Lori Donnelly's Posts

Lori Donnelly is the George Eastman House Dryden Theatre film programmer.

Payne’s Picks at the Dryden

Posted by on Feb 27 2013 | Motion Pictures, Other

PaynesignsautographsDryden

With only five features to his credit – he is currently in post-production on his sixth – Alexander Payne has already established himself as one of the leading voices of American cinema. With an eye for landscape that matches Terrence Malick’s, a satirical wit comparable to that of Billy Wilder, and a love for the lives of everyday folks that is rarely seen on screen, Payne’s voice is distinct, necessary, and unforgettable. And so we’re pleased to welcome him back to the Dryden Theatre as he joins us to celebrate our reopening with a special screening of his Academy Award-winning film SIDEWAYS this Saturday, March 2.
 

 

babettes feast

Babette’s Feast (1987)

In addition, Payne – an inveterate cinephile with a deep knowledge of film history – has selected four of his favorite films to screen on Tuesdays in March, ranging from the socially conscious film noir of  TRY AND GET ME! (March 12) to the gentle realism of the Italian classic IL POSTO (March 19). Full details are available over at the Dryden, so don’t forget to get your tickets early and stick around for “Payne’s Picks” as the month continues!

 

 

We’ve been talking about the renovation and upgrades all along the way – check out our series, via Theatre Manager, Kolbe Resnick.
 

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Spirited Away at the Dryden

Posted by on Nov 20 2012 | Motion Pictures

Hayao Miyazaki’s Academy Award-winning masterpiece Spirited Away was Japan’s biggest-ever box office hit and a film that helped redefine the possibilities of animation for American audiences and a generation of new filmmakers.

Wandering through an abandoned carnival site, 10-year-old Chichiro is separated from her parents and stumbles into a dream-like spirit world where she is put to work in a bathhouse for the gods, a place where all kinds of nonhuman beings come to refresh, relax and recharge. Here she must find the inner strength to outsmart her captors and return to her family. Combining Japanese mythology with Through the Looking Glass whimsy, Spirited Away cemented Miyazaki’s reputation as an icon of inspired animation and wondrous, lyrical storytelling.

From our Hayao Miyazaki film series

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Apocalypse Now!

Posted by on Jul 13 2012 | Motion Pictures

(George Miller, Australia 1981, 95 min.)

According to sources as diverse as Harold Camping, Roland Emmerich, and the ancient Mayans, the world — and not just the widespread use of 35mm film by Hollywood studios — is supposed to end in 2012. Obviously that hasn’t happened

yet, and to celebrate, we’re devoting a series of films that postulate on the before, during, and after of the apocalypse. Steve De Jarnatt’s genuine (and unjustly forgotten) classic Miracle Mile stars a pre-E.R. Anthony

Edwards as an everyday guy who accidentally overhears a top-secret phone call announcing a nuclear attack. Stanley Kubrick and Peter Sellers bring the darkly chilling laughs in the eternal Cold War satire Dr. Strangelove, and the challenges of

the dark days after are met by Charlton Heston and Mel Gibson, respectively, in The Omega Man and The Road Warrior (one of the few sequels that tops the original). It’s an allbang, no-whimper lineup of bombs, blasts, and burnt-out

landscapes.

(Boris Sagal, US 1971, 98 min.) 

 

Thursday, July 19, 8 p.m..
Miracle Mile
(Steve De Jarnatt, US 1988, 87 min.)

Thursday, July 26, 8:30 p.m..
The Omega Man
(Boris Sagal, US 1971, 98 min.)

Thursday, August 2, 8 p.m..
The Road Warrior
(George Miller, Australia 1981, 95 min.)

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Film in the 3rd Dimension!

Posted by on Jul 02 2012 | Motion Pictures

Robot Monster (Phil Tucker, US 1953, 62 min.)

In recent years, 3-D has come back stronger than ever, with artistic triumphs like Hugo and Pina earning critical raves, James Cameron’s commercial blockbuster Avatar breaking all box-office records, and Piranha and Final Destination proving that old-fashioned exploitation is alive and bleeding. At the same time, there’s something a bit soulless about the contemporary three-dimensional megaplex experience, whether it’s the smudgy glasses, the high ticket prices, or the dim digital projection.

As always, there’s nothing like the “real thing” — in this case, two-strip, dual-projector 3-D, with the brilliant luminosity and incredible depth of field that only 35mm film can provide — our silver screen is up to throw five days’ worth of Golden Age classics right at ya. The fun starts with Man in the Dark, the first major studio film released in 3-D and a cracking film noir that concludes with — what else — a literal roller coaster ride. On July 4, 3-D expert Bob Furmanek will be presenting an evening of treasures from the 3-D Film Archive, the first organization dedicated to the preservation of our stereoscopic film heritage. He will help us celebrate Independence Day in all three dimensions with a number of rare shorts, and on the day after, Phil Tucker’s infamous Robot Monster (aka “the movie with the guy in the gorilla suit and diving helmet”) rises from the apocalyptic ash of Bronson Canyon to teach us what it means to be Hu-Man. Finally, we’ll wrap up the week with an established classic (Hitchcock’s Dial M for Murder) and one that should be: Roy Ward Baker’s awesome, recently rediscovered Inferno, in which Robert Ryan struggles to survive in the Mojave Desert after being left for dead by his wife. Shot on location (!) in Technicolor (!!) with an unmatched depth of field, this one’s a don’t-miss.

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Cop Movies of the 1970s

Posted by on May 08 2012 | Motion Pictures

(Don Siegel, US 1971, 102 min.)

Perhaps no genre of filmmaking changed more drastically during the 1970s than the police drama. While the pre-Dragnet procedurals of the late ’40s frequently took advantage of real-life locations, and cynicism and punchy action had long colored the genre thanks to film noir, the cop flicks of the 1970s looked — and felt — different. The urban landscape had acquired an extra layer of grime, and Hollywood had changed to fit: location shooting was the norm, action was more visceral, scores were funkier, and the line between heroes and villains was thinner than ever. The result was a cycle of exciting, visually striking, and morally complex films that quickly established themselves as modern classics. On Thursdays in May, we’ll be crisscrossing the country to high Cop Movies of the 1970s light some of the best of these films, making stops in San Francisco (Dirty Harry), Los Angeles (The New Centurions), Arizona (Electra Glide in Blue), and, of course, New York City (Across 110th Street and Serpico).
— Lori Donnelly, Film Programmer
Films and Screenings

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