Getting back to the roots of mergemovies!

Today is the beginning of a five-part series (more in this series will be spaced throughout the summer) exploring movie theaters (active and not) in and around Cincinnati, Ohio.  As the adage goes, “A picture is worth a thousand words.”  So, instead of writing a ridiculous amount like I did for my recent Avatar post, this time I will let the pictures do the talking.

We begin with the 20th Century Theatre located on Madison Road just outside of downtown Cincinnati.  It opened in 1941 with the film Blood and Sand and closed its doors to cinema in 1983.  The first few times I visited Cincinnati, I was only to get a quick drive-by glance.  It wasn’t until this past January when I actually took the time to examine the  theater up close that I found it now regularly hosts concerts and special events.  Even through it no longer holds movie screenings, it great to see that it is still being used for entertainment purposes.  The theater was almost lost to demolition in the late 80s/early 90s and was saved thanks to a string of businesses and organizations that used the theater for a variety of reasons.

During the day, the marquee looks a bit worn, but in a good way.  It is a reminder that this theater, like many in the Midwest, has seen generations come and go, but still remains an important fixture in the community.  Birds perch on the “20th” lettering and fly in and out of the vertical “Century.”  At night the marquee partially lights up, illuminating the surrounding streets in an orange glow.  It gives the area an aura of electricity and excitement–even on a cold January night.

Check out the official website of the theater here: the20thcenturytheatre.com

Aside from the Gene Siskel Film Center (see A Trio of Chicago Theaters Part I), I was able to visit two of the more well known theaters in the downtown Chicago area.

AMC Loews 600 North Michigan 9

The first stop on my Windy City movie theater tour was the AMC Loews located just off the Magnificent Mile.  With time to kill before dinner I was able to catch the 3:30 p.m. Zombieland screening and although it wasn’t my first choice of a film, I had heard good things about it from a friend (the Bill Murray appearance completes the movie, hands down).  This theater is one of the easiest to stumble upon while walking the main strip of the Magnificent Mile, but can be a bit confusing to find if you are relying solely on internet directions.  For whatever reason, searching the theater on Google Maps points you to the 800 block of Michigan Avenue, quite a distance from where it actually stands.  Even with the not so subtle theater title (this may be the most specific name for a movie theater ever), the entrance is actually at the intersection of Ohio and Rush Streets.  Both sides of the building are marked with the Loews marquee, so when in doubt, just look up.

Upon entering the ground floor, visitors are greeted by a large red Loews sign placed immediately above an electronic showtime board.  To the right of the sign is an escalator that leads up to the conveniently placed Heaven on Seven restaurant.  Taking another series of escalators up leads you to the Loews Theatres entrance, complete with oversized wall logo and “Now Playing” posters.  Depending on the movie selected, patrons have the option of entering one of three screening rooms on the first level, hitting up the main concession stand or stepping onto another escalator that leads to the two additional floors (two theaters on the second level and four on the top level).  The color motif gave off a Blade Runner-esque feel as it relied heavily on neon green and blue.  With Zombieland starting in the afternoon, I didn’t really get the full effect of the lights, but I can imagine they would look quite cool and futuristic in the evening.

I have always found the layout of downtown movie theaters to be interesting because they are forced to make due with the space that is available.  This particular AMC Loews is no exception.  With nine screens occupying three floors, space had to be cut from somewhere.  If you are a picky, finicky moviegoer that must have stadium seating and the optimum distance between you and the screen, this particular theater might be a challenge for you, especially on a crowded night.  The rooms in which the films are shown are what I call “flat” theaters (if anyone has a technical term for a theater like this, please send it my way).  This particular style is something I have noticed at many older AMC theaters, especially those that have not undergone recent renovations.  For those familiar with the Lansing, Michigan area, the AMC Meridian Mall 6 also has screening rooms similar to this AMC Loews.  While it is different from what people have grown to expect, I would argue that this style of theater adds a bit of nostalgia and charm to the moviegoing experience (so long as you don’t get stuck sitting behind someone taller than you).

The Loews theater chain–the oldest in North America before its 2006 merger with AMC–actually has quite a rich history with roots that start in the Midwest.  Founded in 1904 by Marcus Loew, Loew’s Theatres Incorporated originally started as a chain of nickelodeon theaters in Cincinnati, Ohio.  When, in 1924, Loew pulled together three firms–Metro Pictures, Goldwyn Pictures Corporation and Louis B. Mayer Pictures–to form the movie goliath known as MGM, Loew’s Theatres Incorporated became the distribution/theater arm for the company.

