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:
dallasmoviescreenings-subscribe@yahoogroups.com

Reesa's Reviews can also be found at:
http://www.moviegeekfeed.com

Logo art by Steve Cruz http://www.mfagallery.com

Website and Group Contact: dalscreenings@gmail.com

Sunday, January 14, 2018

Movies Scheduled for the Week of Jan 14 - Jan 20


It's the middle of January and they are saying it might snow. They are always saying it's gonna snow. I'll believe it when I see it. But a word of warning, it's gonna be bitterly cold on Tuesday night, and that is when there are three movies screening. Stay warm and safe, folks.

It's so weird not to have many films scheduled for the end of the month. Black Panther doesn't come out until the middle of next month. Will they promo screen it for us? Who knows? They are not doing a promo for Maze Runner:The Death Cure. Well, enjoy the time off to catch up on the new Netflix, Amazon, and Hulu offerings. Go to the Fort Worth Stock Show.

You know folks, if you are having trouble with a particular website, please write to the website owners. We have no control over your particular browser has trouble accessing pages. We usually check out the links we share with y'all. If it works for us, then it should work for y'all. We can't guarantee the site still has passes available. We look to see at the time. We won't post it if all the passes are gone.



January 14 - January 20

Tues - Jan 16

12 Strong - 7:00 pm - AMC Northpark
Den of Thieves - 7:30 pm - Angelika Dallas
Forever My Girl - 7:30 pm - Angelika Plano

Wed - Jan 17

12 Strong - 7:30 pm - AMC Northpark
Den of Thieves - Cinemark 17














Bookmark and Share

Saturday, January 6, 2018

Movies Scheduled for the Week of January 7 - January 13


Here we are in the first full week of the new year and it's either freezing or sweating. But that is Texas. At least we were hit with the cyclone bomb and are cars are frozen in the flooded streets. Those wonderful videos on Facebook were from the town I used it live before moving here.

Anyways, it looks like Wednesday is going to be really busy at Northpark. Please stay calm and chill in the face of humanity. School is back, holidays are over, life should settle in the usual patterns. January and February don't usually hold the promise of exceptional movies. Just enough to keep one mildly entertained.

Don't forget the Golden Globes will be celebrating the possible Oscar front runners Sunday night. What was your faves?

January 7 - January 13

Sun - Jan 7

Paddington 2 - 10:00 am - Cinemark 17

Tue - Jan 9

Paddington 2 - 7:00 pm - AMC Northpark
The Commuter - 7:00 pm - AMC Northpark
The Commuter - 7:30 pm - AMC Northpark

Wed - Jan 10

Phantom Thread - 7:00 pm - Highland Village Theater

Thu - Jan 11

Alien Intrusion: Unmasking A Deception - One night only, various theaters




Bookmark and Share

Thursday, January 4, 2018

Insidious: The Last Key





(Review by Chase Lee)





Bookmark and Share

Hostiles







(Review Chase Lee)




Bookmark and Share

The Post





Reel Time with Joel and Chase

A Potently Relevant Gut-Punch to the Current Administration and a Lesson of History Repeating Itself

Title: The Post
Rating: PG-13 for Language & Brief War Violence
Run Time: Ihr & 43min

Joel’s Review
**** (out of ****)


In director Steven Spielberg’s The Post, the leader of the United States of America (and, by proxy, the free world), with the weight of the government behind him, has blacklisted at least one major news organization following the potential release of proof that his administration was involved in a mass political cover-up involving, to some degree, rigged elections. Until one gets to the details of the puzzle pieces, the comparison between this story and what is currently happening in the States now is undeniable. The screenplay by Liz Hannah and Josh Singer certainly drops a handful of lines of dialogue, delivered by its performers with a shade of a wink, into the proceedings that seek to make that point.

