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    Five new Bayou Place bars, too

    Angelika replacement to open this summer: City in on talks with Robert Redford'sSundance Cinemas

    Steven Devadanam
    Feb 10, 2011 | 4:07 pm
    • The site of Live at Bayou Place.
      Photo by Steven Thomson
    • The interior of the future Live at Bayou Place.
      Photo by Steven Thomson
    • The site of Live at Bayou Place.
      Photo by Steven Thomson
    • RÖCBAR is now Live at Bayou Place.
      Photo by Steven Thomson
    • RÖCBAR's suicide note.
      Photo by Steven Thomson
    • A new cinema will open in July.
      Photo by Steven Thomson

    A new cinema will move into the shuttered Angelika Film Center space, and is slated to open this summer, CultureMap has learned.

    The Cordish Company, which is the landlord of Bayou Place, and the city of Houston, which owns the land, are deep into negotiations with Sundance Cinemas to be the new movie theater tenant, an unnamed source close to the negotiations confirms.

    Sundance Cinemas is a small independent movie theater company that is owned by Robert Redford's Sundance Group, the same organization behind the world-famous Sundance Film Festival. It operates multiplex theaters in San Francisco and Madison, Wis.

    Sundance officials could not be reached for comment.

    Drew Coleman, director of operations for a new five-bar concept that will open up in Bayou Place next month, also tells CultureMap he has been told that a new theater is scheduled to open in July.

    A rep from Alamo Drafthouse tells CultureMap that the company has had discussions with Cordish about moving into Bayou Place but offered no further comment. A representative from Landmark Theatres — another major independent movie chain that would be in the running to fill the Angelika space — said it had no comment on any Houston plans.

    The Angelika suddenly shuttered overnight on Aug. 29 and the spot's been empty ever since, leaving a gaping hole in Houston's downtown entertainment area.

    If a Sundance Cinema goes in, it will be joining a suddenly revitalized Bayou Place bar scene.

    A new party corridor is already emerging under the direction of Houston Lounge and its consultant company, Entertainment Concepts at the complex. A slew of five new bars will be opening beginning March 25 on the second story of Bayou Place, which has previously played host to RÖCBAR.

    The anti Washington Ave?

    The nightlife development, termed Live at Bayou Place, represents a backlash to the glitzy (and increasingly overpriced) Washington Avenue corridor.

    "Mostly these are party bars, going in the opposite way of places that are opening right now," Coleman tells CultureMap. "The bars will be unpretentious and catering to the masses and those looking for better customer service in nightclubs and bars."

    Best of all, you won't need to catch the Wave shuttle to navigate between the venues.

    First on the list of bars to open in the 18,000 square foot space is PBR. That's not an acronym for Pabst Blue Ribbon, but "professional bull riding." It's the development's answer to a country western bar, which has already proven fruitful at PBR locations in Kansas City and Baltimore.

    Next, there's Shark Bar, a venue boasting an '80s and '90s soundtrack. Coleman lists N*Sync and Backstreet Boys as expected dance floor mainstays there.

    "It's the kind of place for bachelorette parties, birthdays and 'girls night out," he says.

    A Cancun-style party bar will ignite the scene inside Lucy's Liquor Stand, where Top 40 beats and tequila slammers will transport guests to wild Caribbean nights. An outdoor venue, Lobby Bar, won't have a theme, but simply stand as an exterior lounge with a "nice patio kind of décor."

    Chapel Spirits appears to be Live's crowning jewel. An upscale bourbon venue endorsed by Michael Garfield, Chapel will offer cigars and has its own patio. On Wednesday, Thursday and Saturday nights it will function as a lounge, but Coleman maintains the atmosphere will be low-key.

    Access to all the bars will require a flat $5 fee, and well drinks will cost $4, with $5 you-call-its and $7 premium cocktails.

    Once PBR unveils at the end of March, its neighboring watering holes will sequentially open in two week intervals. Valet parking will be available on Texas and Smith.

    Coleman sees it as his mission to reignite interest in nightlife in the city's core: "We're just hoping that this will bring people downtown again, making it more of a destination place."

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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