Even with Loew concetrating on MGM, he still built some amazing movie palaces, especially in the late 1920s.  Scattered throughout the Midwest and the East Coast, the most spectacular of his movie houses  are known as the “Loew’s Wonder Theatres” and still stand in the New York area.  To my knowledge, only one of these theaters–Loew’s Jersey Theatre–still screens films to the public.  When I finally make it out to New York later this year, expect a few updates featuring these old movie palaces.

Even with other mainstream theaters in the downtown area and more eclectic venues that cater to the hardcore Chicago cinephile, the AMC Loews North Michigan 9 is still a great option for visitors to downtown Chicago looking to catch a quick flick.

AMC River East 21

With the Navy Pier IMAX Theater being the sole exception (and a topic for a future blog post), the AMC River East 21 is THE place to see new mainstream releases in downtown Chicago.  Boasting stadium seating (a first among downtown theaters featured on mergemovies), a Lucky Strike Bowling Alley (complete with lounge and bar areas) and as the name suggests, 21 theaters in which to watch films, the AMC River East 21 is one of the most impressive AMC theaters I have had the opportunity to watch a movie in.

In order to understand the significance of the AMC River East 21 to downtown Chicago, it is necessary to delve a bit into the history of its predecessor (and for a short time competitor).  Operated by the Loews Cineplex chain, McClurg Court Cinemas was the reigning champ of downtown Chicago movie theaters before the River East came onto the scene.  Located on 330 East Ohio Street, it opened in 1971 and was later renovated in 1987.  The 1189 seat theater was triplexed (divided up into three different screening rooms) during the renovation, allowing for one large screen and two smaller screens.  With stadium seating, DTS sound systems and, for a brief time, free classic movie screenings on select nights, the McClurg Court Cinemas was a pillar of the moviegoing experience for many a Chicagoan.  But when the megaplex that is the AMC River East opened in 2002, it spelled out certain doom for the aging movie complex.  Since I am not a Chicago native, this is pure speculation on my part, but lacking the charm and history of older movie palaces built in the 1920s, the McClurg Court Cinemas would have had a hard time finding people interested in the operation and upkeep of a 1970s era theater.  In the end, McClurg Court had a great run for just over three decades and eventually relinquished its title as the king of Chicago mainstream cinema when it closed for good in the summer of 2003.

As I walked down Illinois Street near the Chicago River on an overcast October day, I saw the AMC River East 21 marquee jutting out from the building alongside a Chicago International Film Festival banner.  The festival–celebrating 45 years in 2009–just happened to be in full swing the weekend I visited Chicago.  After browsing the program, I had my heart set on watching John Woo’s new Chinese epic Red Cliff, but missed the opening night gala (attended by John Woo himself).  The second screening was the following afternoon, so I set out hoping to grab one of the few remaining tickets.  The fact that this theater is home to a first-rate film festival, as well as press screenings attended by nationally known film critics and appearances by a range of movie stars (Johnny Depp stopped by for the Public Enemies premier) demonstrates just how much pull this particular theater has in the Midwest.

As visitors enter the theater from the street, they are immediately treated to a barrage of AMC images.  Murals depicting AMC employees at work stretch the length of the ground floor as a series of stairways and escalators lead up to the main level.  With the Chicago International Film Festival going strong, flags from every country represented at the festival hung from the ceiling as I stepped off the escalator and into the ticket line.  Apparently my plan to simply show up and buy tickets to one of the most anticipated movies of the festival had occurred to countless other people, so I settled for a film on the normal theater schedule.  Although I was bummed about missing Red Cliff, the Ricky Gervais film The Invention of Lying turned out to be a good choice.  While elements of the story are rehashed from countless romantic comedies, the unique overall concept of the film, the hilarious opening scenes and the fact that it is quite combative towards religion (the US Conference of Catholic Bishops deemed it “morally offensive”),  make me believe that film students of the future will probably be examining this movie, despite its modest reception at the box office.

As with any AMC theater, it is best to get to the earliest showing possible in order to get matinee pricing.  If you choose a film that screens before 12:00 noon, tickets are only $6, regardless of your age group.  Early afternoon prices are slightly more, but  after this, prices shoot up and you pay up to $11.00 per ticket ($8 for children, $10 for seniors).  Add a 3-D movie like Avatar into the mix and prices take another leap, maxing out at $14 ($11 for children, $13 for seniors).  If I know I will be attending a particular movie I will usually buy tickets online in advance, but since AMC sends customers to MovieTickets.com, use this only when you absolutely have to–an extra $1 service fee is charged on EACH ticket purchased online.

