FILM CALENDAR

FILM CALENDAR 

NOVEMBER 20, 2015 THROUGH JANUARY 14, 2016 

Samuel L. Jackson in Quentin Tarantino’s 

THE HATEFUL EIGHT, starts December 25 

Chicago’s Year-Round Film Festival 

3733 N. Southport Avenue, Chicago 

www.musicboxtheatre.com 773.871.6607 

SING-A-LONG 

SOUND OF MUSIC 

STARTING NOV 27 

PAGE 6 

THE WONDERFUL 

WORLD OF INDUSTRIAL 

MUSICALS 

DEC 3 

PAGE 29 

TARANTINO & FRIENDS 

PLUS “I LOST IT AT THE 

VIDEO STORE” 

DEC 8 

PAGE 8 

32ND ANNUAL MUSIC 

BOX CHRISTMAS SHOW 

STARTING DEC 11 

PAGE 10 

HITCHCOCK/TRUFFAUT 

STARTS DEC 25 

PAGE 13

Producing the Future 

Welcome 

TO THE MUSIC BOX THEATRE! 

Their sTories are our sTory. We produce more Than movies. We produce filmmakers. 

colum.edu/cinema 

Collin SChiffli (BA ’09) 

Director: AnimAls 

Debut feature; winner 2014 SXSW Grand Jury Prize; 

winner 2014 Chicago Film Critics Association 

Audience Award 

Director: Ghostophobia 

Second feature (in development) 

RheA BozzACChi (BA ’12) 

Director & Writer: vCArd 

Debut feature (in production); initially developed 

in Columbia College’s Semester in LA program at 

Raleigh Studios, Hollywood 

Writer: Cheat, Cheat, Bang, Bang: short film for 

Fulton Market Films 

Intern: Fulton Market Films, Chicago; Hutch 

Parker Entertainment, LA; FilmEngine, LA 

4 

4 

5 

5 

6 

7 

7 

8 

9 

9 

10-11 

12 

12 

13 

14-15 

16 

16 

FEATURE PRESENTATIONS 

HEART OF A DOG 

ENTERTAINMENT 

THE HALLOW 

THE WONDERS 

SING-A-LONG SOUND OF MUSIC 

PALIO 

SUNDANCE SHORT FILM TOUR 


THE FORBIDDEN ROOM 

THEEB 

MUSIC BOX CHRISTMAS SHOW 

THE ALTERNATIVE CHRISTMAS SHOW 

FLOWERS 


THE HATEFUL EIGHT 

PEGGY GUGGENHEIM: ART ADDICT 

THE 70MM FILM FESTIVAL: 

THE ULTIMATE EDITION 

STARTS NOVEMBER 13 

NOVEMBER 20-26 


NOVEMBER 27-DECEMBER 3 


NOVEMBER 30 & DECEMBER 28 

DECEMBER 1 

DECEMBER 4-10 

DECEMBER 4-9 

DECEMBER 11-17 

STARTS DECEMBER 11 



DECEMBER 25-JANUARY 7 


JANUARY 8-14 

COMING SOON 

RoBeRt-CARniliuS (MfA ’15) 

Director & Writer: JAspA Jenkins 

2014 Student Academy Award finalist (winner 

Midwest regional award) 

Director & Writer: Pulse 

Thesis short film (in production) 

Director & Writer: McTucky Fried High 

Comedic animated web series (in production) 

GARy MiChAel SChultz (BA ’01) 

Director & Writer: VinCent-n-roxxy 

Unified Pictures production starring Anton Yelchin 

and Megalyn Echikunwoke (in production) 

Director & Writer: Devil in My Ride (2013) 

Multiple award-winner now in wide Video On 

Demand release 

Co-Producer: Rudderless (2014) 

William H. Macy’s feature directing debut starring Billy 

Cruddup; premiered at 2014 Sundance Film Festival 

18-23 

24-25 

27 

29 

29 

30 

COMMENTARY 

STAGE TO SCREEN 

WHAT IS 70MM? 

SPECIAL EVENTS 

THE WONDERFUL WORLD OF 

INDUSTRIAL MUSICALS 

THE ROOM WITH GREG SESTERO 

CIMM FEST PRESENTS ¡QUE VIVA MEXICO! 

DECEMBER 3 

DECEMBER 4 

DECEMBER 5 

30 

MIDNIGHTS 

Cinema Art + Science 

Brian Andreotti, Director of Programming 

Ryan Oestreich, General Manager 

Buck LePard, Assistant Manager 

Stephanie Berlin, Public Relations & Special Events Manager 

Claire Alden, Group Sales and Membership Manager 

Julian Antos, Technical Director 

Copyright 2015 Southport Music Box Corp. 

MusicBoxTheatre.com 

Published by Newcity Custom Publishing 

Newcitynetwork.com 

For information, email advertising@newcity.com 

or call 312.243.8786 

Cover Image from the film THE HATEFUL EIGHT, 

coming to Music Box Theatre DECEMBER 25. 

See page 14 for more information. 

Artwork © 2015 The Weinstein Company 

Music Box Theatre 3733 North Southport musicboxtheatre.com 

773-871-6604 showtimes 773-871-6607 office 

3

FEATURED PRESENTATIONS 



Official Selection 

Sundance 

Film Festival 

HEART OF A DOG 

DIRECTED BY: Laurie Anderson 

75 Minutes 

Lovely and poetic…a generous gift 

“ from Anderson” 

–Film International 

Haunting and celebratory” 

“–Indiewire 

Centering on Anderson’s beloved rat terrier Lolabelle, who died in 

2011, HEART OF A DOG is a personal essay that weaves together 

childhood memories, video diaries, philosophical musings on data collection, surveillance culture and 

the Buddhist conception of the afterlife, and heartfelt tributes to the artists, writers, musicians and 

thinkers who inspire her. Fusing her own witty, inquisitive narration with original violin compositions, 

hand drawn animation, 8mm home movies and artwork culled from exhibitions past and present, 

Anderson creates a hypnotic, collage-like visual language out of the raw materials of her life and art, 

examining how stories are constructed and told and how we use them to make sense of our lives. 

THE HALLOW 

DIRECTED BY: Corin Hardy 

Starring: Joseph Mawle, Bojana Novakovic; 97 Minutes 

If you trespass upon them, they’ll trespass upon you… 

READ STEVE PROKOPY’S 

COMMENTARY ON PAGE 18 

Genre fans could walk out clamoring 

“ for a sequel” 

–Variety 

A hollow piece of fantasy horror that 

“ opens the door before knocking” 

– Consequence of Sound 

When London conservationist Adam and his wife Clare move with 

their infant son to a remote house near the Irish forest, they quickly find their new neighbors unwelcoming. 

