The Dallas Movie Screening Group

This is the homepage of the Dallas Movie Screening Group. To join our mailing list you must sign up at our group page on Yahoo. You will then be connected to receive notices on how to find passes to the local screenings in the DFW area. It's up to you to pickup or sign up for passes. You can also barter, trade or just giveaway passes you don't want, need or share with other members of the group. Please read the instructions on the Yahoo page very carefully before posting. This group is closely moderated so that your mail box is not full of spam or other unnecessary mail. We appreciate everyone's consideration and cooperation.

You can use this homepage for posting comments, reviews, and other things that cannot be posted to the group. Of course spam is not allowed. Thanks!

To join the Dallas Movie Screening Yahoo Group:

Reesa's Reviews can also be found at:

Logo art by Steve Cruz

Website and Group Contact:

Monday, July 22, 2019

Anime-Zing Monthly Series Launches at the Alamo Drafthouse


Anime delivers a colorful world of giant robots, giggling wizards, and post-apocalyptic death machines – but it's also so much more. Beginning in August, Alamo Drafthouse will bring the best of the Japanese artform back to the big screen with ANIME-ZING, a new monthly programming series. ANIME-ZING is dedicated to sharing the wonders of anime with everyone – die-hard enthusiasts and those just curious to see what all the hype is about.

Starting with titles like NINJA SCROLL, MILLENNIUM ACTRESS and VAMPIRE HUNTER D, ANIME-ZING takes a deep dive into the amazing archive of Japanese animation, from the genre-soaked universe of science fiction and fantasy to the emotionally rich dramas about the world right outside our window.

Get tickets to NINJA SCROLL here, or check out the official ANIME-ZING series page for more info and upcoming shows.

Alamo Drafthouse DFW links


About Alamo Drafthouse
Alamo Drafthouse Cinema was founded in 1997 as a single-screen mom and pop repertory theater in Austin, TX. Twenty-two years later, with 40 locations and counting, Alamo Drafthouse has been called "the best theater in America" by Entertainment Weekly and "the best theater in the world" by Wired. Alamo Drafthouse has built a reputation as a movie lover's oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star-studded special events. Alamo Drafthouse created Fantastic Fest, a world renowned film festival dubbed "The Geek Telluride" by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. Alamo Drafthouse's collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. Alamo Drafthouse continues to expand its brand in new and exciting ways, including Birth.Movies.Death., an entertainment content platform for movie lovers, and the American Genre Film Archive, a nonprofit film archive dedicated to preserving, restoring and sharing film.

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Sunday, July 21, 2019

AFFD2019 - Missbehavior

In his film “Missbehavior,” writer / director Ho-Cheung Pang takes a single-minded theme for his movie’s ribald humor, building his movie off of a paper-thin concept – the quest for a bottle of breast milk. “Missbehavior” is a feature that’s more interested in relishing in its ridiculousness without thinking whether it should. It quickly places itself in the gutter and stays there.

The film gets its start when, following a cheeky seventies era title sequence, a policewoman (Gigi Leung) is confronted by her estranged friend (Isabel Chan) who begins to tell of the recent woes of their friend June (June Lam). When June’s boss, Luna Fu (Isabella Leung), asked her to make a cup of coffee for a prospective client, a miscommunication led June to make the coffee using Fu’s own refrigerated breast milk instead of the office’s low-fat milk. Fu’s breast milk is in the company refrigerator in a generic glass bottle with the letters “LF” taped on it. Maybe this is a cultural barrier but Fu’s bottle of milk looks nothing like a bottle you’d expect to find in a store, especially with its hand-written label, making the film’s premise one that’s already highly implausible. Leung and Chan’s characters start a crusade to bring their group of friends, now only held together by an internet chat group calling themselves “the bitches,” together to help June get a bottle of the precious liquid before her boss goes home for the day.

It’s possible to make an excellent film out of a ludicrous premise but “Missbehavior” doesn’t even come close to being a passable one. Jokes fall flat, again perhaps due to cultural barriers, without a single one of the ensuing shenanigans causing even a slight smirk (it’s probably a good idea to note that there were multiple walk-outs during this screening).

“Missbehavior” is driven by its own misguided manic energy. It opens with a nauseously quick-paced editing style that never lets up as it quickly introduces the lead group of characters and begins to flesh out the quarrels within the group. Since so many characters are introduced at once, it can be a bit hard to decipher who is who throughout the film’s opening act. Once the movie settles into its groove (for better or worse – in my taste worse) and established its characters, it’s easier to identify and keep up with who’s who.

