perfection, 

complete with intrigue, action, mystery, 

suspense and romance. Supporting actors 

are all similarly outstanding, including 

memorable turns by Philippe Noiret as the 

king's Regent and Marie Gillain as the 

feisty teenaged Aurore. 

Most importantly, "On Guard!" represents 

a new level of mastery for De Broca, 

whose skill with period pageantry here surpasses 

even his own previous work on "Cartouche" 

and "Chouans!." Technical credits 

are equally impressive, including Oscarcaliber 

contributions from composer 

Philippe Sarde, costumer Christian Gasc, 

cinematographer Jean-Francois Robin and 

art director Bernard Vezat. 

Lest there be any lingering doubt as to De 

Broca' s status as a world-class auteur, "On 

Guard!" provides the answer. Weide 

Major 

RHAPSODY IN BLOOM 1^^1/2 

Starring Penelope Ann Miller, Ron Silver, 

Craig Sheffer and Caroline GoodalL 

Directed by Craig Saavedra. \yritten by 

Eric Tuchman. Produced by Craig 

Saavedra and Steven Felder. No distributor 

set. Romantic comedy. Not yet rated. 

Running time: 96 min. 

As romantic comedies go, "Rhapsody in 

Bloom" would hardly merit mention if not 

for a wonderful lead performance from the 

oft-misused Penelope Ann Miller. In a welcome 

and overdue deviation from the ill-fitting 

glamour roles that have thus far 

characterized her brief career. Miller's 

earthy, spunky girl-next-door Lilah Bloom 

brings a blissful countenance to an otherwise 

unremarkable, albeit watchable, 

movie. 

Five years after the death of her sister-inlaw, 

Lilah has become an indispensable part 

of the Bloom household, a surrogate mother 

not only to her nephews and niece, but to 

her widower brother Mitch (Ron Silver) as 

well. Which makes Mitch's sudden announcement 

of remarriage to a successful 

career woman (Caroline Goodall) all the 

more distressing for Lilah and the children 

(if they' ve seen "The Sound of Music," they 

know what's coming). Making matters 

worse are Mitch's well-intentioned but ultimately 

disastrous attempts at easing Lilah 

back into a dating lifestyle. 

Fortunately for Lilah, a caring sprinkler 

repairman named Jack (Craig Sheffer) 

shows up just in time to help restore her 

self-esteem and satisfy the requisite demands 

of a blue collar prince charming. 

While "Rhapsody in Bloom" doesn't 

take any chances, neither does it necessarily 

do any&iing wrong, relying entirely on the 

intuition and chemistry of its stars to generate 

whatever spontaneity and emotional 

honesty might be lacking in the material. 

Formnately, to the credit of the cast and 

director Eric Tuchman, the tactic isn't 

wholly unsuccessful, yielding several 

memorable, standout scenes almost worthy 

of a better movie. 

Whether it all works well enough to 

sidestep pay television and merit a theatrical 

release is the more difficult question. 

— Wade Major 

THE BOYS •••1/2 

Starring Marc Messier, Remy Girard, 

Patrick Huard, Serge Theriault, Yvan 

Ponton. Paul Houde, Michel Barrette, Luc 

Guerin, Patrick Labbe and Pierre Lebeau. 

Directed by Louis Saia. Written by Christian 

Fournier. Produced by Richard 

Goudreau. A Lions Gate release. Comedy. 

French-language: subtitled Notyet rated 


The biggest hometown hit in the history 

of French Canadian cinema, 'The Boys" is 

a rousing, raucous blue-collar ensemble 

comedy so delightfully entertaining that 

even the most die-hard subtitle-phobics 

may be unable to resist its charms. Moreover, 

with a sequel and a possible Englishlanguage 

remake already in the works, the 

film is proving to be a winning franchise 

even before it hits U.S. screens. 

Best described as "The Full Monty" on 

ice, "The Boys" centers on the camaraderie 

of a group of middle-aged amateur hockey 

players from various walks of life (surgeon, 

real estate agent, cop, hippie burnout, etc.) 

who cast aside their respective differences 

and life challenges each Saturday to indulge 

their worship of the legendary Guy Lafleur. 

But even the ice carmot shield them from 

the real world forever, as they discover 

when their beloved coach and owner of 

their favorite bar, Stan (Remy Girard). confesses 

to an insurmountable gambling debt 

to a local mobster named Meo (Pierre 

Lebeau). Paying the debt will likely cost 

Stan his bar—unless "The Boys" can beat 

Meo's own hand-picked team of ruthless 

hockey roughnecks. 

Suffice to say that it is not the film's 

simple "sports underdog" story that has audiences 

cheering (the climactic hockey 

game alone consumes nearly half the film's 

running time), but rather its colorful characterizations 

and the honest, heartfelt manner 

in which the characters relate to one 

another. As such, "The Boys" just may be 

the best buddy-bonding movie ever made, 

offering a fiiimy , touching and brutally honest 

view of fraternity that not only doesn't 

pull its pimches, but throws a few of its own 

as well. 

Even more significant from a Canadian 

perspective, however, is the film's role in 

calling attention to an exceptional new 

breed of commercially-minded French-Canadian 

filmmakers, 

including first-time 

screenwriter Christian Foumier, secondtime 

director Louis Saia ("Le Sphinx") and 

four-time producer Richard Goudreau, on 

whose loosely semi-autobiographical original 

story the film is based. Wade Major 

BALLISTIC KISS 

^^^1/2 

Starring Donnie Yen Chi-tan, Jimmy 

Wong Ka-lok and Annie Wu Chenjun. Directed 

by Donnie Yen Chi-tan. Written by 

Bey Logan. Produced by Donnie Yen Chitan. 

So distributor set. Action/thriller. 


One of the more unusual efforts to 

emerge from Hong Kong of late, "Ballistic 

Kiss" draws upon both action and art film 

influences, fusing a variety of familiar 

themes and styles to create a surprisingly 

serious and introspective thriller with distinctly 

higher crossover and remake appeal 

than the usual Cantonese actioner. 

At first glance, the film might seem to be 

Uttle more than a vehicle for action star 

Donnie Yen ("Wing Chun"), one of Hong 

Kong's most enduring and popular supporting 

players. But "Ballistic Kiss" soon 

makes its more sophisticated intentions 

clear, lacing an otherwise conventional 

"corrupt cops and gangsters" tale with a 

darkly poetic view of human nature. 

Yen, who also produced and directed, 

stars as Cat, an ex-cop turned hitman after 

serving a prison sentence for a crime he 

didn't commit. Still bitter at having been 

framed by his corrupt then-partoer Wesley 

(Jinuny Wong Ka-lok), Cat emerges ftôm

50 (R-3) BOXOFFICE 

AFM REVIEWS 

prison hell-bent on revenge, a bom-again 

vigilante for hire who only accepts assignments 

targeting known crime figures and 

assorted lowUfes. 

Outside of his occasional excursions into 

mayhem, however, Cat lives a strangely 

monastic existence, communicating his turbulent 

inner conflicts to a night-time radio 

talk show host (Lui Yu Yeung) while admiring 

a beautiful young policewoman 

named Carrie (Annie Wu Chenjun) from 

afar. Until, that is, he comes to believe that 

Carrie is somehow involved with Wesley, 

a misunderstanding that sets his emotional 

equiUbrium on fire, finally catalyzing the 

inevitable confrontation with his betrayer. 

And yet, for all of its genre-splicing aspirations, 

Yen's film aims for more than pop 

entertainment, a credit to the film's screenwriter, 

renowned Hong Kong cinema authority 

Bey Logan. "No one is innocent," 

Cat tells Carrie at one point, elaborating with 

a monologue on the depravity of human nature 

that is both chilling and lyrical. 