The discovery of a gruesome “zombie fungus” growing in the house is just the beginning, as the surrounding 

woods spew forth a terrifying array of folkloric banshees, baby snatchers, and demons. Awash 

in the otherworldly atmosphere of a dark fairy tale, THE HALLOW cleverly toys with genre conventions 

while unleashing some of the most nightmarishly terrifying creatures in years. 


2015 Sundance 

Film Festival – 

NEXT Section 

NOVEMBER 27-DECEMBER 3 

2014 Cannes 

Grand Prix 

Winner 

ENTERTAINMENT 

A twisted, existential comedic masterwork.” 

“–Indiewire 

DIRECTED BY: Rick Alverson 

STARRING: Gregg Turkington, Tye Sheridan, John C. Reilly, Michael Cera; 102 Minutes 

A broken, aging comedian tours the California desert, lost in a cycle of third-rate venues, novelty 

tourist attractions, and vain attempts to reach his estranged daughter. By day, he slogs through the 

barren landscape, inadvertently alienating every acquaintance. At night, he seeks solace in the animation 

of his onstage persona. Fueled by the promise of a lucrative Hollywood engagement, he trudges 

through a series of increasingly surreal and volatile encounters. 

THE WONDERS 

DIRECTED BY: Alice Rohrwacher 

STARRING: Alba Rohrwacher, Monica Bellucci 

111 minutes 

Wise beyond its years.” 

“–The Hollywood Reporter 

A charmingly naturalistic slice of life. 

“ Thoroughly enjoyable.” 

–The Dissolve 

Young Italian filmmaker Alice Rohrwacher’s (CORPO CELESTE) 

entrancing, richly textured drama centers on a family of beekeepers living in stark isolation in the Tuscan 

countryside. The dynamic of their overcrowded household is disrupted by the simultaneous arrival of 

a silently troubled teenage boy taken in as a farmhand and a reality TV show (featuring a host played by 

Monica Bellucci) intent on showcasing the family. Both intrusions are of particular interest to the eldest 

daughter, Gelsomina, who is struggling to find her footing in the world, and Rohrwacher conveys her 

adolescent sense of wonder and confusion with graceful naturalism. thewonders.oscilloscope.net 

4 Music Box Theatre Dec-Jan 2016 Featured Presentations 5


NOVEMBER 27-29 AND DECEMBER 5-6 

NOVEMBER 30 AND DECEMBER 28 

THIS THANKSGIVING WEEKEND, GIVE THANKS FOR 

SOME OF YOUR “FAVORITE THINGS” 

FUN FOR 

THE WHOLE 

FAMILY!! 

FUN PACKS INCLUDED! 

COSTUME CONTEST! 

PALIO 

DIRECTED BY: Cosima Spender 

STARRING: Gigi Bruschelli, Giovanni Atzeni, Silvano Vigni, 

Andrea de Gortes; 91 Minutes 

From 

the makers 

of SENNA and 

AMY 

Rocky on horseback.” 

“–The New York Times 

A Hollywood screenwriter couldn’t 

“ come up with anything better.” 

–The Hollywood Reporter 

In the heart of Tuscany, the dusty terracotta-tinged city of Siena 

is home to the world’s oldest horse race: the Palio. Twice a summer, jockeys representing ten of 

the city’s historic districts manoeuvre through a frenzied course in the central Piazza Del Campo, 

cheered and jeered in equal measure by passionate local supporters. The cut-throat spirit of the 

race speaks to its medieval roots, as riders are compelled to do whatever it takes to win both on 

the course and off. 

DECEMBER 1 

THE CLASSIC FILM WITH ON-SCREEN LYRICS SO 

THAT EVERYONE CAN SING ALONG! 

For nearly a decade Thanksgiving has been celebrated at the Music Box Theatre with the 

Von Trapp Family Players and THE SOUND OF MUSIC. This annual event has grown now to 

two weekends and thousands of people joining in on the fun. The lyrics for each song are 

projected on the big screen, and our host and organist will warm the audience up before the 

screening. Every attendee gets their own package of magic moment gifts to interact with 

the film. This Thanksgiving let’s all be thankful for some of our favorite things! 

FRIDAY, NOVEMBER 27 

1:00 PM AND 7:00 PM 

SATURDAY, NOVEMBER 28 

1:00 PM AND 7:00 PM 

SUNDAY, NOVEMBER 29 

1:00PM 

SATURDAY, DECEMBER 5 

11:30AM 

SUNDAY, DECEMBER 6 

11:30AM 

2015 SUNDANCE FILM FESTIVAL 

SHORT FILM TOUR 

Showcasing a wide variety of story and style, the 2015 Sundance 

Film Festival Short Film Tour is an 83-minute theatrical program of 

An engagingly varied pack of high 

“ caliber shorts” 

–Hollywood Reporter 

six short films that won awards at this year’s Festival, which over the course of its more than 30-year 

history has been widely considered the premiere showcase of short films and the launchpad for many 

now-prominent independent filmmakers. 

ADVANCE TICKETS 

General: $12.50 

Music Box Members: $9.50 

Children 12 and under $8 

Available on-line through the 

Music Box Theatre website 

DAY-OF TICKETS 

General: $15 

Music Box Member: $12 

Children 12 and under $9 

Available at box office 

if show does not sell out in advance. 

FILMS INCLUDE: 

WORLD OF TOMORROW 

SMILF 

OH LUCY! 

THE FACES OF UKRAINE: 

CASTING OKSANA BAIUL 

STORM HITS JACKET 

OBJECT 



DECEMBER 4-10 


In anticipation of the Music Box’s presentation of 

Quentin Tarantino’s HATEFUL EIGHT in 70mm, we 

present a selection of his best films and the movies 

that inspired him during his formative years when he 

worked at a video rental store. 

DECEMBER 4-9 

Official Selection 

at Sundance and 

New York Film 

Festivals 

READ RAY PRIDE’S 


FILMS INCLUDE 

FIVE FINGERS OF DEATH 

(Chang-Hwa Jeong, 1972, 

104m) 

COFFY 

(Jack Hill, 1973, 91m) 

INGLOURIOUS BASTERDS 

(Quentin Tarantino, 2009, 

153m) 

A FISTFUL OF DOLLARS 

(Sergio Leone, 1964, 99m) 

BLOW OUT 

(Brian De Palma, 1981, 107m) 

All Films 

Presented in 

35mm! The Way 

God Intended! 

