PUTTY HILL Opens March 4 @ the Charles Theatre

PUTTY HILL Opens March 4 at the Charles Theatre!

Come see PUTTY HILL--Matt Porterfield's highly anticipated second feature film--in its Baltimore run at the Charles Theatre, starting Friday March 4! This release is co-presented by the Maryland Film Festival.

SHOWTIMES:
Fri 3/4 - Sat 3/5: 1:30, 4:15, 7:10, 9:40
Sun 3/6 - Mon 3/7: 1:30, 4:15, 7:10
Tue 3/8 - Thur 3/10: 1:30, 4:15, 7:10, 9:40

Tickets for evening screenings available for purchase at www.thecharles.com. Please check double check www.thecharles.com to confirm showtimes.

SPECIAL Q&As w/MATT PORTERFIELD & GUESTS:
Fri 3/4, after 7:10 pm screening: Rafael Alvarez (The Wire)
Fri 3/4, after 9:40 pm screening: Lexie Mountain (Crazy Dreams Band)
Times/dates TBA: Kristen Anchor (filmmaker), Jed Dietz and Eric Hatch (Maryland Film Festival), Megan Hamilton (Creative Alliance), Mike Sragow (The Baltimore Sun)

OPENING NIGHT AFTERPARTY Fri March 4 @ Metro Gallery!
Free w/PUTTY HILL ticket stub; $5 general public, doors 9pm, 21+
Solo set by Dustin Wong (Ponytail); Co La, the new exotic music of Matt Papich; DJ sets by Ivy Barkakati and Rick Ra (Food for Animals)

BEHIND THE SCENES OF PUTTY HILL, w/Carroll Park skate/BMX crew
Sat March 5 @ the Windup Space, 2–5 pm, FREE
DJ sets by Secret Weapon Dave and Mickey Free

Other special events TBA!

Watch the trailer at http://www.puttyhillmovie.com/

“★★★★”– Roger Ebert

“Extraordinary. If thereʼs an independent cinema, this is it.” – Richard Brody, The New Yorker

“Bracingly fresh.” – Michael Sragow, Baltimore Sun

SYNOPSIS: At a neighborhood karaoke bar, friends and family gather to remember a young man who passed away. Knowing little about his final days, they attempt to reconstruct his life. In the process, they offer a window onto their own lives, an evocative picture of working-class America, dislocated from the progress and mobility around them, but united in pursuit of a shared dream.

Gunky's Basement presents Beetlejuice @ the Charles Theatre

BEETLEJUICE hosted by Dan Deacon and Jimmy Joe Roche
Thursday, March 3 at 9pm
The Charles Theater
$5

Tim Burton's BEETLEJUICE is the 4th film in GUNKY'S BASEMENT, the MD Film Fest series curated and hosted by Dan Deacon and Jimmy Joe Roche!

The screening will take place on the largest screen at The Charles Theater 9pm Thursday March 3rd.

As always, this will be a 35mm print for just $5! ... and an awesome screenprinted poster will be created for this screening by a Baltimore-based artist.

The previous films in Gunky's Basement were John Carpenter's THE THING, Alex Cox's REPO MAN, and the director's cut of Ridley Scott's ALIEN. These are always packed, high-energy, unforgetable screenings -- mark your calendar and don't miss it!

Advance tickets now on sale at Red Emma's, Video Americain of Charles Village, and Atomic Books! While tickets will be available at the door, the last Gunky's Basement came within a few tickets of selling out, so we recommend buying an advance ticket or arriving early to the screening.

Gunky's Basement presents ALIEN Director's Cut @ the Charles Theatre

ALIEN Director's Cut! 35mm / $5 / hosts Dan Deacon+Jimmy Joe Roche!
Thursday, January 27 at 9:00pm
Charles Theater

The third film in GUNKY'S BASEMENT is Ridley Scott's director's cut of his horror/sci-fi classic ALIEN!

A 35mm print screens for just $5 Thursday, January 27th, 9pm at the Charles Theater. Don't miss it!

Awesome silkscreened posters created by Nolen and Bruce of Post Typography for this screening coming soon!

ADVANCE TICKETS NOW ON SALE FOR JUST $5 -- get 'em at Red Emma's (800 St Paul), Charles Village Video Americain (3100 St. Paul), or Atomic Books (3620 Falls)... and support these indie local merchants while you're there!