Pang keeps his film rolling with increasingly absurd episodes ranging from breaking-and-entering (in bright blue bodysuits) to posing as a fictional non-profit organization outside the breast-feeding room in a mall. There’s even an aside in one of the movie’s vignette-like scenarios about one of the women having to poop in a restroom in the elementary school, putting the film’s frequent potty-driven humor in the spotlight. Within each episode, strung together via a connecting device featuring a cityscape broken up with shots of the group, Pang enters into dramatic territory working to resolve the issues that have arisen within this group of friends.

“Missbehavior” is sure to be divisive with it’s over-the-top and often juvenile humor, though I suspect most will not find this one in the slightest bit enjoyable.
(Review by Bret Oswald)

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AFFD2019 - Youngju

After the sudden death of her parents, Youngju (Kim Hyang-Gi) has her childhood stolen away, left with the care of her younger brother Youngin (Tang Jun-Sang). Five years later, the siblings living situation has only worsened. Youngju is now on the cusp of turning twenty, entering into adulthood with no degree and no career prospects – she works stocking shelves. Her aunt (Chang Hyae-Jin), who was left with the fiscal responsibilities of Youngju’s parents (their debt and paying for the care of their children), wants Youngju to sell their apartment. Desperate to hold on to their home, Youngju denies her aunt’s demand but finances are on the verge of evaporating and trouble soon arises.

Writer / director Cha Sung-Duk’s debut feature “Youngju,” titled after it’s lead character, is a melancholic story about loss, its effects, and finding comfort (and maybe forgiveness) in surprising places. Youngin falls in with the wrong crowd and gets himself into legal trouble. Now in need of money to keep Youngin from being locked up and having burned bridges with her aunt, Youngju decides to confront the man responsible for her parents’ deaths in hopes of demanding money from him to help with her financial woes.

Her search leads her to the workplace, a small shop selling tofu, of Sang-Moon (Yoo Jae-Myeong) and his wife Hyang-Sook (Kim Ho-Jung). Without telling them who she is, Youngju starts working for the couple. But instead of fulfilling her initial desire for revenge, Youngju finds herself sucked into the lives of the troubled couple, who have had their own share of dilemmas and set-backs due to the accident caused by Sang-Moon.

“Youngju” is a character driven film, a movie more focused on exploring its characters’ emotions and their interactions with each other. Sung-Duk doesn’t present Sang-Moon as someone to be reviled (or even to pity). He’s just an everyday man on the street who had an accident that, unfortunately had long-lasting, devastating ramifications. Sung-Duk keeps the story simple, keeping the film dramatic without delving into soap-opera like melodrama.

The actors do a fine job in their respective roles. Kim Ho-Jung fares the best of the lead cast. She does a fantastic job of portraying the nurturing wife of Sang-Moon, attaching herself to Youngju in lieu of her own child. The other roles feel fairly typical for this type of film. The performances work in context of the movie but none of the actors, other than Ho-Jung, really stood-out.

Like the acting, the cinematography doesn’t offer up much of note. Again, like the acting, it’s typical for this type of film. The camera’s often unsteady, bobbing around slightly instead of keeping a steady shot. It also works in context of the movie but doesn’t leave the audience with any memorable imagery.

Sung-Duk draws the story to an emotional charged climax that, unfortunately, overstays its welcome. The point is made but instead of moving on and closing out the film, Sung-Duk lingers for an extended period of time on his subject. What could have been a satisfying conclusion to this quiet story is dragged out to nearly unbearable lengths. It gets its point across but leaves the audience to stew in it, a decision that may cause some viewers to leave with feelings of frustration rather than release.

Worthy of checking out if you are into emotionally and character-driven dramas. Otherwise, it’s probably better to seek out another film to view.
(Review by Bret Oswald)

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Movies Scheduled for the Week of Jul 21 - Jul 27

Hot enuff for y'all out there. We still have to endure August and September. It's very cool viewing at the Angelika this week with the Asian Film Festival Dallas with their amazing slate of curated films that let you glimpse into a countries, landscapes, people and stories that you can't find anywhere else. Festival ends on Thursday. Don't miss out!

I know everyone wants to get passes to the Hollywood screening next week. And the folks that won passes will most likely be using theirs. Asking people to give them up to you when there are contests still pending... Enter them.