Ordinarily, the integration of such overt 

preachiness in what is ostensibly an action 

film would be construed as pretentious. But 

in "Ballistic Kiss," the tactic is surprisingly 

successful, in part because Logan and Yen 

use the philosophical subtext to help unify 

the film's fragmented stylistic pedigree. As 

a result, what might easily have become a 

bastard hybrid of John Woo, Wong Kar Wai 

and Ching Siu-Tung manages to be simultaneously 

thrilling and thought-provoking. 

Whether in Hong Kong or Hollywood, that's 

no small achievement. Wade Major 

THE BLACKSHEEP AFFAIR i^^^ 

Starring Zhao Wen-zhuo, Shu Qi, Andrew 

Lin and Ken Wong. Directed by AUun 

Lam. Written by Alex Law and Roy Szeto. 

Produced by Alex Law. No distributor set. 

Not yet rated Running time: 91 min. 

During the Hong Kong glory days of the 

mid-1980s, something like 'The Blacksheep 

Affair" would probably have been 

deemed solid, if unremarkable, entertainment. 

Amid the former colony's current 

doldrums, however, anything even so remotely 

reminiscent starts to seem like a 

refreshing blast from the past, a welcome 

reminder that some fire may yet remain in 

vibrant Cantonese industry. 

Starring the popular Zhao Wen-zhuo, 

best known for bnefly replacing Jet Li in 

the "Once Upon a Time in China" series, 

'The Blacksheep Affair" is a standard-issue 

political thriller set in a fictitious former 

Soviet republic named Lavernia. Zhao 

plays Chinese special agent Yem, a hotshot, 

daredevil hero reassigned to the Lavemian 

Chinese embassy in hopes that he will 

finally temper his irritating predilection for 

disobeying orders in order to save lives. 

Trouble, of course, follows Yem like a 

stray dog. For no sooner has he arrived in 

Lavernia than he finds himself at the center 

of an escalating terrorist plot involving corrupt 

Lavemian officials, Italian mobsters, 

renegade Cambodian soldiers and a psychotic 

Japanese cult leader named 

Mishima. 

And lest the filmmakers be criticized for 

not sticking to the established formulas, 

Yem must also contend with such obligatory 

distractions as the excess baggage/comic 

relief partner and the estranged 

always-in-the-wrong-place-at-the-wrongtime 

girlfriend. 

Despite the preposterous and almost 

hopelessly convoluted plot, "The Blacksheep 

Affair" still manages to be tremendously 

entertaining, a credit to Zhao's 

charisma and some absolutely sensational 

martial arts and action sequences staged by 

the brilliant Ching Siu-tung ("A Chinese 

Ghost Story"). Wade Major 

A CHINESE GHOST STORY: THE 

TSUI HARK ANIMATION ^^li^^ 

Cantonese voices by Jordan Chan, Tsui 

Hark, James Wong andAnita Yuen. Mandarin 

voices by Sylvia Chang, Tai-Yau 

Law, Lichun Lee and Tsui Hark. Directed 

by Andrew Chen. Animation direction by 

Norichika Endo. Written by Tsui Hark. 

Produced by Tsui Hark and Nansun Shi. 

A Film Workshop Production. No distributor 

set. Animation. Cantonese/Mandarin-language; 

subtitled. Not yet rated. 


Owing as much to George Dunning' 

1968 landmark animated feature "Yellow 

Submarine" as to the original 1987 liveaction 

"A Chinese Ghost Story," producer/screenwriter 

Tsui Hark's aptly-titled 

remake "A Chinese Ghost Story: The Tsui 

Hark Animation," is a dazzling odyssey 

into Chinese myth and fantasy destined for 

instant cult status rivaling even that of its 

esteemed predecessor. 

Wisely borrowing its look from the world 

of anime, this exceptional new film follows 

essentially the same story as the original, 

itself based on the Songling Pu novel about 

a young man's journey through time, space 

and dimension to find his lost love. The 

undertaking, however, will not be an easy 

one, with assorted demons, spirits, ghosts 

and a pair of egomaniacal ghost hunters all 

lying m wait to foil his noble quest. 

In addition to being one ofthe most visually 

resplendent animated features ever created, 

"A Chinese Ghost Story: The Tsui Hark Animation" 

is also one of the smartest, offering 

ample doses of fiin and wonder for all age 

groups. Thanks to the skilled team of pan- 

Asian artists, headed by animation director 

Norichika Endo and director Andrew Chen, 

the film flawlessly integrates both traditional 

anime and state-of-the-art computer animation 

while never overwhelming the sublime, 

poetic simplicity of Tsui Hark's script. 

More astonishing than the filmmakers' 

accomplishment, however, is that it didn't 

arrive sooner. Rarely, if ever, has there been 

a subject more perfectly suited to the magic 

of animation than "A Chinese Ghost Story," 

with all of its mind-bending, mythical 

twists and turns and phantasmagorical encounters. 

And while it may never replace 

the original in the hearts and minds of its 

most devoted fans, "A Chinese Ghost Story: 

The Tsui Haric Animation" should have little 

trouble winning hearts and minds of its own. 

Asian film buffs will also appreciate the 

handful of celebrity vocal contributions, 

most notably Tsui Hark himself who serves 

as the "voice" of Jinjian (Solid Gold) the 

dog in both the Mandarin and Cantonese 

versions. Wade Major 

COLORS OF THE BLIND iriîr 

Starring Tao Hong, He Bing and Jiang 

Kai. Directed by Chen Guoxing. Written 

by Wan Fang. Produced by Chen Guoxing. 

No distributor set. Drama. Not yet 

rated. Running time: 96 min. 

With such world-class artists as Zhang 

Yimou and Chen Kaige having so consistently 

run afoul of Chinese officials, it 

comes as no surprise that more and more 

Chinese filmmakers are opting for pictures 

like "Colors of the Blind," part of the "Contemporary 

Chinese Showcase" collection 

currently being marketed to the West via 

Hong Kong's Golden Harvest. 

Though hardly a bad film, "Colors of the 

Blind" is certain to disappoint Western audiences 

accustomed to the visual and narrative 

bravura that first brought Chinese 

cinema to the world stage. On the other 

hand, viewers able to divorce the film from 

such comparisons and judge it on its own 

merits will discover a touching tale of personal 

triumph well worth the effort. 

The story is simple enough: A spirited 

young bUnd girl (Tao Hong) is taught to run 

track by a coach for whom she develops 

affections. Initially unable to return her 

feelings, the coach eventually finds himself 

likewise falling in love as the girl' s winning 

spirit propels her to personal victories both 

on and off the track. 

Had "Colors of the Blind" been filmed in 

the U.S., it would undoubtedly have wound 

up on television, mostly likely as an 

afterschool special. Thankfully, no such 

stigma exists in China, and "Colors of the 

Blind" benefits accordingly, boasting solid 

production values and a marvelous lead 

performance from Tao Hong. To this end, 

the film successfully transcends its genre, 

feeling more like "Rocky" crossed with 

"The Miracle Worker" than a disease-ofthe-week 

telefilm. Unfortunately, in 

today's increasingly competitive marketplace, 

good is no longer good enough to 

secure North American distribution for foreign 

language pictures, making prospects 

for apolitical human interest fare like "Colors 

of the Blind" dim at best. Wade Major 

CONCERTO OF LIFE 

^1^^1/2 

Starring Wang Luoyong, Yan Xiaopin 

and Da Shishang. Directed by Xia Gang. 

Written by Meng Zhu. Produced by Lu 

Yao. No distributor set. Drama. Not yet 

rated. Running time: 102 min. 