Gunky's Basement is an ongoing MD Film Festival series curated and hosted by Dan Deacon and Jimmy Joe Roche. All films screen from 35mm prints for $5 on select Thursdays on the largest screen at Baltimore's historic Charles Theater, and have original silkscreened posters created by Baltimore artists. The previous titles so far have been John Carpenter's THE THING and Alex Cox's REPO MAN.

Gunky's Basement Presents Repo Man @ the Charles Theatre

REPO MAN Presented by Dan Deacon + Jimmy Joe Roche -- 35mm for $5!
Thursday, December 9
9:00pm
The Charles Theatre

Get ready for the second film in GUNKY'S BASEMENT, the MD Film Fest series curated and hosted by Dan Deacon and Jimmy Joe Roche: Alex Cox's REPO MAN!

This cult classic dark comedy is set in the punk wasteland of mid-80s LA, stars Emilio Estevez and Harry Dean Stanton, and boasts a soundtrack that includes Iggy Pop, Circle Jerks, and Black Flag.

Don't miss this rare 35mm screening of this indescribably unique 1984 film! Just five bucks!

Silkscreened posters created for this screening by Bmore's own ROSE CHASE will be available at the door.

$5 advance tickets will be available at Video Americain Charles Village (3100 St. Paul St.) from Friday 12/3 until Wednesday 12/8.

Gunky's Basement presents John Carpenter's THE THING @ the Charles Theatre

John Carpenter's THE THING Hosted by Dan Deacon + Jimmy Joe Roche!
Thursday, October 21
9:00pm
The Charles Theatre
$5

The first film in GUNKY'S BASEMENT -- a new Maryland Film Festival series of films curated and hosted by Dan Deacon and Jimmy Joe Roche -- is John Carpenter's THE THING!

Come see a beautiful 35mm print of this classic sci-fi/horror film on the largest screen at The Charles Theatre for just $5!

ADVANCE TICKETS ON SALE NOW AT VIDEO AMERICAIN (Charles Village location / 3100 St. Paul St.), ATOMIC BOOKS (Hampden / 3620 Falls Rd) and RED EMMA'S (MT. VERNON / 800 St. Paul St).

Read the Baltimore Sun's Gunky's Basement comes to The Charles

MFF presents Newer & Older Short Films by legendary filmmaker Mike Kuchar plus festival shorts

MFF presents Newer & Older Short Films by legendary filmmaker Mike Kuchar
Friday, July 16, 2010
7:00pm
Charles Theater

Legendary underground filmmaker Mike Kuchar whose films influenced the likes of John Waters and Andy Warhol, will be there live and in person on Friday night at 7pm to present a career-spanning selection of his works at the Charles Theatre. Q&A afterwards.

Then, from noon til six on Saturday and Sunday MFF will present a selection of short film programs culled from the best of MFF 2010. ALL OF THESE EVENTS ARE FREE AND OPEN TO THE PUBLIC!!

http://www.artscape.org/index.cfm?page=visual&subcat=1


Mike Kuchar Showcase

A collection of short films, both new work and classics, from legendary underground filmmaker Mike Kuchar.  Mike Kuchar will be present at the screening to introduce his work and answer your questions!

Medusa’s Gaze

Ripe fruit in sweaty socks; soft eyes, stained and suffering in the origin of consciousness… and a soul needing refrigeration, for it has nearly gone bad.

Stranger In Apt.# 9F

Three women looking for “Mr. Right” in all the wrong places.

The Craven Sluck

Domestic mayhem in the Bronx.

Echo’s Garden

…”Great Woods, you frighten me like some cathedral’s gloom”.

Animal

One’s softest parts are scooped out and eaten alive.

Mickey One @ the Charles Theatre

REVIVAL: MICKEY ONE



Showtimes:
Saturday, July 10 at Noon
Monday, July 12 at 7 PM
Thursday, July 15 at 9PM



1965 Arthur Penn. Warren Beatty, Alexandra Stewart, Hurd Hatfield, Franchot Tone. 93 m. bw.


Hollywood's attempt at French New Wave, courtesy of director Penn and star Beatty, results in a curious brew - the plot, such as it is, may lose some viewers completely but the film itself is intriguing enough to warrant attention throughout. Beatty is the stand-up comic who finds himself the target of mobsters, heads for Chicago and changes his name to Mickey One. He attempts to start again, but can't help feeling that he is still being followed - a hunch confirmed by a subsequent physical attack. Quirky to say the least, audiences gave its jerky editing techniques and weird visuals a wide berth when the film was first released -indeed, these are aspects which some many find hard to take even now. On the plus side, Beatty is fine and Stan Getz's cool jazzy score adds to the atmosphere...(Channel 4)

Hart of London @ the Charles Theatre

Hart of London by Jack Chambers
Monday, July 5, 2010
9:30pm
The Charles Theater

Rare screening, one night only:
The Hart of London is an experimental film that has been enormously important to those that have had the opportunity to see it. It's a film that grapples with the complexities of life, birth, death, community, family, time and history and the transcendental beauty and wonder of it all.