THE FORBIDDEN ROOM 

DIRECTED BY: Guy Maddin 

STARRING: Mathieu Amalric, Udo Kier, Charlotte Rampling, 

Geraldine Chaplin, Roy Dupuis, Clara Furey, Louis Negin; 120 minutes 


A wild, demented cinephiliac feast” 

“–The Hollywood Reporter 

THE FORBIDDEN ROOM is Guy Maddin’s ultimate epic phantasmagoria. Honoring classic cinema while 

electrocuting it with energy, this Russian nesting doll of a film begins (after a prologue on how to take 

a bath) with the crew of a doomed submarine chewing flapjacks in a desperate attempt to breathe the 

oxygen within. Suddenly, impossibly, a lost woodsman wanders into their company and tells his tale of 

escaping from a fearsome clan of cave dwellers. From here, Maddin and co-director Evan Johnson take us 

high into the air, around the world, and into dreamscapes, spinning tales of amnesia, captivity, deception 

and murder, skeleton women and vampire bananas. www.kinolorber.com 

“I LOST IT AT THE VIDEO STORE” 

WITH AUTHOR TOM ROSTON AND 

SCREENING OF RESERVOIR DOGS 

DECEMBER 8 AT 7:30PM 

For a generation, video stores were the 

salons where many of today’s best directors 

first learned their craft. In the new 

book I Lost it at the Video Store, Tom 

Roston interviews the filmmakers–including 

John Sayles, Quentin Tarantino, Kevin Smith, Darren Aronofsky, 

David O. Russell and Allison Anders–who came of age during the 

reign of video rentals, and constructs a living, personal narrative 

of an era of cinema history which continues to shape film culture 

today. Roston, a former senior editor for Premiere, will take part in a Q&A following the 

screening of RESERVOIR DOGS to talk about the role video stores played in the film's 

formation, financing, production, and distribution. 

SPECIAL EVENT! 

THEEB 

DIRECTED BY: Naji Abu Nowar 

STARRING: Jacir Eid Al-Hwietat 

100 minutes, Arabic with English Subtitles 

It is a spectacularly epic film with a 

“ wonderfully intimate human story” 

–Huffington Post 

A classic adventure film of the 

“ best kind” 

–Variety 

While war rages in the Ottoman Empire, Hussein raises his younger 

brother Theeb (“Wolf”) in a traditional Bedouin community that is isolated by the vast, unforgiving 

desert. The brothers’ quiet existence is suddenly interrupted when a British Army officer and his guide 

ask Hussein to escort them to a water well located along the old pilgrimage route to Mecca. So as 

not to dishonor his recently deceased father, Hussein agrees to lead them on the long and treacherous 

journey. The young, mischievous Theeb secretly chases after his brother, but the group soon find 

themselves trapped amidst threatening terrain riddled with Ottoman mercenaries, Arab revolutionaries, 

and outcast Bedouin raiders. www.filmmovement.com/theatrical 




THE 32ND ANNUAL MUSIC BOX 

CHRISTMAS SING-A-LONG 

AND DOUBLE FEATURE 

One of the most popular and 

beloved Christmas traditions in Chicago 

is celebrating its 32nd anniversary this year. 

Come celebrate the holidays with the Music Box! 

Each year, holiday revelers are greeted by none other than 

Santa Claus, live and in person. Santa welcomes the audience 

and, accompanied by the theater organist, leads them in the 

singing of the most cherished Christmas carols of all time. 

The lyrics are projected onto the theater’s screen so no one 

misses a chance to sing their hearts out. 

Then the audience sits back and enjoys a Christmas movie 

classic. Some folks like to keep the music going and opt to see WHITE CHRISTMAS 

so they can sing the timeless lyrics of Irving Berlin along with Bing Crosby, Danny Kay and 

Rosemary Clooney. Others prefer to cheer for Jimmy Stewart as George Bailey and hiss Mr. 

Potter during a showing of the heart-warming IT’S A WONDERFUL LIFE (Frank Capra, 1946). 

And those truly filled with holiday spirit see BOTH films! 

Friday, December 11 

6:30pm: It’s a Wonderful Life 

9:40pm: White Christmas 

Saturday, December 12 





Sunday, December 13 




Thursday, December 17 



Friday, December 18 




Advance tickets are: 

Single Feature: $13 

Double Feature: $20 

Children under 12: $10 or $15 double feature 

Saturday, December 19 





Sunday, December 20 




Tuesday, December 22 



Wednesday, December 23 





Thursday, December 24 



Day of tickets (if available) are: 

Single Feature: $15 

Double Feature: $24 

Children under 12: $10 or $15 double feature 



DECEMBER 15 AND 16 

MUSIC BOX’S ALTERNATIVE DOUBLE FEATURE 2015! 

THIS YEAR’S ALTERNATIVE TO THE MUSIC BOX CHRISTMAS SHOW IS… 

NATIONAL LAMPOON’S CHRISTMAS VACATION 

(Jeremiah Chechik, 1989, 97m, 35mm) 

December 15: 5pm & 9:50pm 

December 16: 7:15pm 

As the holidays approach, Clark Griswold (Chevy Chase) wants to have a perfect 

family Christmas, so he pesters his wife, Ellen (Beverly D’Angelo), and children, as 

he tries to make sure everything is in line, including the tree and house decorations. However, things 

go awry quickly. His hick cousin, Eddie (Randy Quaid), and his family show up unplanned. 

DECEMBER 25-JANUARY 7 

See it with one 

of the Hitchcock 

classics below! 


LOVE ACTUALLY 

(Richard Curtis, 2003, 135m, 35mm) 

December 15: 7:15pm 

December 16: 4:30pm & 9:15pm 

Nine intertwined stories examine the complexities of the one emotion that 

connects us all: love. Among the characters explored are David (Hugh Grant), 

the handsome newly elected British prime minister who falls for a young junior 

staffer (Martine McCutcheon), Sarah (Laura Linney), a graphic designer whose devotion to her mentally 

ill brother complicates her love life, and Harry (Alan Rickman), a married man tempted by his 

attractive new secretary. 

Official 

Spanish Entry 

To The Academy 

Awards! 


