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

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Friday, February 28, 2020

Best of the Fests


Dallas is getting culturally diverse on the films being made and released to the public.
There are many varieties of films releasing in the Dallas Areas via showcasing at many types of film festivals here in Dallas, TX, presented by EarthX and it’s film division, EarthX Film. On February 27th through March 1st, EarthX is showcasing 11 films that gain populace from the audiences or represent the aesthetic work from the filmmakers. The festival will either take place at Alamo Drafthouse Cedars or Texas Theatre.

The participating films presented from each film festival include: 3 Star Jewish Cinema, Asian Film Festival of Dallas, Czech That film, Deep Ellum Film Festival, Denton Black Film Festival, Dallas International Film Festival, and many others. Additionally, filmmakers who worked on these films and productions will also be making appearances for Q&A sessions as well, including filmmaker and musician Luke Dick.

Here are the main feature film selections that were selected for this year’s Best of Fests: Golda’s Balcony, Winter Files, Flannery, Brotherhood, The Witch Part 1: The Subversion, Fantastic Fungi, Red Dog, Swallow, International Falls, Building the American Dream, and Namdev Bhau in the Search of Silence.

The festival also presents a plethora of short films, but will showcased either in separate show times or in front of the participating films being selected as mentioned above. You can find more information online at to see which films, depending on the schedule, you’re looking forward to see from February 27th to March 1st. Festival Passes and student tickets are also available to purchase.
(Reported by Henry Pham)

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Disappearance of Clifton Hill

(Review by Chase Lee)

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Sunday, February 23, 2020

Movies Scheduled for the Week of Feb 23 - Feb 29

Here we are at the end of Feb. March is supposed to go in like a lion and out like a lamb. Will be nice to plant some flowers and open some windows soon.

So how are the lines working for y'all at Northpark? If my car feels better and can go out and play this week we may try and finally go to a screening. But the thought of standing sounds painful. Missing ya'll movie friends.

Feb 23 - Feb 29

Mon - Feb 24

Burden - 7:00 pm - Angelika

Tue - Feb 25

The Invisible Man - 7:30 pm - AMC Northpark
Emma - 7:30 pm - Angelika

Wed - Feb 26

My Spy - 7:00 pm - Cinemark West
The Invisible Man - 7:30 pm - AMC Northpark

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Thursday, February 20, 2020

The Call of the Wild

Jack London's beloved 1903 publication of The Call of the Wild has been remade once again. This version stars Harrison Ford, who at 77 looks and sounds the part of the reclusive adventurer, John Thornton, mourning a lost son and an estranged wife, who befriends Buck, a large, active dog who finds himself quite out of his element in the Klondike area of Alaska during the Gold Rush.

Our doggie hero finds himself at odds with his wealthy family, the thief, bad guys, a sled pack, the elements, water, a spirit dog, the landscape, bears, more bad people and ultimately with himself as he senses calls from all around him, including an entire wolf pack as he returns to his roots and all of his inborn instincts as they return. He meets a few who love, respect and support him on his journey.

Buck had been the pet of a Judge and his family and was quite spoiled despite his energy level. Finding himself scolded and banned to the outside, an opportunist seizes the chance to make some money by tricking and stealing Buck and selling him off as a sled dog in the far North. Very far from home in a strange new land, including his first introduction to snow. The two who choose him from a large shipment of dogs for a US postal sled dog route, Perrault and Mercedes, assist him as he adjusts to all the strange surroundings and new demands.

The Call of the Wild is a tale of Buck against the world in all its forms. During the journey, Buck reconnects with his genetic ancestors in real and in cellular level form. This version of Buck moves in amazing ways and emotes very real emotion with people and creatures he encounters. That is because he is computer generated. The story could not have been told with the same level of drama and attachment without CGI.

Buck is actually modeled after an actual dog adopted from a shelter in Emporia KS and is the same breed mix as in the book. The glorious and expansive scenery is also CGI and is relatively seamlessly embedded with the characters. The animals as CGI? Not so much seamlessness but it is only distracting at times. In this case it was a necessary move to achieve all that the producer and directors wanted to convey.
This version of Buck is almost human in his desire to connect with, work hard for and please his human master of the moment.

A good film for families as it is rated PG. May be scary for younger children. Combining man's best friend with adventures in the great outdoors is usually a recipe for success and is a visual treat.
(Review by Cheryl Wurtz)

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Sunday, February 16, 2020

Movies Scheduled for the Week of Feb 16 - Feb 22

Maybe it's because it's a sort of holiday (President's Day) for the shortage of screenings this week. But next week will make up for that.

Has anything exciting happening or problems at the screenings. I have unfortunately been stuck at home for the past couple months with a deadish car. Email me if you have concerns.

Also is you sign up your friends for our Facebook group page, please make sure they live in the DFW area. If it doesn't say somewhere on their page, that they are living somewhere in TX, they will not be approved.

