Ordering is simple! Use the Metropolitan Theatres mobile app to order in advance when you buy your tickets or you can place your order on the app and at concessions when you arrive at the theatre.
Once you arrive at the theatre and your ticket is scanned, your order will be cooked to order and delivered to your seat. For beer & wine ordering, please visit concessions. IMAX guests, your orders can picked up at the counter to enjoy while watching the movie.
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D-BOX is changing the way you watch movies by moving the body and sparking the imagination through motion. With D-BOX, you control the intensity so you can move with the movie and feel every scene as if you were in it. We remove the line between you and the screen to create hyper-realistic, immersive, one-of-a-kind entertainment experiences that pull you into the story like never before.
Scripted Bar & Kitchen a brand-new dining destination with a full-service bar and patio, and providing an in-theatre dining experience to movie-goers will bring an elevated menu of eclectic dishes. Dine-In movie-goers will have the ability to order from the Scripted Bar & Kitchen menu using the Metropolitan Theatres app, at the kiosks, or at concessions allowing for in-seat delivery of your favorite cocktail, food or concession offerings. IMAX viewers will be able to pick-up their food and beverages at a convenient counter before entering the auditorium.
You could definitely feel the Reagan Dawn on the fringes of the political world. It was in June of 1979 that Jerry Falwell kicked off the Moral Majority, a sign of the growing participation and power of Christian conservatives. Among many other things, they would target a perceived culture of permissiveness, especially among the youth. This would mean that practically everything I was interested in during my 1980s youth, from Dungeons & Dragons to video games to music, was called satanic to one degree or another.
The start of the tipping point from permissiveness to fear and control can be seen in three films released in 1979 and in the very public reactions to them: The Warriors, Over the Edge, and Rock and Roll High School. All three presented rebellious fantasies to American youth, they would be suppressed or obscure, and, perhaps related to this, all three would be cult films in the much more reactionary years that followed.
This is the usual overheated boilerplate associated with genre movies in the 1970s, but with the twist that it carries a whiff of sans-culottes revolution. Paramount eventually pulled the poster, which was accused of being inflammatory, although nowadays you can just buy it on Amazon.[3] The film itself is gritty, but hardly super-realistic to the world of New York street gangs circa 1979, unless there were gangs who dressed like mimes or combined baseball uniforms with glam rock face paint. It appears to be set in a dystopic near future, but New York City was dystopic enough at the time that there was hardly any need to build any sets when the streets of the city would do. The youth running wild and ineffectual police seemed pretty true to life at the time.
The Warriors had a rushed post-production because of another New York gang film: The Wanderers was soon due to hit the screens. The same year also saw two more lower budget gang films, Boulevard Nights and Walk Proud. It is difficult to know why gangs all of a sudden became such a popular subject, although I would hazard a guess that the fears of urban decay and social breakdown may have played a role.
Those fears certainly played a role in the reactions to the film. Two murders outside of movie theaters showing The Warriors led to a public debate. After it got pulled from many theaters, Paramount also pulled its advertisements and replaced them with something much less controversial. That did not stop many from connecting the film to gang violence. In New York City, one subway police officer blamed The Warriors for a spike in violence on the subways. For those of us who grew up in the 80s and 90s cultural backlash when suicides were blamed on messages in backwards heavy metal lyrics, this refrain is awfully familiar.
The drug use is also striking because the kids in this movie are actually played by actors the age of the characters, with all of the gangly, pimply awkwardness. It feels far more real and true to teen life than just about any other movie about teenagers made up to that point, and most since. If the naturalistic depiction of drug use by eighth graders would make this film controversial today, its scenes of teenage gunplay would make it downright toxic. This gunplay eventually leaves head dirtbag Richie, played in a memorable debut performance by Matt Dillon, shot by a police officer after brandishing an unloaded pistol.
Watching Over The Edge today, it is amazing that such a thing ever got made by a major studio. It turns out it was far too incendiary to allowed into the light of the Reagan Dawn. Inevitably, Orion Pictures was too scared of it, especially after the controversy over The Warriors had already pushed that film out of circulation, and marketed Over The Edge as a horror movie. Even worse, the studio gave it an ultra-small release in a handful of theaters. In the days before the dawn of video, it should have practically ceased to exist. However, the critics who saw it championed it, and the film got a new release in 1981. On screens for the first time in New York, Vincent Canby gave it a rave, and it was eventually picked up by HBO, which showed it regularly in the 1980s. In the midst of the Just Say No world and consumerist conformity of the Reagan years it is hard to think of a more subversive movie for a fourteen year old to watch.
