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    Phone Flip

    Texas dine-in theater chain switches from paper to phones for ordering food

    John Egan
    Jan 13, 2026 | 10:30 am
    Alamo Drafthouse South Lamar

    Alamo Drafthouse will allow phones, but only for one reason — so far.

    Alamo Drafthouse/Facebook

    Despite Alamo Drafthouse’s famously strict no-phone policy, the dine-in movie theater chain soon will require customers to use smartphones to order food and beverages via QR code.

    The Texas-based dine-in theater chain says that beginning in mid-February, it’s ditching its longtime old-school ordering system — jotting down your order on paper, then pressing a call button that summons a server to grab your order and then deliver it.

    “Yes, it means you’ll need to use your smartphone and a custom-built ‘dark screen’ to order food or drink during the movie,” Alamo says in an FAQ post on its website. “This doesn’t mean we’re changing our rules on talking or texting during the movie.”

    Variety reports that mobile ordering has already been tested in several Alamo markets and is expanding to certain other theaters this month, with plans to roll out the system to every theater throughout the year.

    Forty-four Alamo theaters operate nationwide, including five in Austin, five in Dallas-Fort Worth, one in Katy, and two in San Antonio. The chain’s 45th location is opening soon in Bentonville, Arkansas.

    The theater chain says the new digital ordering system — enabling guests to use a smartphone to browse a digital menu, place an order, and pay for the order — will improve the Alamo experience. A dark-screen QR code lets you scan the code to tackle ordering tasks while keeping your phone screen extremely dark or mostly black. This prevents “screen glow,” which can annoy others in a darkened theater.

    “Putting ordering control directly in our guests’ hands allows us to move faster and more efficiently, creating a smoother, more responsive experience without added distraction,” Alamo says.

    According to Variety, servers will still bring food and beverage orders to guests. And the chain says if you run into a problem with your phone or order, a greeter or manager will be ready to help.

    “There will be newly structured roles for hourly staff at theaters, but this switch to mobile won’t take away any jobs,” Variety reports. “Alamo isn’t implementing any layoffs, and all base wages will remain the same.”

    “It’s worked great in testing so far,” according to Alamo, “and we’ve been pleased that the vast majority of guests use the system quickly and efficiently.”

    Alamo stresses that the new ordering system won’t kill the chain’s firmly stated no-phone rule. Therefore, you still won’t be able to scroll social media posts, make or take a phone call, or send a text once Alamo’s no-phone-zone warning pops up on the movie screen. If an Alamo worker catches you violating the policy, you’re ejected immediately without a ticket refund. Alamo says its employees are trained “to distinguish between a dark ordering screen and disruptive phone use.”

    The move to mobile ordering is one of the biggest changes at Alamo Drafthouse since Sony Pictures Entertainment bought the chain in 2024. Sony didn’t divulge the purchase price, but media outlets estimate it was anywhere from $174 million to $258 million.

    Another major change happened in early 2025, when Alamo laid off 15 corporate employees and an untold number of hourly theater employees.

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    Movie review

    Nick Jonas and Paul Rudd chase their dreams in music-heavy Power Ballad

    Alex Bentley
    Jun 8, 2026 | 10:30 am
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

    ---

    Power Ballad is now playing in theaters.

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