DIRECTED BY: Kent Jones 

STARRING: Martin Scorsese, David Fincher, Wes Anderson, 

James Grey and Peter Bogdanovich; 80 minutes 

READ PAT MCGAVIN’S 


Will thrill you and change the way 

“ you watch movies” 

–Esquire 

A little slice of film buff-heaven” 

“–Screen Daily 

In 1962, Francois Truffaut persuaded Alfred Hitchcock to sit with him 

for a week long interview in which the great British auteur would share with his young admirer the secrets 

of his cinema. Based on the original recordings of this meeting—used to produce the seminal book 

“Hitchcock/Truffaut”—this film illustrates the greatest cinema lesson of all time and plunges us into the 

world of the creator of PSYCHO, THE BIRDS and VERTIGO. www.cohenmedia.net 

FLOWERS 

DIRECTED BY: Jon Garaño and Jose Mari Goenaga 

STARRING: Nagore Aranburu, Itziar Ituño, Itziar Aizpuru 

Ane lives a quiet unfulfilled life, trapped in a seemingly loveless 

marriage, until she suddenly starts to receive bouquets of flowers 

Elegantly lensed and warm-hearted 

“ to the core” 

–Variety 

It has rich roles and splendid 

“ performances” 

– New York Times 

anonymously, once a week. Meanwhile, Tere wants nothing more than a grandchild, but her only son 

Beñat and his wife Lourdes have other plans. A sudden, tragic event jolts all of their lives into a new 

reality, and flowers start to appear anonymously once again. With a deep compassion, FLOWERS 

examines the unexpected reverberations of a simple yet charged gesture while reflecting on loss, 

memory, and missed connections. www.musicboxfilms.com/flowers 

THE LADY VANISHES 

(Alfred Hitchcock, 1938, 96 min, DCP) 

A quick-witted and devilish comic thriller, THE 

LADY VANISHES remains one of Hitchcock’s 

purest delights. A train headed for England is 

delayed. Fellow travelers, young Iris befriends 

elderly Miss Froy. When the train resumes, Iris 

discovers that the old woman has disappeared. 

39 STEPS 

(Alfred Hitchcock, 1935, 86 min, DCP) 

A heart-racing spy story, THE 39 STEPS follows 

Richard Hannay as he stumbles upon a 

conspiracy that thrusts him into a hectic chase 

across the Scottish moors as well as into an 

unexpected romance with the cool Pamela. 




New 40 foot 

screen specially 

installed for this 

engagement 

THE HATEFUL EIGHT 

Filmed and Presented in Ultra Panavision 70mm 

Double the size 

of past 70mm 

presentations 

New 7.1 

channel sound 

system 

DIRECTED BY: Quentin Tarantino 

Starring: Kurt Russell, Jennifer Jason Leigh, Samuel L. Jackson, Michael Madsen, 

Tim Roth, Bruce Dern 

In THE HATEFUL EIGHT, set six or eight or twelve years after the Civil War, a stagecoach 

hurtles through the wintry Wyoming landscape. The passengers, bounty 

hunter John Ruth and his fugitive Daisy Domergue, race toward the town of Red 

Rock where Ruth, known in these parts as “The Hangman,” will bring Domergue 

to justice. Along the road, they encounter two strangers: Major Marquis Warren, 

a black former union soldier turned infamous bounty hunter, and Chris Mannix, a 

southern renegade who claims to be the town’s new Sheriff. Losing their lead on 

the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie’s Haberdashery, 

a stagecoach stopover on a mountain pass. When they arrive at Minnie’s, 

they are greeted not by the proprietor but by four unfamiliar faces. Bob, who’s 

taking care of Minnie’s while she’s visiting her mother, is holed up with Oswaldo 

Mobray, the hangman of Red Rock, cow-puncher Joe Gage, and Confederate General 

Sanford Smithers. As the storm overtakes the mountainside stopover, our eight 

travelers come to learn they may not make it to Red Rock after all… 

Artwork © 2015 The Weinstein Company 

Filmed 

in glorious ultra 

panavision 

70MM 

READ ABOUT 70MM 

ON PAGE 27 



JANUARY 8-14 

PEGGY GUGGENHEIM: ART ADDICT 

A follow up 

from the director’s 

acclaimed DIANA 

VREELAND: THE EYE 

HAS TO TRAVEL 

give the gift of 

the music box! 

This holiday season, a Music Box Membership is the 

gift that keeps on giving; with discounted tickets, 

bottomless popcorn, free members-only screenings, 

and more. Your gift will continue to surprise the 

film lover in your life all year long! 

DIRECTED BY: Lisa Immordino Vreeland 

97 minutes 

A colorful character who was not only ahead of her time but helped to define it, Peggy Guggenheim 

was an heiress to her family fortune who became a central figure in the modern art movement. As she 

moved through the cultural upheaval of the 20th century, she collected not only art, but artists. Her 

colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander 

Calder, Marcel Duchamp as well as countless others. While fighting through personal tragedy, she 

maintained her vision to build one of the most important collections of modern art, now enshrined in 

her Venetian palazzo. 

COMING SOON! 

New 7.1 

channel sound 

system! 

register online 

at musicboxtheatre.com 

or visit our box office! 

New 40 foot 

screen! 

Questions? Contact: 

claire@musicboxtheatre.com 

THE 70MM FILM FESTIVAL: THE ULTIMATE EDITION 

An epic format deserves an epic festival! For TWO WEEKS in February, we’re screening over a halfton 

of celluloid. We’ve already spent over 100 man-hours getting our 70MM equipment ready for 

this, and we’re sure to spend some more to make sure even if you HAVE seen 70mm before, you’ve 

never seen it like this! 

16 Music Box Theatre Dec-Jan 2016

MUCK OF THE IRISH 

CLOSING IN ON THE HALLOW 

By Steve “Capone” Prokopy 

THE HALLOW STARTS NOVEMBER 20. 

SEE PAGE 5 FOR DETAILS. 

Steeped in Irish folklore and featuring a nasty, 

black, spiky ooze covering nearly every square 

inch of each location, the feature debut of visual 

artist-turned-director/co-writer Corin Hardy 

plays it smart by not rushing its audience into 

the true nature of the horror at work or what its 

intentions are regarding a family of newcomers to 

the forest in which it is set. THE HALLOW follows 

the travails of Adam Hitchens (Joseph Mawle), a 

conservationist who has been relocated with his 

wife Clare (Bojana Novakovic) and infant son to a small town deep in the woods and bogs of the Irish 

countryside. He hasn’t even been in town a month, but he’s already noticed a sickness in some of the 

trees in the thick forest that surrounds his home—something that will require them to be cut down in 

great numbers to stop the spread of what he believes is an aggressive fungus. 

Once the townsfolk are made aware of Adam’s job and intentions, they make their displeasure 

known, especially neighbor Colm Donnelly (Michael McElhatton), who tells tale of the creatures 

and forces that dwell in the Hallow who will resist any attempt to have trees removed or too much 

attention paid to their little corner of the woods. One night, the window in the baby’s room breaks 

and some unseen entity trashes the room a bit before vanishing, triggering a call to the local law 

enforcement (Michael Smiley), who doesn’t believe in the legends of the area, but doesn’t entirely 

discount them either. 