Markedly more challenging than most 

recent mainland Chinese fare, the factbased 

"Concerto of Life" is an amiable, 

even moving drama that manages to touch 

on many of the same themes and issues to 

which audiences responded so strongly in 

"Shine." And though the film is ultimately 

less risky and more conventional than its

January, 1999 fR-4) 51 

AFM REVIEWS 

I 

Australian counterpart, those fortunate 

enough to see it should find themselves 

similarly engaged. 

Based on true events, the film tells the 

story of Jian Sheng, a gifted musician 

whose dreams of becoming a concert pianist 

are shattered by the Cultural Revolution, 

forcing him to turn instead to a Ufe of 

teaching. But fate continues to treat Jian 

Sheng poorly as his once-happy marriage to 

a former pupil disintegrates. With the pain, 

however, comes unexpected triumph as two 

of Jian Sheng' s students begin to exhibit the 

kind of skill of which he himself was once 

thought capable, skills through which he 

begins to live vicariously as he coaches 

them toward the career he never had. 

Admittedly, movies like "Shine" or "Concerto 

of Life" benefit ftiom the inherent emotion 

of whatever music is selected to 

supplement the narrative. And in the case of 

"Concerto of Life," a stunning soundtrack has 

been compiled, boasting some of the most 

affecting pieces of classical piano music 

ever written. But music is only part of the 

film's winning equation, augmenting already 

fine contributions from screenwriter 

Meng Zhu and director Xia Gang. 

Arguably the strongest of Golden 

Harvest's "Contemporary Chinese Showcase" 

collection of recent mainland productions, 

"Concerto of Life" looks to have 

better-than-average chances of receiving 

foreign distribution—welcome prospects 

for a very deserving film. Wade Major 

HITMAN 

iîî^ 

Starring Jet LL, Eric Tsang, Simon Yan 

and Gigi Leung. Directed by Tung Wau 

Written by Cheng Kam-fu. Produced by 

Gordon Chan. No distributor set. Action. 

Not yet rated. Running time: 105 min. 

Essentially a Hong Kong action variant 

on "It' s a Mad, Mad, Mad, Mad World," the 

latest from Chinese superstar Jet Li, "Hitman," 

plays primarily to Li' s core audience, 

a solid effort, if not among his best, that 

should help further shore up his reputation 

after his Hollywood debut in Warner's "Lethal 

Weapon 4." 

In the film, Li stars as Tai Feng, a wouldbe 

killer from the mainland with the dubious 

distinction of being so nice that he's 

never actually killed anyone. Nonetheless, 

he possesses lethal skills well worthy of the 

profession, earning himself a spot in a kind 

of hitman's seek-and-destroy free-for-all. 

The target of all the commotion is an anonymous 

assassin known only as "The King 

of Killers," responsible for die execution of 

a ruthless Japanese plutocrat. 

Whoever succeeds in killing "The King 

of Killers" will earn himself a $1 billion 

bounty from the posthumous revenge fund 

which the deceased plutocrat created for 

that very purpose. 

As with most Hong Kong action films of 

this type, "Hitman" walks a precarious 

moral tightrope, frequently forcing its audience 

to root for individuals of questionable 

character only because everyone else 

around them is so much worse. Where the 

film transcends its genre is in its surprisingly 

well-wrought script, credited to 

Cheng Kam-fu. Beyond the usual array of 

eye-popping set pieces, including a stunning 

fight sequence in an elevator shaft, 

"Hitman" features more than a few very 

clever twists—so clever, in fact, that even 

in the film's climactic moments a clear 

resolution is far from evident. That the actual 

resolution is so satisfying makes the 

accomplishment even more impressive. 

Where "Hitman" unfortunately bogs 

down is with respect to Tai Feng's relationship 

with his "agent" Sam Wong, played by 

the popular comic actor Eric Tsang. While 

there is no questioning the chemistry between 

Li and Tsang, it is a chemistry designed 

to play primarily to hometown 

crowds. Western audiences, by comparison, 

are likely to find Li's and Tsang' 

extended "buddy" routine more tedious 

than endearing, especially considering excess 

of screen time devoted to it. 

Thankfully, the film soars more than it 

stumbles, and ultimately provides yet another 

fine showcase for Jet Li's able acrobatics 

and boyish charms. Wade Major 

HOLD YOU TIGHT •*1/2 

Starring Chingmy Yau, Ko Yue-Lin, 

Sunny Chan and Eric Tsang. Directed by 

Stanley Kwan. Written by Jimmy NgaL 

Produced by Raymond Chow. No distributor 

set. Drama, Not yet rated Running 

time: 95 min. 

His international reputation notwithstanding. 

Hong Kong director Stanley 

Kwan has always been a markedly acquired 

taste, a maker of exotic, personal films as 

mystifying as they are mysterious. Greater 

than any of his artistic achievements, however, 

has been Kwan's uncanny ability to 

thrive as an art film auteur for more than a 

decade in the fiercely competitive Hong 

Kong film industry. 

His latest, "Hold You Tight," recipient of 

two special awards at this year's Berlin 

Film Festival, reflects the worst and the best 

of Kwan's oeuvre. Both conceptually compelling 

and aesthetically pretentious, "Hold 

You Tight" is neither as good as it wants to 

be, nor as disastrous as it should be. And 

while it's unlikely that anyone outside of 

Kwan's own circle of family and friends 

will be able to make heads or tails of the 

story, there remains enough in the way of 

visual inventiveness and strong acting to 

keep it interesting. 

Popular action film ingenue Chingmy 

Yau ("High Risk," "Naked Killer," "City 

Hunter") segues impressively into dramatic 

territory as two different women united by 

similar spiritual sensibilities. The first. Ah 

Moon, is a married woman who vents her 

nuptial frustrations via a torrid affair with a 

Taiwanese drifter named Jie (Ko Yue-Lin). 

When Ah Moon is suddenly and unexpectedly 

killed in a plane crash, Yau returns as 

Rosa Gao, a Taiwanese shopkeeper in 

whom Jie starts to take an interest, seemingly 

believing her to be his deceased love's 

doppelganger...or something. 

Much like Kwan's most famous film, 

1987's "Rouge," "Hold You Tight" works 

best on a subconscious level. Thinking too 

much about the goings-on is bound to make 

them more confusing than they already are. 

Yau's sudden transformation into another 

character, for example, happens so suddenly 

that many viewers may not even catch 

on to the gimmick, much less realize that 

Ah Moon has died. In Kwan's films, however, 

following the narrative is not as important 

as following the emotions, which in 

this instance are thankfully stronger than 

the story surrounding them. Wade Major 

PRAGUE DUET **l/2 

Starring Gina Gershon and Rade 

Serbedzija. Directed by Roger L. Simon. 

Written by Sheryl Longin & Roger L. 

Simon. Produced by Sheryl Longing and 

Klaus Volkenborn. No distributor set. Romance/drama. 

Not yet rated. Running 

time: 94 min. 

Reminiscent of the many postwar romances 

with which audiences of the '40s 

and '50s were once inundated, "Prague 

Duet" struggles to rekindle a similar sense 

of melodrama amid the political turmoil of 

modem-day Prague. 

Sadly, the attempt is successful only in 

the most superficial sense, finally falling 

victim to the same cliches and plot contrivances 

that ran the genre into the ground in 

the first place. 

Gina Gershon stars as Dr. Lauren Graham, 

a child psychologist on her way to a 

professional convention in Prague when 

she meets a charismatic dissident author 

named Jiri Kolmar (Rade Serbedzija), by 

coincidence the leading candidate to become 

Czech Minister of Culture. For reasons 

neither clear nor particularly relevant, 

the two immediately connect and a chance 

encounter gives way to the obligatory 

whirlwind romance, complete with all of 

the usual surprise revelations and cross-cultural 

obstacles. 