Avis Lang writes " The Hart of London is one of Chamber's masterpieces; it is not a narrative unfolding at a suitable aesthetic distance but a metaphoric process that one undergoes, that even the artist finds himself undergoing in the presence of what he has made." Stan Brakhage calls it one of the greatest films ever made.

Easy Rider @ the Charles Theatre

EASY RIDER RESTORED PRINT (RIP DENNIS HOPPER)


Showtimes:
MONDAY, JUNE 7 at 7PM
THURSDAY, JUNE 10 at 9PM
(No Saturday Show)


EASY RIDER 1969 Dir. Dennis Hopper. Peter Fonda, Dennis Hopper, Jack Nicholson, Karen Black, Phil Spector. 95 m.


"(Hopper's) most influential accomplishment was directing and starring in 'Easy Rider,' the 1969 biker film about two alienated souls who (as the tag-line said) went 'looking for America.... and couldn't find it anywhere.' Made on a $400,000 budget (it grossed $60 million worldwide), it blew the hinges off the big studios' doors. It helped open American movies to contemporary content and new styles of acting and storytelling." (Michael Sragow) Read "Dennis Hopper 1936-2010" at Mike Sragow Gets Reel


"The formative film of the new Hollywood.... When he got the chance to make Easy Rider, he poured a decade's worth of desire, liberation, nihilism, despair, and hunger into it, and the freedom of the movie is there in every image."
(Owen Gleiberman)



In the oldest, finest tradition of teenpics, Easy Rider (1969) became a hit with kids mainly because adults found it unwatchable. Director Dennis Hopper borrows from the avant-garde to suggest the LSD experience, and some of the trips have a definite flavor of Kenneth Anger and Maya Deren. The film may be a relic now, but it is a fascinating souvenir—particularly in its narcissism and fatalism—of how the hippie movement thought of itself. This was the same year, remember, that Hopper played a heavy offed by John Wayne in True Grit. (Dave Kehr)

Ben Russell's Let Each One Go Where He May @ the Charles Theatre

Ben Russell's Let Each One Go Where He May
Monday, April 5 at 7pm
The Charles Theater


“This is how we’ve heard it: during slavery, there was hardly anything to eat. They would whip you until your ass was burning, then they would give you a bit of plain rice in a bowl. And the gods said, they said that this is no way for human beings to live. The gods would help them. ‘Let each one go where he may.’ So they ran.” - Lantifaya, Masiakiiki, Suriname, 1973

Let Each One Go Where He May is Russell’s stunning feature debut, a film that both partakes in and dismantles traditional ethnography, opts for mystery and natural beauty over annotation and artifice, and employs unconventional storytelling as a means toward historical remembrance. A rigorous, exquisite work with a structure at once defined and winding, the film traces the extensive journey of two unidentified brothers who venture from the outskirts of Paramaribo, Suriname over land and through rapids, past a Maroon village on the Upper Suriname River, in a rehearsal of the voyage undertaken by their ancestors who escaped from slavery at the hands of the Dutch 300 years prior. A path still traveled to this day, its changing topography bespeaks a diverse history of forced migration.

Shot almost entirely with a 16mm Steadicam rig in thirteen extended shots of nearly ten minutes each, Let Each One Go is strangely taut as it absorbs the rhythms and sounds of life, landscape and legacy. The camera acts as a third character, observing but also engaging in a deft dance with the two young men, following one then the other, circling, pursuing, leading, pausing, with sometimes disarming intimacy. Uncomfortably assuming its role as documenter, this disembodied, alternating point of view trails the film’s protagonists along dirt paths, onto a crammed, bobbing bus, through illegal gold mines and urban traffic, into the jungle and onto a motorboat, at last stumbling upon a rousing, ritualistic scene where the real ultimately challenges the film’s fiction.