THE HALLOW takes a good half of its modest running time to give us a real sense of what’s really 

going on, leaving open the possibility that the strange noises and other disturbances at their humble 

millhouse are simply angry neighbors harassing this new family. But after a couple of violent attacks 

in the dark and fleeting glimpses of inhuman shapes dashing between the trees, it becomes clear that 

some misshapen humanoid creatures are living in the woods intent on snatching the Hitchens’ child. 

The story itself takes place only over a couple of harrowing days and nights, but by the beginning of 

the second evening, the terror sets in and the danger is quite real. 

Hardy and co-writer Felipe Marino not only wisely keep us from seeing these monsters in any detail 

for quite some time—although the visual effects makeup is extraordinarily grisly—they also don’t 

give us too much information about the nature or origin of this roving band of snarling beasts. In addition, 

details about the black ooze that seems to play a role in the creatures’ chemistry is kept to a 

minimum, although it seems clear that it is essential to spreading whatever disease they and much of 

the surrounding wildlife have. 

With the help of his low-light-capable cinematographer Martijn van Broekhuizen (whose use of 

figures in the shadows to establish high tension is exquisite), director Hardy establishes an undeniably 

terrifying final act, with woodland creatures closing in (not unlike the underground dwellers in Neil 

Marshall’s masterful THE DESCENT) and the dynamic between the husband and wife…substantially 

changed over the course of the film. Clare steps up to become the unexpected hero of THE HALLOW, 

protecting her child and urging Adam to pull it together and save his family. The fear and tension 

throughout the work is undeniable and unmistakable, thick with anxiety and raw fear. 

Extracting many a scream from a simple use of what you see—or think you see—as well as a masterful 

sound design from Steve Fanagan, THE HALLOW makes great use of its small number of settings, 

spending the majority of the film either in the woods or in the couple’s small, fragile cabin, which 

features its own infestation of creeping, squishy ooze. And the only thing more cringe worthy than 

the black muck in this film is the moment someone puts their hands on or in it to remove it from 

whatever its obstructing. A sequence involving Adam stripping away the ever-expanding mass from 

under the hood of his car is wonderfully repulsive. 

Admittedly, the movie begins following a familiar horror pattern—rather than simply leave at the first 

sign of trouble, this couple decide to be tough and stick it out, even after it’s clear that something has 

its sights set on their baby. But a combination of creatively realized, organic-based monsters, regional 

mythology, and a seriously scary final act make THE HALLOW essential viewing for lovers of the scary. 

There are subtle nods to classic terror films throughout (including a few choice dedications in the 

credits), as well as a ridiculously fun during-credits stinger that offers one more shock for the road. 

Steve Prokopy is the Chicago Editor for Ain’t It Cool News (www.aintitcool.com), where he has contributed 

film reviews and filmmaker & actor interviews under the name “Capone” since 1998. In 2005, 

he also joined the staff of the Chicago-based media outlet GapersBlock.com as the site’s Friday film 

critic with his Steve@theMovies column. 

Presenting free public film programming 

screenings 

artist & filmmaker visits 

and more on the University of Chicago 

Hyde Park campus. 

UC Film Studies (1/2) 

Find out about our programming at 

filmstudiescenter.uchicago.edu 


FEVER DREAMS PAST 

THE PHANTASMAGORIA OF THE FORBIDDEN ROOM 

By Ray Pride 

THE FORBIDDEN ROOM STARTS DECEMBER 4. 


To attempt synopsis of Guy Maddin and Evan 

Johnson’s THE FORBIDDEN ROOM is to tempt 

word salad at apex, swirling into its ever-concentric 

concatenation of vivid, vibrant visions of 

forms of filmmaking that resemble fever dreams 

past, but exist only within its own cloud of visual 

perfume across two hours of unceasing melodramatic 

phantasmagoria. Maddin and Johnson 

frame their stories with a John Ashbery ditty 

about bathing, then moving on to seventeen or so tales-within-tales including a doomed submarine 

crew chewing the oxygen out of flapjacks, child soldiers, lumberjacks, vampires, wolf men, volcano 

sacrifices, a teeming array of intertitles and the expected digital experimentation with the lovingly 

lousy look of the lowest, boldest rungs of twentieth century moviemaking. All in the service of steering 

clear of what Maddin identifies as the enemy of all art, “charmless dishonesty.” 

Maddin and Johnson began with shorts that were destined for transmedia forms, largely online, 

but quickly realized how stuffed with extravagant goodness a feature version could be. “We were 

secretly using the plots of lost films,” Maddin told me at Sundance in January. “I’d made a few 

shorts using synopses over the years, in the 90s. And then I just tried to cram it into a short. I liked 

the restriction of trying to fit a feature’s worth of story into a short period of time, because at the 

time, my features quite often disappointed me as being too slow moving. So I thought, at least I can 

start the process of galvanizing narrative by having to cram a lot into a short period of time. It was a 

fun exercise. And then eventually I decided I wanted to make this interactive project where a bunch 

of lost movie scripts, adapted by me, started to interact with each other and fragment each other 

and communicate with each other and form an infinite number of permutations of new films.” 

thinking, man, it would be fun someday to make a feature film, just to see how many concentric stories 

you could stick within each other. And then when we were working it out, we took a different structure, 

one probably emboldened by the French writer Raymond Roussel, who liked to nest stories within stories, 

and then come out of them again. We knew we wanted it to be Rousellian.” 

And then there’s the venerated poet John Ashbery. “Yes, the presence of John Ashbery! He had 

been there before we decided to make a feature, he adapted the lost Dwain Esper movie, HOW 

TO TAKE A BATH. We decided to make that the framing device for the whole thing and just keep 

descending through a bathtub, John Ashbery’s bathtub. It seemed appropriate. Our whole attitude 

about tropes and movie conventions is slightly Ashberian anyway, I don’t want to say wholly Ashberian, 

because I don’t want to flatter myself too much.” 

There’s a famous shrug of Ashbery’s. When asked how he composes his expanses of string-ofconsciousness 

verse, he’d say, poetry’s always running in my head, and every so often, I sit down 

and cut off a length. They both crack up, exchanging a glance. “That’s beautiful,” Johnson says. “No 

kidding!” Maddin says. “That’s about right,” Johnson says, laughing still. “What we had the freedom 

to do with his stuff, yes, in our private moments, we allow ourselves to think, to think of this crap 

as poetry, cheap cloth as poetry!” Maddin says. “But every now and then, someone goes along with 

us and agrees,” he says, gesturing my way. 

Ray Pride is film critic of Newcity, news editor of MovieCityNews.com and a contributing editor of Filmmaker 

magazine. Find his photos and other work at http://raypri.de. 