While there is precious little in "Prague 

Duet" that hasn't been done and redone a 

hundred times previously, it would be unfair 

to label the film a complete failure, 

especially considering how unfamiliar 

today's audiences are likely to be with its 

dramatic forebears. What really sustains 

"Prague Duet" through its formulaic paces, 

however, has less to do with tone and subject 

matter than the superb casting of 

Gershon and Serbedzija, who prove themselves 

no less effective at playing romantic 

leads than the darker, edgier characters for 

which they are best known. 

It is co-writer/director Roger L. Simon, 

however, who stands to either gain or lose 

the most from the film's fortunes. Previously 

known mainly as Paul Mazursky's 

co-writer on such films as "Scenes from a 

Mall" and "Enemies: A Love Story," Simon 

is clearly seeking to establish his own voice 

here, a goal which he realizes only in fits 

and starts. Aside from some spectacular 

lensing of the Czech locations, the film is 

technically unremarkable, with Simon 

missing countiess opportunities for muchneeded 

directorial flourishes. Wade 

Mcgor

52 fR-5i RoxriKKKF. 

REVIEWS 

HURLYBURLY iîrm 

Starring Sean Penn, Kevin Spacey and 

Robin Wright Penn. Directed by Anthony 

Drazan. Written by David Rabe. Produced 

by Anthony Drazan, Richard N. Gladstein 

and David Hamburger. Drama. A Fine 

Line release. Rated R for constant drug 

use, pervasive strong language and sexual 

material. Running time: 122 min. 

This slice-of-life drama has passed its sellby 

date. David Rabe's play dug into a particularly 

unpleasant comer of a high-low-life 

mentality, flourishing and floundering in Hollywood, 

as it might any place where the stmggle 

for power is raw and naked. On stage, the 

machinations of this nasty bunch of wannabes 

provided actors a chance to chew the scenery 

in ways which seemed clever and immediately 

exciting. On screen, a different approach 

is needed to obtain that visceral 

impact—and it hasn't been found. 

Rabe's adaptation of his play seems selfindulgent 

rather than searing and the performers 

too steeped in the exploration of 

their own skills. This heart rage and mind 

trip material doesn't benefit from the move 

to the screen. It's trite in style and content. 

The camera adds a deadening layer, even to 

the compelling screen presence of Sean 

Penn, whose performance commands our 

respect, but never quite grabs our guts. So 

as critical observers rather than emotional 

participants, we are left to see these cruelly 

self-absorbed life abusers as not worthy of 

sympathy and, frankly, extremely boring. 

Penn' s talent still blazes forth. His depiction 

of Eddie, the most fully complex of 

Rabe' s creations, is always linked to a foundation 

of truth and underlit by a consciousness 

of a morality the desperate man's 

behavior defies. Anna Paquin portrays the 

drifter girl, toyed with by misaligned males, 

with an easy surety. The rest of the cast 

members aren't so on the nose. Chazz Palminteri 

indulges in the majority of the most 

obvious scenery chewing, and Meg Ryan 

flounders in a role completely unsuited to 

her charms. Bridget Byrne 

SHAKESPEARE IN LOVE iAr^^1/2 

Starring Gwyneth Paltrow, Joseph 

Fiennes and Geoffrey Rush. Directed by 

John Madden. Written by Marc Norman 

and Tom Stoppard. 

Produced by David 

Parfttt, Donna Gigliotti, Harvey Weinstein, 

Edward Zwick and Marc Norman. A 

Miramax release. Romance/Comedy. Rated 

Rfor sexuality. Running time: 122 min. 

Set amidst the grime and grandeur of 

Elizabethan England, "Shakespeare in 

Love" is an inspired re-imagining of history 

and a deft look at the relationship between 

art and life. Young Will Shakespeare 

("Elizabeth's" Joseph Fiennes) is under 

commission from Philip Henslowe (Geoffrey 

Rush, also of "Elizabeth") to write a 

comedy, "Romeo and Ethel, the Pirate's 

Daughter." Unfortunately, Will has a 

writer's block he cannot conquer—until he 

finds his muse and true love in Viola de 

Lesseps ("Sliding Doors'" Gwyneth Paltrow). 

Viola eagerly returns Will's love, but 

the Earl of Wessex ("The English Patient' s" 

Colin Firth) has claimed Viola as his bride, 

and the marriage cannot be stopped once the 

queen has given her consent. As reality 

closes in on the lovers, life is transmuted 

into art, and Will's comedy becomes instead 

the tragedy of "Romeo and Juliet." 

Fiennes and Paltrow make a pleasant, 

though not distinctive, pair. Surrounding 

them are some of Britain's finest character 

players, who happily prove the saying that 

there are no small parts, only small actors. 

Crowning them all, as the wily Elizabeth I, 

is Judi Dench ("Mrs. Brown"), calmly stealing 

every scene she's in. But the real star is 

the script. It wears its scholarship casually, 

almost disguising how well researched and 

structured it is, preferring instead to delight 

us with joyful witticisms and adroit plot 

twists. 

Oddly, though, the film is, by turns, a 

romance and a comedy, but it doesn't quite 

achieve the buoyancy and cohesion of a 

"romantic comedy," and its darker moments, 

as well as its overly dramatic score, 

sit uneasily alongside its bawdy boisterousness. 

However, this wobble in tone resolves 

itself in time for a sparkling climax that 

celebrates the glories of the theatre—an 

ending of which the Bard himself would no 

doubt approve. L. J. Strom 

PSYCHO ^ 

Starring Vince Vaughn, JuUanne Moore, 

Viggo Mortensen, William H. Macy and 

Anne Heche. Directed by Gus Van Sant. 

Written by Joseph Stefano. Produced by 

Brian Grazer and Gus Van Sant. A Universal 

release. Rated Rfor violence and sexuality/nudity. 


It's not so much that this movie didn't 

need to be made. The real tragedy is that a 

group of enormously talented people 

wasted several months of their lives when 

together they could have done something 

fresh and exciting and original. 

Instead, director Gus Van Sant ("Good 

Will Hunting") has done a shot-by-shot 

remake of the 1960 Hitchcock film, and 

it has all the artistic integrity of that paintby-numbers 

Mona Lisa that your grandmother 

has hanging on the wall of her 

family room. 

Film students might compare this "Psycho" 

to the original and perhaps see where 

Van Sant used a faster lens and got more 

depth of field. They might even figure out 

how it comes in five minutes less than before. 

But so what? As a stand-alone movie 

it falls flat on its face. 

Not only is the live action close to identical 

but the titles by Saul Bass and music 

by Bernard Herrmann are there too. In fact, 

the only thing arguably better is the sound. 

The music, adapted by Danny Elfman, 

takes full advantage of the improved technology, 

and the voices in Norman's head 

are terrific when digitized and blasted at 

you from odd angles. 

But if Van Sant had a burning desire to 

see "Psycho" in color, he would have been 

better off borrowing Ted Turner's paint box 

and splashing it on Hitchcock's black-andwhite 

classic. Mike Kerrigan 

BABE: PIG IN THE CITY 

^^1/2 

James 

Starring Magda Szubanski, 

Cromwell, Mary Stein, Mickey Rooney 

and the voices of E.G. Daily and Steven 

Wright. Directed by George Miller. Written 

by George Miller, Judy Morris and 

Marie Lamprell. Produced by George 

Miller, Doug Mitchell and Bill Miller. A 

Universal release. Adventure/Fantasy. 

Rated G. Running time: 96 min. 

A bizarre, confused smorgasbord of ideas 

and concepts that often seem as lost as the 

film's star, "Babe: Pig in the City" suffers 

from a perennial Hollywood malady: the 

misguided belief that more is always better 

the second time around. Indeed, the new 

film has more of just about everything: 

more animals, more chase scenes, more locations, 

more jokes, more jeopardy and 

more people. More of everything, in fact, 

except charm. 

