The Majestic Metro Theater has been through its fair share of changes since its opening as a silent movie house in 1926, showing everything from cowboy flicks to blaxploitation films to porno videos before establishing itself as a special events venue in the 1980s.
But perhaps none have been quite so well-received as a recent partnership between the Downtown District and the Alamo Drafthouse Rolling Roadshow, which aims to revitalize downtown Houston after work hours with Big Movie Classics.
Tickets go on sale today for a screening of King Kong — the classic 1933 monster movie that has spawned countless remakes, spin offs and parodies.
Tickets go on sale today for a screening of King Kong — the classic 1933 monster movie that has spawned countless remakes, spin offs and parodies — set for 8:15 p.m. on Oct. 23 at the Majestic.
A $10 ticket includes the movie, sweets and spirits, and all proceeds go to event programming at neighboring Market Square Park — and if the Valentine's Day screening of Breakfast at Tiffany's and the showing of Some Like It Hotin June are any indication of the program's popularity, these seats are going to sell out fast.
Want to make it a dinner and movie occasion? Find area dining suggestions here.
Big Movie Classics at the Majestic Metro screens King Kong on Oct. 23 at 8:15 p.m. Tickets are $10 and can be purchased online now. Seating is first come, first served. Note: Tickets cannot be purchased at the door.
Julia Garner, Matilda Firth, and Christopher Abbott in Wolf Man.
The title Wolf Man conjures up similarly titled movies throughout film history, going all the way back to The Wolf Man starring Lon Chaney in 1941. And, of course, werewolves as a concept date back even further, with the idea having been used for horror, teen comedy, romance, and more throughout the years.
This Wolf Man, from Blumhouse Productions, has a straightforward horror vibe, if not always the results. A prologue informs us that Blake (Christopher Abbott) grew up with an ultra-stern father (Sam Jaeger) who was intent on hunting down a strange creature prowling the forest near their Oregon home. Thirty years later, Blake now lives in San Francisco with his wife, Charlotte (Julia Garner), and daughter, Ginger (Matilda Firth), when he’s called back home again by a notification stating that his long-lost father has been declared dead.
The three run into trouble almost as soon as they get close to his former home when they’re attacked by a wolf man on the road to the house. Seeking shelter in the house, Blake soon discovers that a scratch he received in the attack has infected him, bringing on many unusual changes. Terrified both by the wolf man outside and the transformation of Blake, Charlotte and Ginger are torn between their family love and survival.
Directed by Leigh Whannell and written by Whannell and Corbett Tuck, the film has about as slow of a build as you’ll find in a horror movie. In fact, for the first hour of the 100-minute film, the only significant action comes during the family’s arrival in Oregon. Whannell’s approach seems to work, though, as the suspense of not knowing what the creature is doing outside and how Blake’s body will continue to be altered keeps tensions high.
Things start to get a bit hairy, in both senses of the word, as the family makes multiple attempts to escape, and Whannell tosses in a few gnarly scenes that up the discomfort level considerably. But it becomes clear that the filmmakers skipped a few storytelling steps along the way, as elements are revealed that might have had a bigger impact if they had included just a little more information earlier in the film. Instead of a grand finish, the film peters out, giving little sense of resolution.
Whannell and his team also make some interesting choices with the makeup they use for the two wolf men. Instead of a full transformation, Blake’s features take on a slightly mutated look so that he’s still somewhat recognizable as himself. There are some parts that are more disturbing and gruesome than others, but the overall impact is much more subtle than expected.
Abbott and Garner have each had good careers so far, with Abbott having a key role in Poor Things and Garner shining in The Assistant. Abbott is required to do little more than grunt for half of the film, while Garner is tasked with reacting in horror to what has befallen her husband. Neither requires all that much from either actor, although each commits fully to their bits.
As the first horror film of the year, Wolf Man doesn’t fully deliver the goods, but it’s far from the worst viewing option out there. It’s a small film that perhaps holds a bit too much back, with the suspense side working much better than any of the gorier scenes.