Feb 16 - Feb 22

Wed - Feb 19
My Boyfriend's Meds - 7:30 pm = AMC Northpark

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Thursday, February 13, 2020


*** (out of ****)

With obsessive detail and from one specific perspective, Incitement recounts the political fervor, the psychological mindset, and the historical events that led to the November 1995 assassination of Yitzhak Rabin, a figure of great controversy for his support of the Oslo II Accords, which granted a peace agreement between the government of Israel and the Palestine Liberation Organization (PLO). This was seen, not only as a betrayal, but as a sacrilegious act by the far-right wing in Israel, and the unique thing about co-writer/director Yaron Zilberman’s film is that it takes on the perspective of Rabin’s assassin without ever affording Yilgar Amir all that much in terms of sympathy toward the extremist.

It is a difficult balancing act, but part of it is achieved through the performance by Yehuda Nahari, who plays the film’s version of Yilgar with both righteous determination and almost psychopathic precision. Much of Zilberman’s screenplay, co-written by Ron Leshem (with additional writing credited to Yair Hizmi), is docudramatic in nature, with Rabin seen almost entirely through archival and news footage (the exception being the sequence of Rabin’s assassination, for which a body double is briefly provided but barely seen). The film cuts to credits almost immediately upon the moment of the killing, which happened in the public square and was caught on a bystander’s home video camera.

Amir was sentenced to life in prison, exacerbated by a law six years after the incident that prohibited him from qualifying for parole or early release. The challenge for Zilberman and Leshem is to tell this story from Amir’s perspective without letting him off the hook. It mostly works, likely because Zilberman keeps just enough distance between the audience and the protagonist through some of the devices of the storytelling at his disposal. One would be the approach, which is like a clinician’s in its stern atmosphere, and the other would be the presence of dissenting voices trying to intervene in Yilgar’s self-righteous attempt to seek justice on behalf of the observant Jews with whom he congregates.

The opposition are secular Jews, inspired by Rabin, his political rival-turned-colleague Shimon Peres (also only seen through footage and by proxy of a body double) and Palestinian leader Yasser Arafat (never seen in any sense and only mentioned through disgusted mouths). More personally, though, Yilgar only has his parents (played by Amitai Yaish and Anat Ravnitzki) and Nava (Daniella Kertesz), his first of two girlfriends in this narrative, to try to bleat feebly, in his mind, about the futility of violence, especially in the aftermath of a pair of suicide bombings committed by Palestinians in retaliation for an unprompted attack on a worship center by Israeli forces.

For Yilgar, that vicious cycle of violence is neither explicable nor worthy of the explanation. He has no answer for anyone who asks directly about the violence until sometime near the end of his self-imposed mission of vengeance (egged on by a crew of three including his brother, played variously by Yoav Levi, Dolav Ohana, and Raanan Paz, as well as a second girlfriend played by Sivan Mast), disguised as a kind of religious liberation. Incitement crucially never engages with that kind of ideology except to deconstruct the face of it. This is primarily a tightly wound thriller built out of nervous energy, clearheaded politics, and a risky but potent sympathetic experiment at its center.
(Review by Joel Copling)

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The Photograph

In writer/director Stella Meghie’s “The Photograph,” journalist Michael Block (LaKeith Stanfield) is sent to Louisiana for his latest assignment, an interview with Isaac Jefferson (Rob Morgan). The exact purpose of this interview is muddled when, shortly after arriving, Michael catches sight of a collection of framed photographs placed on Isaac’s mantel. Sitting among them is the photograph of the movie’s title – a snapshot of the artist herself, photographer Christina Eames (Chanté Adams). This sidetrack leads Isaac to reminisce about his long-ago girlfriend and alters the course of Michael’s article.

Back in New York City and looking into Christina’s work, Michael meets her daughter Mae (Issa Rae), who is grieving from the recent passing of her mother and is planning an exhibition of her work. As Mae discovers her mother’s past, shining light on a woman she always considered distant, she finds herself falling in love with Michael. “The Photograph” focuses on the budding relationship between Mae and Michael in the present and the relationship between Christina and Isaac (played in his youth by Y’lan Noel) in the past.

Christina and Isaac’s storyline is integrated into the film through a letter that Mae finds in a safe-deposit box, which also includes a print of the titular photograph. Mae begins to heal as she reads the letter and learns about her estranged mother. Through her characters, Meghie explores how a person’s actions don’t always match their emotions, presenting Christina as a stand-offish character unable to express her love to her family but easily able to express herself in her artwork.

It’s not too hard to figure out where this story is going. Meghie directs with a sure hand, giving viewers a finely photographed movie. This isn’t a film that’s trying to wow viewers with its photography. The shots are unassuming and well laid out, keeping the focus on the story (however simple it may be) and the characters. The sections focusing on Mae and Michael work better than the ones focusing on Christina and Isaac. Rae and Stanfield give better performances and have better chemistry than Adams and Y’lan, though Adams does better with her solo scenes.

The past events depicted in “The Photograph” shed some light on the present but, unfortunately, the movie feels like it’s crawling to its destination. The pacing of this film is just off, making the movie feel much longer than it actually is. Meghie glacially moves through her narrative, slowly building to the final resolution, inserting some brief comedic moments that help to liven up the proceedings. She isn’t aided by the film’s mellow, jazzy score which helps instill its sluggish pace.

Despite its generic storyline and pacing issues, the movie still manages to work. You come to care about Mae and Michael and hope for a happy outcome. “The Photograph” doesn’t offer anything new to the romance genre but for viewers looking for a romantically themed theatrical outing this will probably fit the bill.
(Review by Bret Oswald)

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