Picking up immediately where the first 

film left off, the sequel finds Farmer 

Hoggett (James Cromwell) sidelined by an 

accident and unable to tend to the farm. 

Threatened with the farm's repossession, 

Mrs. Hoggett (Magda Szubanski) and Babe 

set out to the city to collect an "appearance 

fee" at a fair, but a series of mishaps strands 

them in a strange, generic "City" where 

their adventures are escalated by even 

greater mishaps. Once again a "pig out of 

water," Babe is forced to rise to the occasion 

and come to the rescue, forming an unlikely 

alliance of dogs, cats and trained simians to 

save both Mrs. Hoggett and the farm. 

The original "Babe," of course, had the 

element of surprise to its advantage. It came 

with no stars, no hype and no expectations. 

Audiences responded to its freshness and 

uniqueness. "Babe: Pig in the City," on the 

other hand, is virtually hamstrung by expectations, 

its makers over-anxiously and selfconsciously 

trying just a little too hard to 

one-up what the first film did with such 

effortless innocence. 

Essentially little more than a series of 

chaotic, disjointed set pieces, each more 

outlandish than the last, the film also suffers 

from the heavy-handed style of director 

George Miller. A co-writer and co-producer 

on both the original "Babe" and the sequel, 

Miller nonetheless seems an odd choice to 

duplicate the delicate touch of "Babe" director 

Chris Noonan. As a director. Miller 

is best known for the kinetic intensity of the 

"Mad Max" series, "Lorenzo's Oil" and 

"The Witches of Eastwick." It comes as 

little surprise, then, that much of "Babe: Pig 

in the City" begins to look like Miller's 

previous work, with the finale torn almost 

verbatim from "Mad Max Beyond 

Thunderdome." 

Any such criticism, however, hinges 

strictly on the film's failure to measure up 

to the original, which in some respects may 

be unfair. For while "Babe: Pig in the City ' 

likely won't score many points with adults, 

there remains more than enough to keep 

children anxiously engaged and entertained. 

Unfortunately, in an already 

crowded family film season, that may not 

be enough.— Wade Major

Januarv' 1999 (Tl-6^ 5.1 

REVIEWS 

A BUG'S LIFE iriririr 

Voices by Dave Foley, Kevin Spacey, 

Julia Louis-Dreyfus, David Hyde Pierce, 

Denis Leary and Phyllis Diller. Directed 

by John Lasseter. Written by Andrew 

Stanton, Donald McEnery & Bob Shaw. 

Produced by Darla K. Anderson and Kevin 

Reher. A Buena Vista release. Animated. 

Rated G. Running time: 95 min. 

A handful of cursory similarities to Dream- 

Works' "Antz" notwithstanding, Disney's 

long-awaited "A Bug's Life" emerges as 

the clear winner of the computer-generated 

insect competition. Funnier, flashier, more 

colorful and imaginative, better animated 

and, most importantly, better written, this 

second collaboration from Disney and animation 

studio Pixar is a festive delight sure 

to please adults and children of all ages. 

Like the first Disney/Pixar effort, "Toy 

Story," "A Bug's Life" succeeds by creating 

a breathtakingly comprehensive world 

in miniature and imposing upon it a meticulously 

well-scripted concept. The starting 

point here is a small ant colony that has been 

virtually enslaved by the tyranny of a grasshopper 

gang led by Hopper (Kevin Spacey), 

an egomaniac who demands that the ants 

spend their free time gathering food for the 

grasshoppers to eat during their frequent 

stopovers. Despite outnumbering the grasshoppers, 

most of the ants never question the 

relationship between nature's creations. Flik 

(Dave Foley), however, questions everything. 

Individualistic, inventive and clever, Flik is 

forever urging the rest of the ants to think 

progressively, with overzealous admonishments 

that serve to annoy more than inspire. 

When Flik suggests that the colony seek 

out the aid of "warrior bugs" to help defend 

against the grasshoppers, skeptical colonists 

instead see a chance to rid themselves 

of Flik once and for all, sending the adventurous 

ant to accomplish the task himself. 

Only when Rik returns with said warrior 

bugs does the colony begin to see him for 

the courageous visionary he really is. There's 

just one remaining hitch: The bugs that Rik 

has enlisted, unbeknownst to him, aren't 

really warrior bugs, but circus bugs who 

have accompanied him on the belief that 

their task is to entertain rather than fight. 

As he did with "Toy Story," director John 

Lasseter brilliantly exploits the material for 

both laughs and pathos, while pushing the 

technological parameters of computer animation 

even beyond the already impressive 

feat of 'Toy Story." Similarities with "Antz," 

of course, are certain to plague the film to a 

small degree: Both films deal with individualistic 

misfit ants whose courage in seeking 

the experience of the outside world 

enables them to save the colony and win the 

affections of the colony's princess, who in 

the process is able to ascend nobly to the 

throne of her mother, the Queen. The particulars 

of the two films, however, are so 

radically different as to be beyond comparison. 

Whereas "Antz" centers on the political 

machinations of the ant colony, "A 

Bug's Life" casts a wider focus on the world 

of all insects—a wiser and more interesting 

choice. Wade Major 

Flik (voiced by David Foley) leads a revolution against the grasslioppers in "A Bug's Life." 

ENEMY OF THE STATE icirir 

Starring Will Smith, Gene Hackman, Jon 

Voight and Regina King. Directed by Tony 

ScotL Written by David Marconi Produced 

by Jerry Bruckheimer. A Buena Vista release. 

Thriller. Rated R for language and 

violence. Running time: 132 min. 

"Enemy of the State" is one of those films 

where major scene changes are punctuated 

by superimposed digital readouts showing 

the hour in military time; where low, ominous 

rumblings herald the impending assault 

of men with guns; where people chase 

each other with impunity through busy 

streets, back alleys and restaurant kitchens; 

where testosterone flows like a mountain 

stream. In short, it's the kind of movie at 

which producer Jerry Bruckheimer and director 

Tony Scott excel. 

Reuniting for the first time since "Crimson 

Tide," Scott and Bruckheimer this time 

impose their ballistic style on the reliable 

old paranoid thriller, taking cues from films 

as diverse as "The Fugitive," "The Conversation," 

"North by Northwest" and even 

Wim Wenders' recent art-house entry, "The 

End of Violence." 

At the center of the web is Robert Dean 

(Will Smith), a labor lawyer who becomes 

the unwitting possessor of an incriminating 

piece of video showing the assassination of 

a U.S. congressman by high-ranking National 

Security Agency (NSA) operatives. 

The congressman, it seems, stood in the 

way of legislation intended to increase the 

use of surveillance equipment in monitoring 

the populace—breathtakingly sophisticated 

technology that is brought to bear on 

Dean as he runs for his life, forced to dodge 

not only bullets, but cameras, microphones, 

tracking devices and even spy satellites. 

Fortunately, he finds a friend in the person 

of Brill (Gene Hackman), a former NSA 

communications expert who helps guide 

him past Big Brother's all-knowing eyes 

and ears to where he can, hopefully, expose 

the conspiracy and resume his life. 

Like Ed Zwick's "The Siege," "Enemy 

of the State" hypothesizes about the lengths 

to which a government would go in violating 

civil rights for the sake of national security. 

Unlike "The Siege," "Enemy of the 

State" succeeds at integrating its moralizing 

with populist entertainment. At the same 

time, Bruckheimer and Scott don't seem 

overly concerned with serious moralizing. 

The casting of Hackman in an obvious reprise 

of his "The Conversation" role, along 

with a host of celebrity cameos so brief that 

they scarcely qualify as extras, suggest a 

more playful attitude with respect to the 

material than one might ordinarily expect. 

