drive-in

“Movie House of Worship” is a regular feature spotlighting our favorite movie theaters around the world, those that are like temples of cinema catering to the most religious-like film geeks. This week, I’m celebrating a new local favorite of mine, which could probably be substituted with many other lasting drive-ins around the U.S. If you’d like to suggest or submit a place you regularly worship at the altar of cinema, please email our weekend editor.   Name: Starlight Six Drive-In Location: 2000 Moreland Avenue SE, Atlanta, GA Opened: 1947, as a single screen; became the Starlight Twin with the addition of a second screen in 1956; final four screens were added in 1983. No. of screens: 6 Current first run titles: Each screen has two titles, and these can be watched as a two-for-one double feature. This week’s most perfect pairings are Frankenweenie and Paranorman, Argo and The Bourne Legacy, and Hotel Transylvania and Here Comes the Boom. The other three are Looper and Resident Evil: Retribution, Sinister and Dredd, and Taken 2 and End of Watch.

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Criterion Files

Flesh for Frankenstein and Blood for Dracula. Island of Lost Souls. The Most Dangerous Game. The Night of the Hunter. The Blob. For a company perhaps best known for releasing pristine editions of international arthouse classics, The Criterion Collection certainly has a healthy amount of cult films in its repertoire. Cult cinema is often a difficult beast to recognize, for such films avoid the roads best travelled in their journey towards recognition and renown. Unlike seminal films in the collection including The 400 Blows, 8 ½, or Rashomon, cult films aren’t typically met with immediate cultural or institutional recognition upon release, aren’t made by internationally-recognized talent, and don’t always have an immediately traceable history of influence. That is, however, what makes cult films so interesting and so valuable: they emerge without expectation or pretense and signal the most populist and anti-elite means by which a film can gain recognition, pointing to the fact that there are always valuable films potentially overlooked between the pages of history. Herk Harvey’s low-budget drive through horror masterpiece Carnival of Souls (1962), like many cult films, emerged into the top tier of film culture in some of the unlikeliest of ways. Harvey was an industrial and educational filmmaker; the $33,000 Carnival was his only feature work. The film had ten minutes lobbed off of it for its drivethru run to fit more screenings, and was largely a non-event when it first graced American screens. Carnival’s success is owed mostly to genre film festivals, late-night television […]

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