In its cartographic portrayal of contemporary Saramaccan culture, Let Each One Go invites anachronism and myth-making to participate in the film’s daring conflation of history, its oscillations between re-enactment and record, its investigation of the gaze and cultural oppression and survival. Like a Rouchian ethno-fiction, the film leads the viewer not only on an extraordinary quest, but also into an inquiry on representation and the camera’s transformative powers.

- Andréa Picard, Toronto International Film Festival

The Films of Phil Solomon @ the Charles Theatre

Magic Eye & Johns Hopkins University present:
The Films of Phil Solomon
Thursday, April 8th at 9pm - $9.50
The Charles Theatre


Magic Eye and Johns Hopkins University are pleased to host an evening of film and conversation with acclaimed experimental filmmaker Phil Solomon. Visiting the east coast for the opening of his multimedia installation “American Falls” at the Corcoran Gallery of Art, Phil Solomon will make his Baltimore debut at the Charles Theater. The screening will include excerpts from “American Falls” and a selection of his films and videos, including his 1989 film “Remains To Be Seen” which Stan Brakhage named as one of his Top Ten Films of All Time for Sight and Sound magazine.

Solomon’s film work employs an array of chemical and optical treatments to explore the natural state of decay of 16mm film. The results produce a molten emulsion unique to his cinema, a visually mesmerizing struggle between a captured image and the materiality of the medium.

"Although part of a long avant-garde tradition, Mr. Solomon makes films that look like no others I've seen. The conceit of the filmmaker as auteur has rarely been more appropriate or defensible — The liberating effect of Mr. Solomon's work suggests a rather different realm: Film Meets Vision, Rejoice!" – Manolha Dargis, New York Times

His recent video series called “In Memoriam, Mark Lapore” operates in the genre of machinima. Appropriating scenes from the lawless world of Grand Theft Auto, Solomon quells the crime wave and creates a trance-like wandering through a desolate urban landscape. The trilogy, named as one of the Top Experimental Films of 2007 by the Village Voice, will close the evening’s program.

Phil Solomon teaches at University of Colorado – Boulder. He has participated in two Whitney Biennials and has had three Cineprobes (one-man shows) at the Museum of Modern Art. He has won a John Simon Guggenheim Memorial Fellowship (1993) and The Thatcher Hoffman Smith Award (2007), as well as grants from the National Endowment for the Arts and the Creative Capital Foundation.

Husbands @ the Charles Theatre

The Charles will screen John Cassavetes' praised and reviled HUSBANDS three times this week in the Revival time slots.


SHOWTIMES:
Saturday, February 27 at Noon
Monday, March 1 at 7pm
Thursday, March 4 at 9pm

1970 John Cassavetes. Ben Gazzara, Peter Falk, John Cassavetes. Restored version.



"...this formally radical, deeply personal work still packs plenty of surprises.
The story centers on three longtime friends, neighbors on Long Island and fellow-commuters—Gus, Archie, and Harry —whose buddy Stuart has died suddenly. After the funeral, they go on a two-day bender. Returning home, Harry has a violent row with his wife and his mother-in-law and decides to fly off to London that day. Fearing for Harry’s well-being, Archie and Gus accompany him. Once there, the three go to a casino and end up bringing women back to their hotel rooms. The drama turns on a simple question: whether any of them will go home." (Richard Brody, The New Yorker)


"A master at the top of his groundbreaking form.
Never before had Cassavetes been this powerful and personal." (Rolling Stone)

"HUSBANDS is an important and great film!"
(Time Magazine)

"Sigmund Freud himself could not have done the job more efficiently. It's a film that - like much of Cassavetes' work - is excessively boring, hard to follow, and extraordinarily illuminating about masculinity and its incorrigible delusions." (The Guardian)

Magic Eye presents Baltimore filmmakers @ the Charles Theatre

Monday, February 22, 2010
9:30pm
The Charles Theater
$5

Magic Eye is proud to present a night of short films and videos created by Baltimore artists. This group features work by Kari Altmann, Kristen Anchor, Mark Brown, Lauren Friedman, Jenny Graf, Clarissa Gregory, Justin Kelly, Andrew Mausert-Mooney, Catherine Pancake, Jimmy Joe Roche, Paul Sharitis, Stan Vanderbeek, Fred Worden and Karen Yasinsky.


The films, dating from the early 60s to contemporary work, range from experimental narrative to animation, music videos and performance documentation.