After buying the tickets and leafing through the film festival program for a bit, I took the escalator that leads up to the upper level.  I thought the theater looked impressive from the first two floors, but the third floor is really what surprised me.  This level uses images of iconic actors and scenes from a range of classic films to create a mural that extends from the concession area down both hallways leading to the theaters.  It is here where you also experience how busy the theater can get.  It wasn’t bad for the afternoon screening of The Invention of Lying, but when the city is bustling at night, the theater can get packed, as a evening Watchmen screening taught me earlier in the year.  Be sure to arrive early to the theater since the best seats–even with stadium seating–tend to fill up quick.  The rooms in which the films are shown, while nice, are your typical AMC fare.  The one thing that did stand out on this particular afternoon is the carpeting (I swear there must be a scientific study done somewhere about the effect of movie theater carpeting on the human brain), which gave me a great idea for a future mergemovies post (look for “Movie Theater Carpeting Throwdown Volume I” coming soon).

With the ability to show a large number of films and the fact that it is the home of the Chicago International Film Festival, the AMC River East 21 looks to be the dominant theater in downtown Chicago for years to come.  It is clean, fun and while pricey at times (what AMC theater isn’t during peak times) it is a great movie theater that has and will continue to earn repeat visits from this moviegoer.

Ah Chicago! The hipster-yuppie-tourism capital of the Midwest and, as it happens, a great place to watch movies.  A break from the work world allowed me to escape to the Windy City so I could catch up on my second full time job—exploring theaters.

Although I originally planned to visit only one theater on my weekend away, fortune smiled upon me and I was able to catch a film at three of the most well known movie-watching spots in downtown Chicago.  This post (Part I) will focus on the Gene Siskel Film Center and Part II will look at two AMC Movie Theaters in close proximity to the Magnificent Mile.

The Gene Siskel Film Center

Named after the famous Chicago film critic who died in 1999 and located in the heart of the city across from the historic Chicago Theatre, the Gene Siskel Film Center is one of the pillars of the Chicago movie house institution.  Gene Siskel once said his three favorite things about Chicago were “Michael Jordon, Mayor Daley and the Film Center,” so it is fitting that this cinematheque was named in his honor shortly before it moved to its current location on State Street in late 2000.  It was then, and still is, part of the School of the Art Institute of Chicago, one of the largest and most prestigious art schools in the nation.

Nothing seems to stand out about the Gene Siskel Film Center and that is precisely why it stands out.  The film house blends into the city, never looking wanton or ostentatious, a place a person could easily walk by, unaware of its significance.  This is a hefty feat in an area of Chicago that prides itself on glitz, glamour and flashing lights.  A quick glance across the street reveals the famous Chicago Theatre and short jog north puts you outside the new WLS TV Channel 7 Studios.  A thin green marquee on the building and logo on the street level door were the only indicators that I stood in front of one the most revered and respected Midwest revival houses.

Aside from being placed in the heart of downtown, the location of the theater has two things going for it.  The first is its placement along the CTA “L” train route.  If you are staying anywhere near the city (I rode down from Evanston), the theater is only a block away from almost all the CTA lines in the downtown “Loop” area.  The second is a Borders Books & Music just down the street at the corner of State and Randolph.  For early moviegoers or people just looking to kill some time between films, Borders provides the perfect escape from the bustling city (assuming you can find a seat).

Climbing the stairs to reach the second level (where the theater resides) provides a strong visual reminder of the support it takes for an institution like this to continue year after year.  In the middle of the wall that stretches almost two stories high, Gene Siskel’s portrait hangs, surrounded by the names of individuals and groups that donated time, money and effort into making the Film Center what it is today.  Out of all “big cities” I have been to, Chicago is one of the few places where the people seem to truly love their city and the supporters names so prominently featured was an impressive reminder of how important film is to the culture of the city.