Johnson, a former student and another cheery Canadian, had been a longtime friend. “I hired Evan to be 

my research assistant and pretty soon after a few weeks in the writing room together, we just became 

partners, co-creators of the interactive part. Somewhere in the process we decided to make a feature film 

and we concentrated, we had all these great stories, sometimes they were stories that we created entirely, 

just inspired by a fantastically evocative title, sometimes there’s a lost film title and that’s all there is.” 

Asked for a single example, Johnson offers LADIES, BE CAREFUL OF YOUR SLEEVES. They both laugh 

generously. “A lost Naruse!” Maddin exults. “There’s so many. What was the oblivion one, or the Peruvian 

one? There’s almost too many, I can’t conjure one. For North American ones, Variety’s been around since 

1903, so there’s always a synopsis in a review. While we were adapting them, we were basically writing 

original scripts, and our own concerns kept coming up again and again and we found we really wanted to 

make a feature. Have you ever seen the movie, THE LOCKET? I loved the three male stories concentrically, 

Russian Doll-style, nested within each other, and at the very center is the woman’s story, Laraine Day’s 

story, and at the very center of her story is a tiny little locket, a little silver vagina with an unfathomable 

mystery at the center of it and it works its way back out. It’s very satisfying, working back out of all those 

narratives. And then climaxes with the woman melting down because she’s being treated as a hysteric by 

a man! It’s a feminist story told by three men! I was really exhilarated by that. But seeing that, I remember 


A MEDITATION ON THE PAST AND PRESENT 

TEN CONTEMPORARY FILMMAKERS DISCUSS 

THE HITCHCOCK/TRUFFAUT CONVERSATION 

By Patrick Z. McGavin 

In 1962 a landmark in film culture played out 

over a week in a modest office space on the lot 

of Universal Studios as the exceptionally gifted 

30-year old former film critic Francois Truffaut 

undertook an ambitious and wide-ranging series 

of conversations with the great British-born Hollywood 

stylist Alfred Hitchcock. 

The resulting book-length interview collaboration, 

first published in English in 1966 “Hitchcock/Truffaut,” was a watershed for its charged insight 

and heightened discourse about form and content. The book crystallized the dominant role played 

by the director and elevated Hitchcock’s international reputation from a skilled storyteller and 

maker of entertainments to a complex and serious artist. 

The book also proved a revered text for emerging generations of filmmakers who pored over its pages 

with an unflagging enthusiasm. “The book radicalized us as filmmakers,” Martin Scorsese says in Kent 

Jones’ thrilling and lively documentary HITCHCOCK/TRUFFAUT. A film archivist, historian and formidable 

critic in his own right, Jones excavates and provides a historic and aesthetic context to the moment with 

verve, candor and a deep generosity that sharply conjures the revolutionary excitement of the moment. 

The film is a meditation on the past and present. It is also a deeply cinematic work that finds its 

own voice and vernacular and subverts expectations. Jones expertly braids together the wealth of 

supplemental and archival materials and brings a solidity and weight to these particular artists by intertwining 

audio extracts (with input from the brilliant and intrepid translator, Helen Scott) and highly 

expressive photographs of the two men shot by the great French photographer Philippe Halsman. 

Jones creates a dizzying arabesque of storyboards, script annotations and production shots interwoven 

with the adroitly selected film clips, like the famous crop duster sequence from NORTH BY 

NORTHWEST, and the director’s droll rebuke to those who criticized his stories for their stylized 

implausibilities. “Logic is dull,” Hitchcock says. 

The marvel of the film is the contemporary material as Jones brings together 10 major contemporary 

filmmakers to ponder the meaning, importance and enduring legacy of the book, the films and the 

two filmmakers. The multiplicity of voices is especially exhilarating—ranging from scholarly filmmakers 

such as Scorsese and Peter Bogdanovich with younger generation artistic insurgents such as David 

Fincher, Wes Anderson, Richard Linklater and James Gray. 

The great French directors Olivier Assayas and Arnaud Desplechin provide trenchant and invaluable 

reflections about the French New Wave and the wider cultural impact of Hitchcock’s films. The back 

and forth creates one moment of beauty and truth after another. “Hitchcock is fascinated by what 

terrifies him until there is no difference between what makes him tremble with fear or quiver with 

love,” Desplechin says. 

22 Music Box Theatre Dec-Jan 2016 

HITCHCOCK/TRUFFAUT STARTS DECEMBER 25. 


The famous kiss between Cary Grant and Ingrid Bergman in NOTORIOUS is a “demonic shot,” says 

the excellent Japanese director Kiyoshi Kurosawa. “The whole time [Hitchcock] is staying on their 

faces and you don’t know what’s going on with their bodies.” 

These directors amplify and examine the motifs, the heightened use of objects, or what Scorsese 

calls the extreme stylization of the image in the director’s almost surreal and Freudian use of rear 

screen projection. Hitchcock wonders whether he is too slavishly devoted to the material and 

sometimes questions whether he should have been more experimental and looser. “There is something 

transcendent in Hitchcock’s approach to control,” Assayas says. “He invented a clarity in his 

cinematic writing with images that capture the invisible.” 

The shower scene in PSYCHO took seven days 

to film and required 70 set ups, Hitchcock said. 

Bogdanovich saw the film on its opening day 

and recalled the stunned and shocked crowds. 

“It was the first time going to the movies was 

dangerous,” he says. Hitchcock was stung by the 

harshness of some of the criticism he endured 

for the movie. 

“It was pure film,” he said. “Now it belongs to us.” 

Thanks to this marvelous film, these films and 

their ideas are front and center again. It is where 

they belong. 

Patrick Z. McGavin is a Chicago writer and 

film critic. His reviews, essays and film festival 

reports have appeared in Cineaste, filmjourney. 

org, RogerEbert.com and the London film magazine 

Empire. He also maintains the film website 

www.lightsensitive.typepad.com 

JANIS 

LITTLE GIRL BLUE 

DEC 4 - 17 

GENE SISKEL FILM CENTER 

JAN 2 – FEB 4 

STRANGER 

THAN FICTION 

DOCUMENTARY PREMIERES 

DEC 4 - 10 • THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION 

164 North State • siskelfilmcenter.org

FROM STAGE TO SCREEN 

The Music Box Theatre proudly presents the greatest in filmed theatrical 

experiences from around the world! 

HAMLET 

NATIONAL THEATRE LIVE 

Sunday, November 22 at 12PM and Sunday, 

November 29 at 6PM 

Academy Award® nominee Benedict Cumberbatch 

(BBC’s SHERLOCK, THE IMITATION GAME, 

FRANKENSTEIN at the National Theatre) takes on 

the title role of Shakespeare’s great tragedy. 

Directed by Lyndsey Turner (POSH, CHIMERICA) 

and produced by Sonia Friedman Productions, National Theatre Live will broadcast this 

eagerly awaited production live to cinemas. 