Jul 21 - Jul 27

Mon - Jul 22

Earth X: Into the Canyon - 7:00 pm - Angelika Dallas
This Changes Everything - 7:00 pm - Various DFW locations

Tue - Jul 23

Brian Banks - 6:30 pm - AMC Northpark
Once Upon a Time in Hollywood - 7:00 pm - Alamo Richardson

Wed - Jul 24

Farewell - 7:00 pm - AMC Northpark
Good Boys - 7:30 pm - Angelika

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Thursday, July 18, 2019

This Changes Everything

(Review by Chase Lee)

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The film Stuber showcases Kumail Nanjiani as a rather chill easy-going Uber driver ( Stu) whole by chance becones caught up in a rather bloody and violent police/ criminal car chase across LA, tracking a really bad drug dealer.

LAPD detective Vic Manning (Dave Bautista) hires Stu when his car is destroyed because he wrecked it while trying to drive after LASIX surgery against Dr orders. Both are a study in personality contrasts and intensity levels, especially because Stu is desperately trying to make a good impression and earn a coveted five star passenger rating, after several rides hilariously leave him with one star or worse ratings. Vic is extremely desperate and blindly driven in getting this guy, who escaped him many years earlier.

Stu and his fastidiously maintained Uber car find themselves in for the ride and experience of their lives. Stu isn't exactly the bravest branch on the tree, a rather innocent and peace living guy. We are often pleasantly entertained by his shocked and panicked reactions as things unfold in an odd combination of violence and comedy.

Be forewarned. The film is quite violent. Sometimes it makes sense and sometimes it just feels off. A few innocent bystanders are taken out in the process of the pursuit and that's just frustrating. Evil drug dealers you know. The casting is all there and they do the best they can with a rather predictable story line. It is certainly amusing in parts.

Happily, Mira Sorvino makes a return to the screen but her talents seem somewhat wasted. Joining her are Betty Gilpin and Karen Gillan in additional minor roles. One being the friend/ hook up Stu has been trying to get to all day and night long as he begins to realize he's going to be busy driving and ultimately aiding Vic until his goal is realized. No matter how long it takes.

Opinions appear mixed. Critics are not enthused but audiences are throwing their interest into this pairing.
(Review by Cheryl Wurtz)

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Wednesday, July 17, 2019


Writer/director Lulu Wang shared the story of her grandmother's illness on This American Life. Wang expanded it into a semi-autobiographical feature film that will linger in your heart for a long time to come as it addresses the nature of immigrants dealing with two cultures. Starring rapper and actress Awkwafina (a.k.a. Nora Lum) who was the scene stealer in Crazy Rich Asians plays Billi whose parents brought her to the U.S. as a child. The film premiered in the U.S. Dramatic Competition section at the 2019 Sundance Film Festival.

The beginning of the film declares that the story is "based on an actual lie". Billi discovers that her beloved grandmother Nai Nai (Zhao Shuzhen) has been diagnosed with lung cancer and only has a few months to live. Apparently it is common in families not to tell the sick person they are going to die, so her parents (Tzi Ma and Diana Lin) didn't tell Billi that they were going back to China because Billi who wears her heart on her sleeve would not be able to keep the secret. Billi goes anyways. The pretext of the whole family visiting is her paternal cousin is getting married to his Japanese girlfriend of only a three months. Her Nai Nai is thrilled for the reunion and is organizing a huge wedding party wanting lobster but can only get crab. Nai Nai is a force in which her two sons, their wives and children, various aunts and uncles revolve.

One would think such a somber subject would be a tearjerker. It is, but in a good way. Wang immerses the viewer into the personal dynamics of the family. The universality of family gatherings especially when dealing with those who left for another country versus those who stayed is quite understandable even if it's just people who moved to another city coming back to the homestead. You may not see them for years, but you step into the same rhythm enjoying the differences. Plus it's the big dinners when the family gathers and everyone is talking, catching up with their lives. Food is the translator woven together with love. Billi can't seem to stop the tears pooling in her eyes thinking that she is losing her grandmother who she calls fairly often from New York. But she manages to keep the information inside while enjoying each and every minute she can share with her Nai Nai. Awkwafina shows that she is more than a comedic distraction in a plot. She makes us remember it's important to appreciate one's family ties and hug the one your with.
(Review by reesa)

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