With the ticket counter to the right and the food/beverage counter in a corner, the second floor of the Film Center is part movie theater, part café and part art gallery.  Movie posters from around the world line the walls with special exhibits displayed near the back of the gallery.  The exhibit on display during my visit was entitled “Sophisticated Icons: A Selection of Photographs from the Golden Age of Cinema from the Richard and Ellen Sandor Family Collection” and featured some amazing portraits of directors, actors and actresses.  One of my favorites was a photo of Alfred Hitchcock with two birds hovering around his head.  With ample seating and a great view of downtown Chicago, the gallery is the perfect place to discuss film or just relax and watch the hustle and bustle of Chicago from above.

I came to Chicago expecting the Film Center to be a sister or at least a close cousin in spirit to the Detroit Film Theatre (DFT), but my judgment it seems was a bit off.  True, they do occasionally show the same films (as I write this, the Detroit Film Theatre is preparing to show American Harmony), but the atmosphere and number of films that cycle through each venue puts them in totally different ballparks.  Built in the 1920s and elaborately designed by Paul Phillipe Cret and famed architect C. Howard Crane, the Detroit Film Theatre—attached to the Detroit Institute of Arts—is the epitome of movie theater elegance.  The Gene Siskel Film Center on the other hand has a much more modern feel.  The building had obviously been fitted to meet the needs of the Film Center when it moved to its new location, as opposed to the DFT, which still resides in its original space (and is still fulfilling its original purpose).  This is not in any way a negative for the Film Center—it simply results in a different moviegoing experience.

The single most impressive aspect of the Gene Siskel Film Center is the sheer number of films screened each month.  Just a quick glance at the November 2009 calendar shows everything from Willy Wonka and the Chocolate Factory and The Muppets Take Manhattan to Last Year at the Marienbad and The Baader Meinhof Complex.  For those familiar with Detroit area movie theaters, the Gene Siskel Film Center’s film selection could best be described as the DFT meets the Main Art meets the Maple Art.  While a place like the DFT features a “season” of films primarily screened Friday-Sunday, the Gene Siskel Film Center provides films almost every day of the week.  While the season approach gives the Detroit Film Theatre a chance to have common themes or ideas featured throughout a series of films, the Gene Siskel Film Center is able to this on a much greater scale because of its daily programming.  “Muppets, Music & Magic: Jim Henson’s Legacy,” “Mindscapes: The Films of Alain Resnais” and “The Art of the Remake: Revisions and Revivals” are just a few of the programs the Gene Siskel Film Center is screening throughout the fall.

Visitors are never far from a film critic at the Film Center with Victor Skrebneski’s famous Thumbs Up, Thumbs Down photograph of Gene Siskel and Roger Ebert on permanent view in the corridor leading to the screening rooms.  “Intimate” is the word that comes to mind when describing “Theatre 2,” the 61-person theater where I watched American Harmony, an intense look into the world of competitive quartet groups.  The room was well lit and featured yellowish-green curtains and chairs.  The atmosphere the relatively small room created was that of a comfortable private screening, a welcome feeling for those used to droves of people crammed together for the latest blockbuster releases.  From the brief glance I got walking by, the larger 197-person “Theatre 1” looks  impressive, but until I return to Chicago for another Film Center visit, I will reserve all comments.

With an impressive film schedule and a cool downtown ambiance, the Gene Siskel Film Center is a place that has few rivals in the Midwest.  Think of it this way…where else can you find a theater that screens Labyrinth, a documentary about film critics (For the Love of Movies: The Story of American Film Criticism) and Emmet Otter’s Jug-Band Christmas, all on a Monday night?

Discovering the Redford

Last fall, I found myself crammed into Emagine Novi with 200 high school football players waiting for Dennis Quaid to introduce his latest film, The Express.  The cologne-induced daze I had slipped into was interrupted by the faint voice of an elderly gentleman sitting next to me.  “So you like going to the movies eh?” he said, reading me like a book.  We sat there and talked movies, which inevitably led to movie theaters.  “What’s your favorite theater around here,” I said, probing for any hidden knowledge his years could bestow upon me.  “Hands down, without a doubt, the Redford” he said matter-of-factly.  Since the day of this elderly stranger’s recommendation, I have been to the historic Redford Theatre a handful of times—once to see the superb 1944 film noir Laura, another time for a behind-the-scenes look during its open house and, more recently, an evening this past August.

That evening was like stepping back in time.

No longer was I in Detroit on a rainy summer evening, but New York on a cold winter night.  Gone was the humidity, replaced instead by a faint smattering of snow.  My ears were met by excited chatter and a piano tune I couldn’t quite place.  I entered the lobby, ticket in hand, and watched people mill about, running into old friends or simply taking in the sights and smells.  Talk about past films, actors, actresses and directors.  No talk of coming soon.  Tonight was the coming soon.  Anticipation hung thick in the air.  Cinema like this only comes along once in a great while and the people knew it.