Thankfully, it is the lack of such overt seriousness 

that ultimately saves the film from 

its shortcomings. Recognizing that audiences 

are more concerned with thrills than 

the logical lapses that seem chronically inherent 

in hyper-technological premises, 

Scott and Bruckheimer pace the film like a 

runaway train, with the requisite flashy visuals 

and percussive soundtrack thrown in 

for good measure. The cast is generally 

first-rate, from Smith and Hackman to Jon 

Voight as their fascistic government nemesis. 

Between the film's star power and stylistic 

sizzle, odds are that audiences will 

have neither the time nor the inclination to 

focus on plot and credibility holes. If nothing 

else, "Enemy of the State" is timely fare, 

wisely positioned to capitalize on increasing 

paranoia about personal privacy as well 

as public fascination with a video age characterized 

by television "reality" shows and 

videotaped beatings— yet another carefully 

calculated hit for the legacy of Don 

Simpson, Jerry Bruckheimer and Tony 

Scott. Wade Major

f!4 (ll.7\ Rci\(tKKinif 

REVIEWS 

Claire Forlani has a brush with Death (Brad Pitt) in Universal's "Meet Joe Blacl

REVIEWS Review Digest 

"Ringmaster" is that it sugarcoats 

the truth. Why do we reacters 

look and talk like high- 

and Beil's college student charally 

need to know about f)eople schoolers, and the script, 

who want to marry their pets? peppered with obvious and/or 

How is it uplifting for people falsely-ringing pop-culture references, 

is built on fantasy and 

poor or otherwise— to be 

treated as circus freaks on national 

television? And why is it prepubescent entertainment. 

improbabilities common in 

never mentioned that the person — Karen Achenbach 

Genre key: (Ac) Action; (Ad) Adventure; (Ani) Animated; (C) Comedy; 

RINGMASTER ^1/2 who actually benefits from all 

(D) Drama; (Doc) Documentary; (F) Fantasy; (Hor) Horror; 

of these public shenanigans is 

Starring Jerry Springer, 

(M) Musical; (My) Mystery; (R) Ronumce; (Sat) Satire; 

Jerry himself? 

Jaime Pressly, Molly Hagan 

(SF) Science Fiction; (Sus) Suspense; (Th) Thriller; (W) Western. 

This is not to say that Jerry 

and Michael Jai White. Directed 

by Neil Abramson. Writ- 

does not have a right to have his 

television show; moreover, 

ten by Jon Bernstein. 

those who find Jerry entertaining 

Produced by Jerry Springer, 

Gina Rugolo-Judd, Brad 

on the small screen will 

probably find fiction Jerry just 

Jenkel, Steve Stabler and Gary 

as stimulating. But to 

W. Goldstein. An make a 

Artisan release. 

Comedy. Rated R movie saying his show serves 

for 

Afirica's Elephant 

a deeper purpose is insulting. 

strong sexual content and language. 

Running time: 90 Kristan Ginther 

Kingdom (Dsc) 

— 

min. 

Jerry Springer. Even if you 

have never seen his wildly popular 

self-titled show, you know CHRISTMAS ^^ 

I'LL BE HOME FOR 

who he is. He's brought sleaze 

to the mainstream and made Starring Jonathan Taylor 

chair-throwing, fisticuffs and Thomas, Jessica Bieland Gary 

lurid confessionals acceptable Cole. Directed by Arlene Sanford. 

Written by Tom Sursall 

behavior. So just who is Jerry 

Springer really? "Ringmaster," & Harris Goldberg. Produced 

a semi-fictionalized vanity by David Hoberman and 

movie a la Howard Stem's Tracey Trench. A Buena Vista 

"Private Parts," 

release. Comedy. 

Rated PG 

purports to answer 

that question, 

for mild lan- 

but instead 

guage and some 

provides more 

rude humor. 

ofthe same nonsense 

Running time: 

featured 

86muu 

on his show. 

Likable Jonathan 

In "Ringmaster," 

Taylor 

Springer 

Thomas ("Wild 

plays bemused 

America") stars 

talk-show host 

as Jake, a 

Jerry Farrelly, a 

schemingly entrepreneurial 

guy who wonders 

how he 

college student 

went from an 

\\ ho wants to fly 

Emmy-award 

with his girlfriend 

winning journalist 

Allie 

to the butt 

CUlee's Gold's" 

of jokes. Jerry 

Jessica Biel) to 

Jonathan Taylor Thomas 

feels his mission 

in Buena Vista's Til Be Home Cabo San Lucas 

in life is to let 

For Christmas." for Christmas 

the nation's 

vacation. But 

poor and desperate population Allie opts for a family Christmas 

instead, and Jake's dad ("A 

spill their guts on TV about 

such topics as having sex with 

a step-parent, having sex with a 

transvestite and having sex with 

a friend's boyfriend. Notice a 

trend here? According to Jerry, 

Very Brady Sequel's" Gary 

Cole) offers Jake a Porsche ifhe 

gets home in time for Christmas 

Eve dinner. Jake's attempts to 

do so are complicated by contrivedly 

wacky circumstances 

if you don't like his show, 

you're an elitist—he's just letting 

which find him glued into a 

disadvantaged p>eople tell Santa costume and left penni- 

the same stories that rich people less in the desert by rival Eddie 

tell everyday. And besides, nobody 

(Adam La Vorgna). 

gets hurt by appearing on This film might appeal to 

Jerry's show; they just get their Thomas' core of preteen fans, 

allotted 15 minutes of fame. but will likely not play well 

The problem with this weak with the teenaged and 

justification and hence the main twentysomething markets it's 

problem (among many) with also trying to target. Thomas

ADVERTISER INDEX 

CLASSIFIED ADVERTISING 

EQUIPMENT FOR SALE 

AM/COMM Systems Inc 

Automaticket/Huriey Screen Corp. 

Caddy Products 

CCBG Architects Inc 

CFS/Rentec 

Cinema Services 

Cinema Supply Co. Inc 

Cinevision Corp 

Colgate-Palmolive Co 

Consolidated Vending Programs . 

Dolby Laboratories Inc 

Edifice Inc 

EIMS Inc 

Flavor Wear 

Glassform 

Hadden Theatre Supply Co 

Infomiative Amenities Inc 

Intl. Cinema Equipment Co 

Kinetronics Corp. USA 

Largo Construction 

Lavi Industries 

Maroevich, O'Shea & Coghlan . . 

McRae Theatre Equipment 

Pacer/CATS 

PANASTEREO Inc 

Permlight Inc 

Pot O' Gold Prods. Inc 

Proctor Cos 

Promotion in Motion Cos 

Ready Theatre Systems 

SMART Theatre Systems 

System Operating Solutions 

Theatre Service Networi< Inc 

31 

14 

28 

37 

13,17 

30 

14 

19 

9 

57 

C-4 

27 

3 

31 

33 

30 

57 

38 

29 

32 

29 

33 

38 

39 

C-2 

C-3 

14 

15 

7 

14 

11 

12 

39 

RATES: $1 .00 per word, minimum $25, $1 5 extra 

for box number assignment. Send copy with 

check to BoxoFFicE, P.O. Box 25485, Chicago, IL 

60625, at least 60 days prior to publication. 

BOX NUMBER ADS: Reply to ads with box 

numbers by writing to Boxoffice, P.O. Box 25485, 

Chicago, IL 60625; put ad box number on letter 

and in lower-left corner of your envelope. 

HELP WANTED 

LET THE GOVERNMENT FINANCE your new or existing 

small business. Grants/loans to $500,000. Free recorded 

message: (707) 448-0270. (RN7) 

MANAGER. Castro Valley, California Independent Regional 

Circuit has position available in a single-screen 

FIRST RUN MOVIE PALACE! Full benefits available. 