As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s 

death but paralyzed by the task ahead, Hamlet rages against the impossibility of his 

predicament, threatening both his sanity and the security of the state. 

(approx. 240m, BY Experience) 

MAGIC FLUTE 

BREGENZER FESTSPIELE 

Monday, December 7 at 7PM and Monday, 

January 4, 2016 at 7PM 

Mozart’s enduring ode to fantasy and ritual from 

the stunning Bregenz Festival, recognized for its 

utterly original design and floating stage. 

Enter Tamino, dressed as a hunter, followed by a large snake. Overcome with shock, he 

faints. Out of the temple doors come three ladies-in-waiting. After killing the serpent, they 

admire the noble youth’s face and hurry away to warn the Queen of Night. Tamino regains 

his senses and is astonished to find the snake dead; he believes he owes his salvation to 

a strange-looking character, Papageno, a bird-catcher, who has just appeared dressed in 

feathers and playing a pipe. Papageno does not deny the deed, but is at once punished 

for his lie by the three ladies-in-waiting who reappear and close his mouth with a golden 

padlock. Meanwhile the young ladies show Tamino a portrait of the Queen of Night’s 

daughter, whose beauty inflames his heart. The maiden, however, has been kidnapped 

by the magician Sarastro. Conquered by such loveliness, Tamino offers to rescue her. The 

ladies-in-waiting hand him a golden flute with magic powers and, removing the padlock 

from Papageno’s mouth, enjoin him to follow Tamino to Sarastro’s castle; he too receives a 

magic instrument, with bells. (approx. 160m, 2013, Rising Alternative) 

NUTCRACKER 

VIENNA STATE OPERA HOUSE 

Wednesday, December 2 at 5PM & 7:30PM and 

Monday, December 21 at 7:20PM 

Tchaikovsky’s winter wonderland comes to life 

in this special production of The Nutcracker. 

Choreography by Rudolph Nureyev. Starring Liudmila Konovalova as Clara, and Vladimir 

Shishov as Drosselmeier and The Prince. From the Wiener Staatsballett. 

It is Christmas Eve. Family and friends have gathered in the parlor to decorate the beautiful 

Christmas tree in preparation for the night’s festivities. Once the tree is finished, the 

younger children are sent for. The children stand in awe of the tree sparkling with candles 

and decorations. Clara and Fritz are sad to see the dolls taken away, but Drosselmeyer 

has yet another toy for them: a wooden nutcracker carved in the shape of a little man, 

used for cracking hazelnuts. The other children ignore it, but Clara immediately takes a 

liking to it. Fritz, however, purposely breaks the toy. Clara is heartbroken. During the night, 

after everyone else has gone to bed, Clara returns to the parlor to check on her beloved 

nutcracker. As she reaches the little bed, the clock strikes midnight and she looks up to 

see it life-size. Clara finds herself in the midst of a battle between an army of Gingerbread 

man soldiers and the mice, led by the Mouse King. The mice begin to eat the gingerbread 

soldiers. (Approx. 120m, 2014, Rising Alternative) 

KENNETH BRANAGH JUDI DENCH 

THE WINTER’S TALE 

KENNETH BRANAGH THEATRE COMPANY 

Tuesday, January 12, 2016 at 7PM 

Directed by: Kenneth Branagh and Rob Ashford 

Starring: Judi Dench, Tom Bateman, Jessie Buckley 

THE WINTER’S TALE, Shakespeare’s timeless tragicomedy of obsession and redemption, 

is reimagined in a new production. King Leontes appears to have everything: power, 

wealth, a loving family and friends. But sexual jealousy sets in motion a chain of events 

with tragic consequences… (approx. 210m, 2015, Picturehouse Entertainment) 

AIDA 

TEATRO ALLA SCALA DI MILANO 

Monday, December 14 at 7PM 

The Winter’s Tale 

BY WILLIAM SHAKESPEARE 

DIRECTED BY ROB ASHFORD & KENNETH BRANAGH DIRECTED FOR CINEMA BY BENJAMIN CARON 

SET AND COSTUMES DESIGNED BY CHRISTOPHER ORAM LIGHTING BY NEIL AUSTIN 

SOUND BY CHRIS SHUTT MUSIC BY PATRICK DOYLE PROJECTION BY JON DRISCOLL 

CASTING BY LUCY BEVAN 

Find your nearest screening at BranaghTheatreLive.com 

BranaghTheatreLive @KBTCLive 

Recorded at the legendary Teatro alla Scala di 

Milano, Peter Stein brilliantly reimagines Verdi’s 

classic tragedy. The “luminous” (Musical America 

Worldwide) American soprano Kristin Lewis stars as the doomed Ethiopian princess, joined 

by Anita Rachvelishvili—fresh from her recent Met in HD performance as Carmen—as her 

rival Amneris. (approx. 180m, 2015, Rising Alternative) 

24 Music Box Theatre Dec-Jan 2016 Stage to Screen 25

DABLON 

Winery & Vineyards 

If you have enjoyed Moraine Vineyards & Music Box wine at the 

Music Box Theatre, we invite you to come experience where the grapes 

are grown and the wine is made in our SW Michigan winery and tasting 

room set in the rolling hills of Baroda, Michigan, located just an hour and 

a half from Music Box Theatre! 

At Dablon Winery, we offer unique wines such as Malbec & Tannat, 

as well as classic Burgundy styles such as Chardonnay & Pinot Noir. 

We look forward to hosting you at our estate winery and vineyards 

where you can enjoy a wine flight, wine by the glass & special events. 

Please subscribe to our mailing list on our website to stay up to date on 

the latest Dablon news! 

Cheers, Dablon Vineyards team 

70MM: BIGGER. WIDER. 

BUILT FOR EPICS. 

The Music Box is the only theatre in Chicago and one of only a handful in the country that 

can project movies on 16, 35, and 70mm film, as well as most digital formats. On Christmas 

Day, the Music Box will premiere THE HATEFUL EIGHT in 70mm, a format best known for 

classics by A-list directors like David Lean (LAWRENCE OF ARABIA, DOCTOR ZHIVAGO) and 

Stanley Kubrick (2001: A SPACE ODYSSEY), now being revived by Paul Thomas Anderson, 

Christopher Nolan, and Quentin Tarantino. 

But THE HATEFUL EIGHT isn’t just 70mm. Tarantino’s western epic has been shot in Ultra 

Panavision 70, a format used for BEN-HUR and IT’S A MAD MAD MAD MAD WORLD, which 

hasn’t seen the light of day in nearly 50 years. UP70 pushes 70mm over the edge (literally, 

we’re installing a bigger screen), using anamorphic lenses to project an image 25% wider than 

conventional 70mm. With a 40 foot screen spanning the entire width of the auditorium and 

a brand new state-of-the-art sound system, no expense has been spared in making the Music 

Box’s presentation of THE HATEFUL EIGHT the best in the city. 