On December 16, 1962, Lawrence of Arabia premiered in New York City on a cold December night.  On Friday, August 8, 2009, the film ran once again in all of its 70mm glory at the Redford Theatre in Detroit.  Although the places and seasons were different, the excitement and anticipation for the film was not.  For a brief second, 2009 Detroiters were connected to 1962 New Yorkers through a movie experience like no other.  The same chills that ran down the spines of those in the audience almost 50 years ago ran once more through the crowd sitting in the Redford.

The Redford

Every once and a while, you come across a movie theater that makes you say: this is what watching movies is all about. The look, the feel and even the people in the theater blend together with the film to create a vivid, unforgettable experience.  The Redford is one of these places—a place that that gives off an aura of nostalgia and character without even trying.

Built by Detroit theater baron John Kunsky (later known as John King) and designed by famed architect C. Howard Crane (known for the Fox Theatre and the Capitol Theater—now the Detroit Opera House), the Redford Theatre was a 2051-seat entertainment palace when it opened in January 1928.  With shows ranging from vaudeville to silent films, the Redford was a place for the young and old to come for first rate entertainment.  In those days, adult admission was 30 cents and children were admitted for 15 cents.  I could devote a whole week of posts to the long and storied history of The Redford, but instead I will let readers check out the detailed timeline put together by more knowledgeable folk than I (http://redfordtheatre.com/timeline).

There are two things that really set the Redford apart from other movie venues in the area and (I would argue) the Midwest.  The first is the décor.  Immediately visible upon entering the concession lobby and as you progress farther into the theater itself are the Japanese motifs and characters that adorn the walls.  An impressively painted sky also stretches the length of the Redford’s ceiling and, as of 2008, includes 10,000 feet of fiber optic strands, giving the appearance of twinkling stars.  The Japanese-style décor became a sensitive issue in the 1940s during World War II and much of it was either removed or painted over.  The non-profit Motor City Theatre Organ Society (MCTOS)—who now owns and operates the Redford—has worked tirelessly since then to restore the theater to its original grandeur.

The second thing that sets the theater apart and the main reason (aside from countless hours that MCTOS volunteers put in) it still exists today is its organ.  Just off center and to the left of the stage, the Redford’s original Barton theatre organ still sits gleaming, a star in its own right.  Without its organ, it is doubtful that the theater would be in the cleaned up, restored condition it is now.  The Redford and the Fox Theatre are the only two performance venues in the metro Detroit area that still have their original organs and it is the main reason the MCTOS agreed to purchase the building in the 1970s.  Film and music have always been excellent bedfellows, so it is fitting that the MCTOS started the movie series that still runs today to help pay the cost of their newly owned theater.

The Redford Experience

Located near the corner of Grand River and Lahser, a drive to the Redford is a powerful reminder of the economic realities in the Detroit area.  Driving west on Grand River from Detroit, many buildings sit abandoned where thriving car dealerships and repair shops once stood.  Tall wired fences or barred doors are an all too common scene on this stretch of road.  I mention this not to turn people off to the Redford, but rather to point out how important this theater really is.  Not only has the Redford been around for over 80 years, but it has weathered recessions, depressions and just about anything else thrown its way.  Film has always been a medium that brings people together and the Redford provides a place for the community and people around metro Detroit to do just that—regardless of their economic situation.

Simply put, the Redford Theatre is THE complete package when it comes to seeing a classic film in the metro Detroit area.  Don’t expect lame deodorant commercials or E! News updates about Megan Fox’s latest ramblings before any of these films.  Instead early moviegoers are treated to a concert on the Barton theatre organ by one of the many gifted organists that cycle through the Redford each weekend—a treat worth the $4.00 admission by itself.  During the few performances I have caught thus far, I have heard music ranging from the soundtrack of Disney’s Beauty and the Beast to Led Zeppelin’s “Stairway to Heaven.”  You won’t find any trailers here either—expect classic Looney Tunes cartoons or the occasional 1930s sing-along to precede most films.