In celebration and remembrance, Magic Eye will screen Paul Sharits’ T,O,U,C,H,I,N.G (1968) featuring the Baltimore poet David Franks.

This installment of Magic Eye is programmed by Matt Porterfield.

American Graffiti @ the Charles Theatre

AMERICAN GRAFFITI plays twice this week at the Charles. There will be no Monday show.



Show Times:
TUESDAY, FEBRUARY 16 at 7 PM
THURSDAY, FEBRUARY 18 at 9 PM

1973 George Lucas. Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams, Mackenzie Phillips, Wolfman Jack, Bo Hopkins, Harrison Ford, Johnny Weissmuller, Jr., Joe Spano, Suzanne Somers. 112m. Technicolor.


"The Charles Theatre revival series this week offers its loyal but frigid audiences the closest they can come right now to Grade A cinematic comfort food: George Lucas' 'American Graffiti.'

George Lucas' memories of growing up with carhops, cruising, hot rods and hoods produced a film 37 years ago that sent the whole country into an early-1960s flashback. Its in-and-out, vignette style, and its nonstop rock-oldies soundtrack, quickly became standard issue for teen movies. Some of Lucas's characters - the nerd (Charlie Martin Smith), the deceptively 'dumb' blonde (Candy Clark), the hot-rodder (Paul Le Mat) - were stock figures even in 1962, the year in which the story takes place. But Lucas reanimates the cliches, using them to externalize and flesh out the cruising mind-set of his teen era. He gets at the archetypal bonds and tensions between eternal high school types like the brainy semi-outsider ( Richard Dreyfuss) and the sharp yet inertia-prone class prez ('Ronny' Howard). And the rock-and-roll moviemaking rhythms give 'Graffiti' a souped-up engine all its own. This 1973 movie recaptured the idea of teen years being fun - a notion that has since gotten way out of hand.


The uncanny casting, including Harrison Ford as Paul Le Mat's nemesis and Suzanne Somers as Dreyfuss' dream girl, doubly ensures this film's place in history. By now, it too is a nostalgic memory - not just for the supposedly innocent time of 1962, but for the seat-of-the-pants innovations of early-1970s moviemaking. The Dolby Digital prints allow you to appreciate how Walter Murch's sound montages woke a generation on the rise to the power of the soundtrack. He uses classic rock 'n' roll in ways it had never been used before. It becomes the natural sound of a small-town California night - more natural than crickets or coyotes. Murch and Lucas don't just exploit rock to set a mood; they use it to fix the movie's meanings in a viewer's mind, like a Greek chorus with a beat. At times, the sound alone makes us feel as if we're in the middle of a giant, rainbow-colored jukebox.

But the filmmakers also know how to blow away that aural mist to exploit silence and sound effects - usually in places where conventional movies would use a musical score to pound home emotional tension or crises in the plot. When Dreyfuss has to sneak a hook onto the undercarriage of a police car in order to prove himself to a gang known as the Pharoahs, the rock 'n' roll subsides. All you hear is the nerve-rattling sound of an approaching train. A year before, the sound of an unseen train had worked for Michael Corleone's murder of a rival mobster and a crooked cop in 'The Godfather.' In a different manner and context, it works just as brilliantly here.


Cinematographer Haskell Wexler has said that 'what was groundbreaking' for him was that 'we were able to use documentary techniques, we were able to use smaller equipment, we were able to work in a simpler way and still have what ultimately was on the screen be interesting and good.' These days, Lucas is known for digital wizardry. He did some latter-day digital touch-ups on 'American Graffiti,' too. But what makes this movie click was the edge the actors got from knowing that Lucas was seizing on their most spontaneous reactions - including their stumbles and 'mistakes.'" (Michael Sragow, The Baltimore Sun)

"A brilliant work of popular art" (Dave Kehr)

The Last Picture Show (try number two) @ the Charles Theatre

Due to the weather of the past week THE LAST PICTURE SHOW will be shown at the Charles again next week.

Showtimes:
Saturday, February 20 at Noon
Monday, February 22 at 7PM
Thursday, February 25 at 9PM

The Last Picture Show @ the Charles Theatre

The revival this week is the Last Picture Show.



Showtimes:
SATURDAY NOON SHOW CANCELLED
MONDAY, FEBRUARY 8 at 7PM
THURSDAY, FEBRUARY 11 at 9PM


1971 Peter Bogdanovich. Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ben Johnson, Cloris Leachman, Ellen Burstyn, 126m. (Director's Cut). bw. Written by Larry McMurtry.