The author of the original script wanted it to be more of a message movie, but it became a surreal exercise in irreverent fun, taking place in a universe where the Ramones were universally beloved, rather than liked only punker kids on the margins. Originally producer Corman wanted to exploit the current trends in his usual way and make a movie called Disco High. Director Allan Arkush, a huge rock fan who worked at the Fillmore East, convinced him that rock and roll was the better genre for the picture. This was fortuitous, considering that disco was about to flame out, and that The Ramones would remain a cult band for high school kids for year to come.
The subversiveness of Rock and Roll High School is less in its message than in its complete and total irreverence. Authority figures are portrayed less as evil than ridiculous. Principal Togar is played brilliantly by Mary Woronov as a mix of Joan Crawford and Tim Curry. The stuffy, ineffectual music teacher who tries to lecture a bored class about Beethoven ends up becoming an amusingly over the top rock and roll fan. There is plenty of casual marijuana usage, and no punishment put down on the characters for their vices. The character of Eaglebauer, played memorably by Clint Howard, sells fake IDs and other illicit items from his office in one of the school bathrooms. There is zero moral anguish expressed about any of this.
At the end of the film the Ramones pay a visit to the high school, then play punk rock as the students occupy, trash, and then blow up the school. Unlike Over The Edge, there is nothing harrowing about this scene, it is purely cartoonish, a kind of teenage fantasy about running wild and sticking it to authority figures.
As the fire-breathing, blood-spitting bass player and co-vocalist for KISS, Gene Simmons is the personification of horror. The same can be said for the incomparable, bat-decapitating madman Ozzy Osbourne. Both rockers have been destroying stages worldwide for over 4 decades and, somehow, found themselves with bit-parts in the same horror movie back in 1986.
You could think of Larry Clark's "Wassup Rockers" as "Ferris Velasquez's Day Off." In Los Angeles, a group of Latino friends, all about 14, spend a very long day traveling from their homes in South Central to Beverly Hills and back home again, and although they are light-hearted and looking for fun, they don't have Ferris Bueller's good luck. The movie evokes the sense of time unfolding thoughtlessly for kids who have no idea what could happen next.
Clark usually makes movies about teenagers and has a rapport with them that's privileged or creepy, depending on your point of view. His first film was the powerful "Kids" (1995), which launched the acting careers of four first-timers: Rosario Dawson, Chloe Sevigny, Leo Fitzpatrick and Justin Pierce, and the writer-director Harmony Korine. "Bully" (2001) saw how a group dynamic works to drive teenagers toward a murder none of them would have done alone. "Ken Park" (2002) was bold in its frankness about teenage sexuality; a success at Telluride, it was never released commercially in the United States, not because of its content but because, Clark says, a producer never cleared the music rights.
Now comes "Wassup Rockers," containing one and probably two deaths, a lot of tension between Latinos and African Americans, and run-ins with cops and home owners. Perhaps because we hardly meet the first boy who dies and the second is shot offscreen, the movie is not as fraught as it could have been, and indeed is Clark's least harrowing work.
The heroes are mostly of Salvadoran descent, although they are routinely mistaken for Mexican Americans. They come from a poor district; one kid's mother is apparently a lap dancer. But Clark's characters do not carry guns, steal, use drugs or smoke (anything). At 14 years old, you're thinking, let's hope not -- but Clark's subject is often how children get into sex, drugs and violence when they are way too young. These kids don't set out looking for trouble, although it finds them.
The movie opens with a monologue by Jonathan (Jonathan Velasquez), who tells us about his friends; he separates each statement with the phrase "and then ..." He's the one the others look up to, and we meet Kico (Francisco Pedrasa); Spermball (Milton Velasquez), who keeps asking everyone to call him Milton, not Spermball; Porky (Usvaldo Panameno), and two girls, Iris (Iris Zelaya), Jonathan's girlfriend, and Rosalia (Ashley Maldonado), who wants to be everybody's girlfriend. 152ee80cbc
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