The concession stand, which has long been recognized by patrons and the media alike, provides a shining example of how the Redford gets all the little things right.  Apart from ridiculously cheap prices on candy, the Redford also has one particularly unique item on its menu—sweet potato cookies.  I am glad to report that these cookies, made by a local bakery on the same block as the Redford, are delicious in both flavors (regular and chocolate chip).  Aside from the performances and the excellent concessions, the other notable aspect of the theater is the people.  Run entirely by MCTOS volunteers, you can tell that the people working each show truly love the building, the music and the films.

The bi-weekly film series, which is usually divided into a fall/winter season and a spring/summer season, features a gamut of genres and styles.  This past year saw everything from Mutiny on the Bounty to Terminator, while the current season’s films include Dial M for Murder, The Great Dictator, The Blob, Kronos, Werewolf of London, House of Dracula, Dr. Jekyll and Mr. Hyde, My Fair Lady, A Christmas Carol, A Christmas Story and The Wizard of Oz.  Special events are also mixed in throughout the year—like a Three Stooges film festival during Halloween or a holiday-themed Barton organ performance featuring noted organists John Lauter and Tony O’Brien in December.

As I slowly make my way through my list of classic films to watch (see The Ultimate List), the Redford has become sort of a home base for me.  Not only can I view classic films as they were meant to be seen on the big screen, but with an admission price of only $4.00, cheap concessions and an organ concert before every film, the Redford is the very definition of a film experience.  Watching a film at the Redford Theatre is more than simply “going to the movies”—it is a trip back in time and a way to connect, if even for a brief second, to past generations of moviegoers.

Learn more about the Redford or check out its current schedule by visiting their website: http://redfordtheatre.com

The back hallway on the upper level.

People gathering by the concession counter.

The pipes of the Barton theatre organ!

The first ever Ferndale Film Festival (also known as F3) got underway this past Labor Day weekend.  It was great to see, especially in this economic environment, a new film festival sprout up that had so much community support.  The arts community in the Midwest and especially Michigan has been hurt hard by the economy tanking, so anytime businesses and individuals get behind an event like this, it should be cause to celebrate.

The sponsors were a mix of government entities (City of Ferndale), local media (Hour Detroit, Fox 2) and national businesses with a connection or interest in the Detroit or Ferndale area  (Foley and Mansfield Attorneys at Law, Budlight/Budlight Lime—Anheuser Bush).  The board of directors obviously knew what they were doing or at least had some connections when they were discussing how to finance this endeavor.  The main reason I bring up sponsorship—besides the fact that it’s what makes film events like this possible—is that the Ferndale Film Festival took a unique approach to honoring its main sponsor and festival presenter, Huntington Bank.  Instead of simply slapping a logo on every flyer, website or sign, the bank itself was incorporated into the festival lineup.  Before the feature attractions, some locally made short films were shown in which Huntington Bank was somehow incorporated into each story.  The first film (the name of which escapes me) featured a woman having relationship troubles.  Her place of employment?  Huntington Bank.  The second, a short film entitled The Heist was shot using only stop motion technique and Lego bricks.  The heist in question was a bank robbery, and the bank being robbed?  Huntington Bank.  It’s refreshing to see a company give creative control of its image to filmmakers and let them run with an idea without worrying about negative press or how their image will ultimately be used.

Although I missed a good portion of the local film screenings, I was still able to catch the short films that accompanied the Saturday night outdoor screening of Army of Darkness (which, as always, was entertaining).  The festival did a great job of getting the community involved, with businesses around Ferndale hosting film screenings including Dino’s Lounge (where the idea for the festival originated), The Magic Bag, Como’s, Rosie O’Grady’s, AJ’s Café and the Go Comedy! Improv Theater.  The festival planners couldn’t have asked for better weather, as Michigan decided to give us warm weather and clear skies for the majority of the weekend.   About 50 or so people attended the Army of Darkness screening that night at the Ferndale Public Library just off Woodward Avenue, a pretty good turnout considering the festival was competing with the Michigan State Fair, Arts, Beats & Eats and the Hamtramck Labor Day Festival, among other things.

This being the first year for the film festival, there were a few kinks that needed to be worked out.  Even though the parking lot where Army of Darkness was shown was more than large enough to accommodate the small crowd, the area was a little too bright to screen an outdoor film.  Street lights, stop lights and the occasional car made it difficult to see the film, especially in the darker scenes.  Aside from this though, it was an excellent experience—one that I hope to repeat at the Second Annual Ferndale Film Festival (fingers crossed) next year.

The outdoor big screen @ F3

People starting to gather for Army of Darkness