Send resume and salary requirements to: Campbell 

Plaza Theatres, PO Box 6395, San Jose, CA 95150- 

6395. 

THEATRE MANAGEMENT OPPORTUNITY: Wallace 

Theatres, a nationally recognized regional theatre circuit, 

is seeking outstanding theatre management professionals 

to join our rapidly-growing organization as General 

Managers. If you are a team player, enjoy working with 

the public and are seeking a career and a future in the 

motion picture exhibition industry, send your resume to: 

Personnel Director, Wallace Theatre Corp., 3375 

Koapaka St., Suite 345, Honolulu, HI 96819. 

THEATRE MANAGER POSITION. Philadelphia-based 

Ritz Theatres offers top pay, benefits and opportunity for 

advancement. Join a company which values excellence 

of physical appointments, maintenance, picture, sound 

and customer satisfaction. Respond in writing to Ritz 

Theatres, 212 Walnut Street, Philadelphia, PA 19106, 

ATTN: R.L. Posel. 

THEATRE TECHNICIANS! ASC Technical Sen/ices 

Corp. is looking for experienced cinema service and 

installation technicians. We are growing throughout the 

USA. We offer excellent pay and benefits. Relocation 

may be necessary. Send or fax resume to: ASC Technical 

Services Corp., P.O. Box 821568, Dallas, TX 75382. 

Fax: (214) 691-8949. Attn.: Bruce Schroeder, National 

Director of Field Operations, Cinema Division. 

ACOUSTIC SOUND PANELS & CUSTOM WALL 

DRAPERIES available in flameproofed colors and fabrics, 

artistic or plain. CINEMA CONSULTANTS & SER- 

VICES INTERNATIONAL INC., P.O. Box 9672, 

Pittsburgh, PA 15226. Phone (412) 343-3900; Fax 

(412)343-2992. 

BURLAP WALL COVERING DRAPES: $2.05 per 

yard, flame retardant. Quantity discounts. Nurse & Co., 

Old Millbury Rd., Oxford, MA 01540 (508) 832-4295. 

COMPLETE THEATRE EQUIPMENT: (New, Used or 

Rebuilt) Century SA, R#, RCA 9030, 1 040, 1 050 Platters: 

2 and 5 Tier, Xenon Systems 1 000-4000 Watt, Sound 

Systems mono and stereo, automations, ticket machines, 

curtain motors, electric rewinds, lenses, large 

screen video projectors. Plenty of used chairs. PROFES- 

SIONAL SERVICE AND INSTALLATION AVAILABLE 

DOLBY CERTIFIED. Call Bill Younger, Cinema Equipment, 

Inc., 1375 N.W. 97th Ave., Suite 14, Miami, FL 

33172. Phone (305) 594-0570. Fax (305) 592-6970. 

1-800-848-8886. 

COMPLETE CONTENTS TRIPLE SCREEN THEATRE. 

Automated Century Booth, 720 seats, concession equipment, 

etc. (301) 949-4761; fax (301) 949-4763. 

CUPHOLDER ARMREST. "State of the art." Call Cy 

Young Industries Inc. 800-729-2610. 

MICRO-FM STEREO RADIO Sound Systems for 

Drive-in Theatres. Static free. Call or write: AUDIO 

VISUAL SYSTEMS, 320 St. Louis Ave., Woonsocket, 

Rl 02895. Phone (401) 767-2080; Fax (401) 767- 

2081. 

PATRON TRAY. Fits into cupholder armrest. Call Cy 

Young Industries Inc. at 800-729-2610. 

REBUILT CENTURY SA & R3 projector/soundhead 

$4450. Simplex XL $4750. Xenon lamps, platters, many 

lenses, excellent line of other used projection and sound 

equipment. TANKERSLEY ENTERPRISES, P.O. Box 

36009, Denver, CO 80236. Phone (303) 716-0884; fax 

(303)716-0889. 

(SCG) PORTHOLE GLASS: It's a CRYSTAL CLEAR 

GLASS that's perfect for projecting color images 

through, resulting in the CLEAREST, SHARPEST & 

BRIGHTEST IMAGE you can possibly get, with glass 

or plastics. Plus, it allows LIGHT & COLOR to pass 

through it WITHOUT IMAGE DISTORTION. For more 

information, and a FREE (SCG) SAMPLE, call or fax 

LEE'S PHOTO PRODUCTS at (630) 595-6469, or fax 

(847)985-9104. 

ke\)er>£- Ap?/^ 

56 Boxoffice

San 

I 

; info@ 

i Premier 

j 

' 

; 

343-3900, 

! 

reupholstery, 

' 

Young 

TABLET TRAYS. Fits into all cupholder armrests. Used 

in multi-purpose theatres, bingo, etc. Call Cy Young 

Industries Inc. at 800-729-2610. 

TELEPHONE ANSWERING EQUIPMENT. All major 

brands of reliable, heavy-duty tape announcers and digital 

announcers are available at discounted prices. 

Please call Jim at Answering Machine Specialty, (800) 

222-7773. 

USED EQUIPMENT FOR SALE: Projectors, Prewired 

Stereo Racks, Platters, Lamps, etc. Premier Seating Co. 

Inc., (888) 456-SEAT, Fax (410) 488-9969, Email: 

info @ premierseating.com. 

USED PROJECTION EQUIPMENT: Replacement 

equipment, single or multi booths available. Please call 

if you are purchasing or selling. CINEMA CONSUL- 

TANTS & SERVICES INTERNATIONAL INC., P.O. Box 

9672, Pittsburgh, PA 15226. Phone (412) 343-3900, Fax 

(412) 343-2992. 

WILL TRADE: YOUR THEATRE SEATS FOR OUR 

USED THEATRE EQUIPMENT. Great condition at 

great prices. Platters, projectors, lamphouses. complete 

prewired stereo racks and much, much more. Premier 

Seating Co. Inc., (888) 456-SEAT, fax (410) 488-9969, 

email: info@premierseating.com. 

EQUIPMENT WANTED 

PURCHASE OR TRADE: For your used theatre equipment, 

concession equipment, ttieatre seats. Ask about 

our storage facilities. Premier Seating Co. Inc., (888) 

456-SEAT. Fax: (410) 488-9969, Email: infoepremierseating. 

com. 

VINTAGE TUBE TYPE AMPS, woofers, drivers, homs, 

parts, from Western Electric. Westrex. Altec. Jensen. 

JBL, EV, Tannoy, Mcintosh, Marantz. Phone David at 

(626) 441 -3942. P.O. Box 80371 , Marino, CA 91 1 1 8- 

8371. 

WANTED: the old type prov. leather belting for reel-toreel. 

(517)362-0571. 

WANTED DEAD OR ALIVE: We will purchase Century 

projectors or soundheads, new or old, complete or irKX)mplete. 

for cash. Also interested in XL and SH-1000. Call 

(502) 499-0050. Fax (502) 499-0052, Hadden Theatre 

Supply Co.. attn. Louis. 

WE WILL BUY OR TRADE for used/new equipment on 

any projector/sou ndhead/platter/lamphouse/console/speakers/lens 

and concession equipment. We can 

remove or pick up anywhere in the U.S. or overseas. 

TANKERSLEY EfMTERPRISES, P.O. Box 36009, Denver. 

CO 80236. Phone (303) 716-0884; fax (303) 716- 

0889. 

WE WILL PURCHASE your used theatre equipment. 

Consignments, outright purchases, trades, what have 

you? There is only one INTERNATIONAL CINEMA 

EQUIPMENT COMPANY at one location in the USA. 