"Peter Bogdanovich followed the route of the French New Wave filmmakers when he left criticism to make this 1971 feature, and like many of their films, it's an intimate psychological story laced with references to Hollywood movies. The setting is a small, stagnant Texas town of the 1950s; everybody's moving away, and even the movie theater is ready to close (the last picture show is Howard Hawks's Red River, apparently programmed by the Texas correspondent of Cahiers du Cinema). The few people who remain spend their time carrying on sordid affairs and eulogizing the vanishing west...Bogdanovich knows how to cast actors and highlight character turns (both Ben Johnson and Cloris Leachman won Oscars). The handsome black-and-white photography is by Robert Surtees." (Dave Kehr)

Putty Hill Preview and Benefit Tonight @ the Charles Theatre

Come by the Charles at 9PM tonight (Monday, February 1) for a sneak peek at Putty Hill.

They are raising money to fund the completion of Matt Porterfield's new film, PUTTY HILL, which is having its world premiere at the 60th annual Berlin International Film Festival!

The first 30 minutes of the film will be shown and never before seen behind-the-scenes footage from the production, shot by MICA junior Isaac Diebboll. The evening will be introduced by Maryland Film Festival Programmer Eric Hatch, and followed by a Q&A. There will be a merchandise table full of generously donated items from local businesses and artists available for purchase - books, records (the whole Wildfire Wildfire catalog), original artwork, gift certificates (including a 7-course dinner for 4 at The Chameleon Café), movie rentals, coffee, posters, etc... ALL of the proceeds will go towards the funding of the film. Admission is $5.

So come with your cash, come with your friends, and come support a great local independent film!

To learn more about the film, visit: puttyhillmovie.com
To donate online, visit: kickstarter.com/projects/puttyhill/putty-hill

Who's Afraid of Virginia Woolf @ the Charles Theatre

WHO'S AFRAID OF VIRGINIA WOOLF? will be screened three times this week as the Charles' revival film.



Show Times:
Saturday, January 9 at Noon
Monday, January 11 at 7 PM
Thursday, January 14 at 9PM


1966 Mike Nichols. Elizabeth Taylor, Richard Burton, George Segal, Sandy Dennis. Written by Edward Albee (play) and Ernest Lehman (screenplay). Winner of five Oscars: Best Actress, Best Supporting Actress, Best Art Direction (bw), Best Cinematography (bw), Best Costume Design (bw). 131m. bw.

"Outstanding direction by Mike Nichols in his feature debut, and four topflight performances score an artistic bullseye.

Elizabeth Taylor's...chacterization is at once sensual, spiteful, cynical, pitiable, loathsome, lustful and tender.

Richard Burton delivers a smash portrayal. He evokes sympathy during the public degradations to which his wife subjects him, and his outrage, as well as his deliberate vengeance, are totally believable.


Provoking the exercise in exorcism is the late-night visit of Dennis and Segal. Latter is the all-American boy type who, in the course of one night, is seduced by his hostess, exposed by his host, but enlightened as to more mature aspects of love and marriage. Segal is able to evoke sympathy, then hatred, then pity, in a first-rate performance.


Dennis makes an impressive screen debut as the young bride, her delivery rounded with the intended subtlety of a not-so-Dumb Dora." (Variety)

Opening tonight @ charles theatre workers art wall

Charles Theatre Workers Art Wall
Opening Reception:
Thursday, December 10 from 7-9 pm

Cripsin Glover @ the Charles Theatre

On Thursday, November 19th, Crispin Hellion Glover will appear at the Charles Theatre to present his Big Slide Show and a screening of his film “It Is Fine! EVERYTHING IS FINE” (2007. Part 2 of the "It" Trilogy). The screening will be followed by a question and answer session and a book signing.


... But first, get in the spirit before he arrives with a screening of River's Edge at The LOFT (120 North Ave) on wednesday night the 18th at 8pm. First 20 people through the door get free tickets for the events at The Charles.
and let rumors of an after party circulate freely.


Tickets avaiable now at the Charles Theatre box office and at Brown Paper Tickets.
For more information (347) 247 3921
Show Time: 7:30
Tickets are $20 and are available now at the Charles Theatre box office. Buy your tickets early!


Charles Theatre
1711 N. Charles Street
Baltimore
(410) 727-FILM

The LOF/t
120 North Ave
410-914-7878

crispinglover.com/slideshow