It’s a worthy point, though, and Spielberg, one of the cinema’s great modern humanists, frames the point as a plea to its audience to listen. He is a filmmaker, after all, who has reached his level of clout through ignoring, when necessary, the nuance of a story and simply going for the broad strokes, even while handling the moments of nuance with a firm grasp. Here, in one of his shortest pictures (and his best in perhaps a decade), the director hits the ground running, crafts an accomplished piece of straightforward storytelling and impressive filmmaking, and gets out. It quite mirrors the act of journalistic reporting: telling us the who, when, where, what, and why.

That might make the film sound dry, but it is not. Spielberg, the screenwriters, and editors Michael Kahn and Sarah Broshar cram a lot of information into a tightly assembled package that is constantly moving, and John Williams’s score elevates the tension without specifically guiding it. Cinematographer Janusz KamiƄski, meanwhile, utilizes his now-famous heavenly-bars-of-light-through windows composition scheme to great effect, giving the film a distinctive look and tone that assures it won’t feel like a repeat of previous films of this ilk (1976’s towering All the President’s Men is the most obvious one). Standing on the shoulders of a great crew is a defining feature of Spielberg’s oeuvre, and this is the newest example of that process in motion.

Right from the prologue, in which Daniel Ellsberg (Matthew Rhys), a military analyst for the RAND Corporation, exits a bit of controlled chaos in the 16th year of Vietnam War, only to find himself witnessing the lies of his superiors about the conflict’s efficacy. Bob McNamara (Bruce Greenwood) admits that Ellsberg is right in his assertion that the war isn’t changing anything, then does a 180 with the press, claiming that it’s headed in the right direction. Ellsberg steals the documents that prove the United States knew they had no chance to win the conflict, that four Presidencies had lied about this fact, and releases them to the New York Times.

This sends shockwaves through the country’s leadership. President Richard Nixon (who was less than a year away from another controversy that would eventually overshadow this one) censures the Times, which itself is a headline-worthy story. It catches the eyes of Kay Graham (Meryl Streep), the publisher of the Washington Post she inherited from her late father, and Ben Bradlee (Tom Hanks), the publication’s executive editor. Two questions arise: How does one frame the censorship of media that casts a negative light on the country’s leaders, and when the documents themselves fall into the Post’s lap, should they press forward in the face of potential prison time?

The narrative divides its time between that one and the story of Kay’s facing down the rampant sexism that leads to an otherwise all-male group of board members and the belief that a woman, who only gained the paper through the will and testament of her father, should not oversee a publication with so much at stake. Streep is tremendous in a performance that builds and builds to a specific moment of exasperated relief (and more than a little concession) when the decision to run with the story – again, in the face of a board who would rather a woman not make that decision – becomes an immediate reality.

The other half of the narrative is the more prominent half, as investigative reporters working under Kay and Ben seek out and seek to publish sections of what would come to be known as the “Pentagon Papers.” A thorough and superb supporting cast, only one or two of whom don’t have a Big Moment to call their own, elevate the proceedings: Greenwood as McNamara (who isn’t conflicted about the President’s actions but warns Kay of the crap that will hit the fan if she publishes), Rhys as a troubled Ellsberg, Sarah Paulson as Ben’s clever, long-suffering wife Tony, Bob Odenkirk as Ben Bagdikian (who finds Ellsberg and keeps his identity close to the chest), Jesse Plemons as Roger Clark (a meticulous lawyer who finds himself overwhelmed by the job at hand), and even more where that comes from. Every performance clicks.

The movie does, too, especially as it enters a climactic race to publish that is every bit as thrilling as an action movie, if not for the fact that it features no explosions and only minimal running on the part of the characters. What follows features the whispers of a courtroom drama that it never becomes. It doesn’t need to. The legal decision – that a free press informs the governed, rather than appeasing the governors – is all we need to know. The point is obvious, but it’s so obvious that the point is made merely by its presence. The Post has, at its core, a rock-solid sense of dramatic forward motion, and it’s the story we need to hear right now.
(Review by Joel Copling)




Chase’s Review


(Review by Chase Lee)



Bookmark and Share