(305) 573-7339, Fax (305) 573-8101. Website: 

http://www.iceco.com. 

THEATRES FOR SALE/LEASE 

CALIFORNIA 3 DUNSMUIR/PALACE WEED TRI- 

PLEX AND SINGLE SCREEN THEATRES. Located at 

the foot of Mt. Shasta. Califomia. Non -competitive market. 

Open and profitable. (530) 246-4221 

DRIVE-IN near college town. High gross, loyal clientele. 

Good concessions. Well maintained. Sale/long-term 

lease. P.O. Box 55. Ellettsville, Indiana 47429. (812) 

876-7350. 

THEATRE REDEVELOPMENT 

OPPORTUNITY 

SAN DIEGO HISTORIC THEATRE REDEVELOPMENT 

OPPORTUNITY. The city of San Diego is seeking qualified 

developers for an exciting theatre redevek>pment 

opportunity in San Diego's metropolitan area. The historic 

'North Park Theatre," located in one of San 

Diego's most unique, centrally-kjcated business districts, 

is available for a variety of mixed-use redevekjpment 

concepts. Originally part of the Fox West Coast 

movie theatre chain, the 1928-built North Park Theatre 

is a landmark within this vibrant arts, culture and entertainment 

district. To learn more about this exciting 

opportunity, please contact: Mr. Pies Felix, City 

of San Diego, Economic Development and Redevelopment 

Agency. 202 C Street, Third Floor. San Diego, 

CA 92101. Phone: (619) 236-7245. Fax: (619) 236- 

6512. email: pvirf©sdcity.sannet.gov. RFP/Q Deadline 

is February 1, 1999. 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS Since 1945 Selby Products, 

Inc., P.O. Box 267, RichfieW, Ohio 44286 (330) 

659-6631 , 800-647-6224. 

THEATRE SEATING 

1,600 AMERICAN SEATS: Style 38-220 with cup holders. 

All new in 1992. Ready to use conditkxi. $29.00/ea. 

Call (517) 725-5410 any time, ask for Gary. 

"ALL AMERICAN SEATING" by the EXPERTS. Used 

seats of quality, vark>us makes. American Stellars from 

$12.50 to $32.50. Inwins from $20.00 to $40.00. Heywood 

& Massey rockers from $40.00. Full rebuiWing 

available. New /Wierican Desk chairs from $85.00. All 

types theatre projection and sound equipment. New 

and used. We ship and install all makes. Try us! We 

sell no junk! TANKERSLEY ENTERPRISES. P.O. Box 

36009. Denver, CO 80236. Phone (303) 716-0884; fax 

(303)716-0889. 

ALLSTATE SEATING is a company that is specializing 

refurbishing, complete painting, molded foam, taitor- 

in 

made seat covers, installations, removals. Please call for 

pricing and spare parts for all types of tfieatre seating. 

Boston. MA. Phone (617) 268-2221, FAX (617) 268- 

7011. 

AUDITORIUM SEATING SPECIAUST. New installations, 

rebuilds, repairs and reasonable rates. Bob, (970) 

224-1 147. Perfection Seating inc., 295 Lone Pine Creek 

Drive. Red Feather Lakes. CO 80545. 

"BOOSTER B. SAURUS" Child booster seats. Call Cy 

Young Indu stries Inc. at 800-729-2610. 

CHILD BOOSTER SEATS: Molded plastic, large quantity 

in stock, multiple colors available, will not deteriorate 

like txx)ster bags. Premier Seating Co. Inc., (888) 456- 

SEAT, fax (410) 488-9969. email: info©premierseating.com. 

RNALLY, AN ALTERNATIVE TO ON-SITE UPHOL- 

STERY: Call us about our new upholstered Backs and 

Cushions by mail program. More Cost-efficient than onsite 

upholsterers, fast tum-around. quality controlled in 

our combined 160,000 sq. ft. State-Of-The-Art Factory. 

Premier Seating Co. Inc.. (888) 456-SEAT. Fax: (410) 

488-9969. Email: info@premierseating.com. 

MOVIE THEATRE SEATS FOR SALE, FROM THE 60s. 

400, art deco, like new cushions, metal frames, heavy 

duty. Call for price: (217) 726-7290, Illinois. 

SEAT AND BACK COVERS: Most fabrics in stock. 

Molded cushions. Cy Young Industries Inc., 800-729- 

2610. 

SEAT FOAMS: All makes/all nxxlels, fast tum-around. 

Premier Seating Co. Inc., (888) 456-SEAT, fax (410) 

488-9969, email: info@premierseating.com. 

THEATRE SEAT AND BACK COVERS: Large in-stock 

fabric inventory, fast tum-around, competitive pricing at 

any quantity. Premier Seating Co. Inc., (888) 456-SEAT, 

fax (410) 488-9969. email: info@premierseating.com. 

THEATRE SEAT RECONDITIONING: Total or Partial 

Theatre Seat Restoration in our combined 160,000 sq. ft. 

State-Of-The-Art Factory, featuring Sandblasting, Povi^ 

der-coating, and In-House Upholstering. Restore your 

seats or purchase from our inventory. Premier Seating 

Co. Inc., (888) 456-SEAT, Fax: (410) 488-9969, Email: 

premierseating.com. 

THEATRE SEATS WANTED: Will buy/trade for surplus 

and unwanted theatre seats, all makes and models. 

Seating Co. Inc.. (888) 456-SEAT, fax (410) 

488-9969. email: info @premierseating.com. 

USED AUDITORIUM CHAIRS: Choose from a large 

selection of different makes and rrnxlels and cotors, 

American Stellars and Irwin Citatrans competitively 

priced, shipped and installed. ACOUSTIC SOUND PAN- 

ELS AND CUSTOM WALL DRAPERIES available in 

flameproofed colors and fabrics, artistic or plain. CINEMA 

CONSULTAf^S & SERVICES INTERNATIONAL, Inc. 

P.O. Box 9672. Pittsburgh, PA. 15226. Phone (412) 

Fax (412) 343-2992. 

"WHILE THE THEATRE SLEEPS zzzzz" On-site 

20 years' experience in the fiekJ. Top fabrics, 

molded seat cushrons and "State of tfie Art" Cy 

cuphokters. Call Cy Young Industries Inc., (800) 

I 729-2610. 

MISCELLANEOUS 

HERSHENSON ARCHIVE WANTS TO BUY exhibitor 

magazines, studio yeartxxjks, pressbooks, movie posters 

(all years and studkjs). Free appraisals of pre-1960 

material. Phone (417) 256-9616. fax (417) 257-6948. 

C/5 

m 

O 

^ 

M 

ffi 

hEGAL 

CINEMA jLyk 

Has immediate positions available 

for experienced theatre managers. 

We need self-starters with excellent 

leadership skills >ô are willing to 

relocate. Regal offers an excellent 

benefit and performance bonus 

package. Salary commensurate with 

experience. Please send cover letter, 

resum^ & references to: 

7 1 32Commercial Park Drive 

KnoxviUe.TN 37918 

To click 

or not to click, 

there is no 

question. 

Wwwhyl ? 

Here's wwwhy. 

boxoffice.com

ResDonse No. 194 

GHT, INC 

ÔLID STATE ILLUMINATION TECHNOLOGY TM 

LIGHTPA TH 

[iiitKMmniaiiififniiiiiiitiHiiirai^ 

that will not interfere wit!^ 

your patrons experience 

' 

Contact us ai 

PHRNILIGHT. INC 

Tustin. C; 

) 

800.286.401 

uavw.pcnnlig1it.cor

I'll 

Dolby Laboratories 

proudly salutes 

all of Exhibition 

and thanks you for 

your continued suppo 

nn I 

DOLBY 

DIGITAL 


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January-1999

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