Dablon Vineyards 

111 W. Shawnee Rd. 

Baroda, MI 49101 

www.dablon.com 

269-422-2846 

INQUIRE ABOUT OUR WINE CLUB 

70mm offers images of unequaled sharpness and clarity, with as much as four times the 

resolution of 35mm and digital projection. The film itself runs through the projector at 112 

feet per minute and weighs about 40 pounds a reel. Walk into any projection booth running 

70mm and what you’ll see will look and sound more like a construction site: projectors as 

loud as jackhammers and sweating projectionists changing reels every 20 minutes. All this 

to provide the best motion picture experience possible, the culmination of over a century 

of engineering and artistry. 

70mm is uniquely beautiful. Sunsets and landscapes take on a vibrant, earthbound presence, 

and close ups make their actors larger than life. As more light is pushed through the projector 

gate, contrast, color, and brightness are all increased: the whites are brighter and the blacks 

are deeper, the light is more intense, and colors are richer than anything possible with digital 

projection. This is film turned up to 11. 

27

DECEMBER 3 AT 7:30PM 

THE WONDERFUL WORLD OF INDUSTRIAL MUSICALS 

Once upon a time, business and Broadway had a baby… the surreal, astounding “industrial musical.” Former 

“Letterman” and “Simpsons” writer and industrial musical authority Steve Young hosts an evening of vintage 

corporate infotainment on film, meant only for the eyes and ears of company insiders. Marvel, laugh, and 

cringe at ultra-rare clips from Citgo, Kellogg’s, GE, Purina, and more–including the legendary American-Standard 

plumbing fixture musical, THE BATHROOMS 

ARE COMING. These films, some of which were 

produced in Chicago, can be seen nowhere 

else! One night only! www.industrialmusicals.com 

DECEMBER 4 AT 10PM 

AN EVENING INSIDE 

THE ROOM 

WITH GREG SESTERO 

10PM: “The Disaster Artist” live event 

Midnight: Screening of THE ROOM 

AVAILABLE 

NOW 

@musicboxfi lms 

musicboxfi lms.com 

Greg Sestero, co-star 

of the modern cult film 

sensation THE ROOM, 

returns to Music Box 

Theatre for a hilarious 

multimedia event that 

includes a rare behind 

the scenes documentary, 

book reading and participation in a live script reading 

with audience members! Greg will also participate in 

a Q&A and book signing. Dubbed “the CITIZEN KANE 

of bad movies” by Entertainment Weekly, filmmaker/ 

actor Tommy Wiseau’s romantic disasterpiece THE ROOM continues to screen to sell out audiences 

twelve years after its premiere. It is without argument the most mainstream-recognized example of bad 

filmmaking since 1959’s PLAN 9 FROM OUTER SPACE. 

Special Events 29

THREE NEIGHBORHOOD LOCATIONS 

DECEMBER 5 

CIMMFEST FUNDRAISER 

AT MUSIC BOX 

Cocktail fundraiser from 5-7:30pm 

Performance at 7:30pm 

CIMMfest, the Chicago International Movies and 

Music Festival presents Sergie Eisenstein’s classic 

silent film ¡QUE VIVA MEXICO! scored live by 

Chicago’s own Sones de Mexico. 

The evening starts with a VIP Fundraiser in the 

Music Box Café with complimentary bar, hors 

d’oeuvres and music with a chance to meet the 

CIMMfest staff and board of directors and hear 

about the exciting events planned for CIMMfest 

No.8. The party is followed by the live scored ¡QUE VIVA MEXICO! which was a highlight of CIMMfest 

No.7 and is open to the general public. Mexican folk sextet, Sones de México, creates and performs a 

unique original score to the classic film which uses dramatic elements of surrealism and expressionism 

to document the history of Mexico’s peasant uprising and the Mexican Revolution of 1910 that inspired 

Russia’s own revolution in 1917. 

VIP Party + Live-Scored Film: $100, Live-Scored Film Only: $15 

MIDNIGHTS 

November 20-21: DANGEROUS MEN 

November 27-28: CLUE 

December 4: THE ROOM (see page 29 for details) 

December 5: ROCKY HORROR PICTURE SHOW 

FRAMING 

CARDS 

GIFTS 

VINTAGE 

November 20-21 November 27-28 

DANGEROUS MEN 

Directed by: John S. Rad 

(2005, 80m, 35mm) 

Killers. Perverts. Bikers. 

DANGEROUS MEN. After Mina 

witnesses her fiancé’s brutal 

murder by beach thugs, she 

sets out on a venomous spree 

to eradicate all human trash 

from Los Angeles. Armed with 

a knife, a gun, and an undying 

rage, she murders her way 

through the masculine half of 

the city’s populace. A renegade 

cop is hot on her heels, a trail 

that also leads him to the 

subhuman criminal overlord 

known as Black Pepper. 

CLUE 

Directed by: Jonathan Lynn 

(1985, 94m, DCP) 

Based on the popular board 

game, this comedy begins at 

a dinner party hosted by Mr. 

Boddy where he admits to 

blackmailing his visitors. These 

guests, who have been given 

aliases, are Mrs. Peacock, Miss 

Scarlet , Mr. Green, professor 

Plum, Mrs. White and Col. 

Mustard. When Boddy turns up 

murdered, all are suspects, and 

together they try to figure out 

who is the killer. 

30 Music Box Theatre Dec-Jan 2016 

December 5 

ROCKY HORROR 

PICTURE SHOW 

Directed by: Jim Sharman 

(1975, 100m, 35mm) 

( 

CARDS GIFTS VINTAGE 

1.866.446.8690 

NOV 6 thru 

DEC 13 

$5 OFF per ticket 

with code 

MUSICBOX!

MUSIC BOX SUPPORTERS 

GET 40% OFF A ONE YEAR FANDOR MEMBERSHIP 

fandor.com/promo/musicbox-40 

“...one of Brazil’s biggest 

hits of the decade.” 

BROADWAY WORLD 

“...a well-observed study of 

a wealthy Brazilian family’s 

breakdown.” VARIETY 

“A confident and quietly 

promising feature debut.” 

THE HOLLYWOOD REPORTER 

CASA GRANDE 

A film by Fellipe Barbosa 

IMAGE COURTESY CINEMA SLATE 

“There are streaming sites, 

and then there’s Fandor” 

WATCH IT ON 

INDIEWIRE

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