Venue Details

110 Star Starred
The Silent Movie Theater
between Melrose and Clinton 611 N. Fairfax St. Hollywood, CA 90036
323-655-2510
Venue website Get directions

Member Tips

DebbieM
Cupcakes are delicious from the concession stand!
info May 20 2010 star this tip starred
DebbieM
Street parking fairly easy.
info May 20 2010 star this tip starred
DebbieM
The theatre has a few couches in front, but they fill quickly. The other seats are old-
info May 20 2010 star this tip starred
DebbieM
Fashioned and can get a bit uncomfortable.
info May 20 2010 star this tip starred
Goldstar Member
Very casual
info Jun 02 2010 star this tip starred
Goldstar Member
Get there early for good seating!
info Jun 02 2010 star this tip starred
View All 62 Tips

Reviews & Ratings

213 ratings
4.6 average rating
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252 events
192 reviews
144 stars
attended May 27 2010

The 1st movie, "What?" left you asking that very question?? The 2nd movie, "Alice In Wonderland" was such a parody, the audience was in hysteria throughout the movie. ... continued

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13 events
8 reviews
9 stars
attended May 19 2010

I went to a silent movie last night for the first time. The feature and the short films before it were funny, and it was nice to experience this old way of watching... continued

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39 events
27 reviews
35 stars
attended Sep 04 2010

This is a great venue. The management is really on top of their game. The movie choices are eclectic and fun. We took our family to see Chaplin's 1942 release of The... continued

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More Information

Website

http://www.cinefamily.org

Description

April 17-24: William Friedkin’s Sorcerer (brand-new restoration!)
After winning a Best Director Oscar for The French Connection and bringing the equally peerless The Exorcist onto the all-time highest-grossing list, William Friedkin set out on an even more ambitious path, transforming Henri-Georges Clouzot’s ‘50s classic The Wages of Fear into an equally unforgettable and literally explosive jungle nightmare — a blinding, sweat-drenched journey through Hell. As the prime vessel for Sorcerer’s quickly ratcheting tension, Roy Scheider is perfect as a one of a quartet of disgraced criminals who, while hiding out impoverished in South America, take on the hideously dangerous gig of trucking a load of nitroglycerine so volatile it could combust at the slightest jarring. Told with a minimum of dialogue, a maximum of dizzying sound design (a Friedkin trademark), stunningly iconic setpieces and the first of many rich film soundtracks by Tangerine Dream, Sorcerer was unjustly savaged by critics upon its original ‘77 release, and was also shut out of any real box office by a little picture called Star Wars (which opened just a few weeks prior.) Long out of print on pan-and-scan DVD, Sorcerer barrels onto the Cinefamily screen in a brand-new DCP restoration. Plus, William Friedkin joins us on the run’s opening night (Wednesday, April 16th) for an in-depth conversation on the arduous journey it took to get Sorcerer on the screen!

Dir. William Friedkin, 1977, DCP, 121 min.

April 24, 2014: Trailers in Love (From the Academy Film Archive)
Another fab vintage compendium of wild ‘n cool movie trailers from across the decades — all presented on 35mm, thanks to the tireless preservation and curation by our good friends at the Academy Film Archive! As the airy comforts of spring leisurely roll in, our minds turn to that funny feeling that goes by many names: love, passion, yearning, romance, carnal knowledge… Natch, Cinefamily’s thoughts immediately turn to overheated soapy melodramas, wrongheaded romantic pairings, old-school “white coater” docs, arthouse amour, mondo excursions into strange erotica, Charles Bronson gone a-courtin’, sensual computers, wicked delinquents, lavender lust — and puppies and kitties.

April 26-30, 2014: Jodorowsky’s Dune
One of the greatest films never made, by one of underground cinema’s greatest talents of the 20th century, finally comes to light in this documentary look at Alejandro Jodorowsky’s long-gestated, but never filmed version of Frank Herbert’s mammoth sci-fi epic Dune. Having achieved immortal arthouse/midnight movie status in the early Seventies with El Topo and The Holy Mountain, Jodorowsky next attempted to tackle the “unfilmable” Dune universe, spending several years and millions of dollars in pre-production, only to have the project cancelled right as the final pieces of funding were to have come. No matter that an insanely cool international cast (Orson Welles, Salvador Dali, Euro transsexual pop star Amanda Lear) had been assembled, or that a brain-breaking design team (with artists like H.R. Giger and comic book genius Moebius) had toiled for endless months — for this ultimate filmic head-trip was never truly meant to be. Equal parts comprehensive overview of every phase of the project and exploration of Jodorowsky’s rollercoaster multimedia career, Jorodowsky’s Dune is the fascinating journey film fans have been clamoring for. Dir. Frank Pavich, 2013, DCP, 90 min.

April 26-30: The Final Member
Paris has the Louvre, London has the Tate Modern and New York has MoMA, but Husavik, Iceland — a village on the fringe of the Arctic Circle — boasts the world’s only museum devoted exclusively to painstakingly preserved male genitalia. “Siggi” Hjartarson, the founder/curator of the Icelandic Phallological Museum, has everything in his collection from the petite field mouse to the colossal sperm whale, but he’s missing the No. 1 most important thing: a human specimen. Boasting one helluva great story, a charming onscreen crew of screwballs and highly cinematic visuals from first-time feature doc directors Jonah Bekhor and Zach Math, The Final Member charts the race between an elderly Icelandic Casanova and an eccentric American to be the first to donate their dingus to the prestigious institution. As much about proud nationality as the lack of rationality amongst the main participants, this warmly compassionate doc is chock full of frequent laugh-out-loud setpieces, alongside each of the three main subjects’ dogged quests to complete the Museum’s exhibition in a startlingly relatable story of self-fulfillment and the value of personal legacies (both big and small.)

Dirs. Jonah Bekhor & Zach Math, 2014, DCP, 72 min.