Tag Archives: Landmark Theatre


Carey Mulligan—the vital, mordant center of Paul Dano’s directorial debut WILDLIFE—will be crisscrossing town at breakneck speed for same-night post-screening Q & A’s at the Landmark and Arclight Hollywood cinemas.



Friday and Saturday, October 26 and 27, after the 7pm show.

Sunday, October 28, after the 1:30pm show.

Landmark Theatre, 10850 Pico Boulevard, Los Angeles.


Friday and Saturday, October 26 and 27, after the 8:15pm show.

Sunday, October 28, after the 5pm show.

Arclight Hollywood, 6360 Sunset Boulevard, Los Angeles.

Top image credit: IFC Films.

Below: Carey Mulligan and Jake Gyllenhaal with Ed Oxenbould in Wildlife, based on the novel by Richard Ford.


“An ‘ego’ is usually just an over-dressed insecurity. I think you have to dream so big that you can’t get an ego, [or else] you’ll never fulfill those dreams.” — Quincy Jones

After witnessing the straitjacketed removal of his mother from his childhood home, Jones grew up fast on the streets of Chicago’s South Side, discovered music, joined Lionel Hampton’s jazz band, and got his first big break when Dinah Washington insisted he conduct and arrange her 1955 album For Those in Love.

Jones moved to Paris in 1957 to study orchestration under Nadia Boulanger. “France made me feel free as an artist and as a black man.” Returning to the States in the early 1960s, he became vice-president of Mercury Records. When Jones was 29, Frank Sinatra called.

(Sinatra, Jones, and Count Basie went to Las Vegas in 1966 for their legendary engagement at the Sands, Sinatra insisting that his collaborators stay in the same hotel they were gigging in, thereby integrating hospitality suites and casinos in the city for the first time.)

In the mid-sixties, Jones moved to Los Angeles and started a new chapter as an in-demand composer, arranger, and conductor of film scores. He started working with Michael Jackson at the end of the 1970s, and the rest is history.

If you miss the International Documentary Association presentation of Quincy—a new doc co-directed by Rashida Jones (Quincy’s daughter) and Alan Hicks, both of whom will be at the screening—you can catch it on Netflix.



Tuesday, October 16, at 7:30.

Landmark, 10850 Pico Boulevard, Rancho Park, Los Angeles.

And on Netflix.

From the top:

Quincy Jones and Sarah Vaughan in France. Photograph by Jean-Pierre Leloir.

Sinatra at The Sands album cover (1966). Image credit: Reprise.

Jones and Sinatra in the studio.

In Cold Blood, one of Jones’ many film scores. Image credit: Colgems.

Jones at the Olympia in Paris, 1960.


Image result for dale dickey leave no trace

Winter’s Bone (2010) drastically changed the lives of both director Debra Granik and actor Jennifer Lawrence, and Granik is back with an excellent new feature about independence, resilience, and life off the grid.

LEAVE NO TRACE features a remarkable performance by Thomasin McKenzie (Tom) as the daughter of Ben Foster (Will). Dale Dickey co-stars.


LEAVE NO TRACE, now playing.

ARCLIGHT HOLLYWOOD, 6360 Sunset Boulevard, Los Angeles.


LANDMARK, 10850 West Pico Boulevard, Rancho Park, Los Angeles.


See: hollywoodreporter.com/debra-granik-explains-why-been-eight-years


Above: Debra Granik.

Below: Thomasin McKenzie (left) and Ben Foster in Leave No Trace (2018). Image credit: Bleecker Street.

Image result for leave no trace thomasin mckenzie




After months of festival praise and a recent gala screening at AFI Fest 2017, Luca Guadagnino’s CALL ME BY YOUR NAME has finally opened in cinemas.

A portrayal, both devastating and edifying, of a teenager discovering his sexuality, CALL ME BY YOUR NAME features a superlative lead performance by Timothée Chalamet as young Elio, a live wire summering “somewhere in northern Italy” in the early 1980s.

The script—based on André Aciman’s 2007 novel—was written by James Ivory, and Sufjan Stevens wrote two new songs—”Mystery of Love” and “Visions of Gideon”—for the film.


Now playing.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles.


10850 West Pico Boulevard, Rancho Park, Los Angeles.

From top: Timothée Chalamet (left) and Armie Hammer in Call Me by Your Name (2017); Chalamet; Hammer and Chalamet. Image credit: Sony Pictures Classics.


“Art doesn’t need interpretations. It has enough problems proving that it exists, that it still is legitimate. It’s all voracious cannibalization, cross-references, and cryptic connotations crying to be interpreted…

“Art history fronts for art, and often replaces it altogether. Everything is being historicized now that there is nothing left that’s worth historicizing, and the same goes for the pollution of exhibitions…

“Artists themselves become historians of their own impossibility to survive their art.” — Sylvère Lotringer*

From Lotringer’s lips to the big screen…

THE SQUARE—an uproarious look at at the supposed customs, pretensions, and fears of the inhabitants at the art world’s highest levels—is Ruben Östlund’s follow-up to Force Majeure, and a huge leap forward for the European director.

This farce of miscommunication is largely set in the Museum X-Royal, the former residence of Sweden’s royal family (who have been decommissioned), and derives its title from an actual artwork Östlund created in 2014.



Now playing.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles.



10850 West Pico Boulevard, Los Angeles.


*Sylvère Lotringer and Paul Virilio, “A Pitiless Art?,” in The Accident of Art (New York: Semiotext(e), 2005), 33.

Elizabeth Moss (left) and Claes Bang in The Square (2017). Image credit: Magnolia.