Tim League
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The COVID Challenge: Arthouses Adjust to a Reconfigured Landscape
In the Heights, Black Widow, Respect and Candyman—not typical indie-film fare, but because of the pressures of the ongoing pandemic on theatrical moviegoing, these are just some of the films arthouses have booked over the past several months. Granted, the supply of new available films was massively down, and theaters have been desperate to get audiences back into seats, but COVID-related shifts in arthouse exhibition have been significant, myriad and potentially long-lasting. And none of it is good for indie filmmakers. For example, here’s something you probably don’t want to hear from your neighborhood indie venue: “We’re seriously considering playing […]
by Anthony Kaufman on Oct 11, 2021 -
Alamo Drafthouse Downtown Brooklyn Opens Feature-Rich New York Theater
After a week-long soft open, Alamo Drafthouse opens today its first theater in the New York area, the Alamo Drafthouse Downtown Brooklyn. Snuggled away on the top floor of a brand new shopping mall, and following an escalator trip that takes you past a Target and a Century 21, the new seven-screen Drafthouse is feature-packed in more ways that one, offering state-of-the-art projection (including, in one theater, 35mm), Dolby 7.1, programming mixing mainstream arthouse with local, repertory and genre events, and, of course, food and drink. The latter is served up in the theaters as well as in the House […]
by Scott Macaulay on Oct 28, 2016 -
“It’s Not So-Bad-It’s-Good”: Elijah Wood, Tim League and the Producing Team on Why They Made Jim Hosking’s Unhinged The Greasy Strangler
There are so many irritating things that go into making and distributing films. One detail that can become a nuisance is securing a website or Facebook URL that matches your film’s title, which sometimes, honestly, can tend toward the formulaic or typical. I’m going to go out on a limb here and say that for the producers of The Greasy Strangler, this probably wasn’t an issue. The film’s plot starts out conventionally enough, for about a minute, before there’s a hard left turn during the perfectly timed execution of a stretched-almost-to-breaking-point argument about free water. You’ll probably know then and […]
by Audrey Ewell on Oct 8, 2016 -
Too Late, New John Hawkes Crime Thriller, Gets 35mm-Only Release
Recent films as disparate as The End of the Tour and Spectre were shot in 35mm. But Too Late, which stars John Hawkes as a troubled private investigator tasked with finding a missing woman, takes the 35mm trend one step further. Shot in the 35mm Techniscope format, the film will get a special 35mm-only theatrical release in spring 2016. Written and directed by Dennis Hauck in his feature film debut, Too Late unfolds in five chapters. “We made this movie to be seen on the big screen, with an audience, and yes, on 35mm,” said Hauck in a statement. “Home video, streaming, and VOD are all great, but […]
by Paula Bernstein on Dec 17, 2015 -
Bring on the Major Leagues
Tim League is not as much of an oddball as Alamo Drafthouse Cinema and its distribution arm, Drafthouse Films, might suggest. For all the cultish, film-geek quirkiness of those companies, the man behind them seems to know exactly what he’s doing. Since 1997, League, who studied engineering and art history at Rice University, has been cultivating a highly profitable brand that’s now proving scalable far beyond the confines of his hometown of Austin, Texas. Alamo is in the middle of a massive expansion of both company-owned and franchise locations, with openings set for New York City (including a seven-screen complex […]
by John Daniel Davidson on Apr 23, 2013 -
SXFANTASTIC’S TIM LEAGUE ON 2011’S MIDNIGHT EDITION
Despite their protestations to the contrary, festival programmers are often a competitive bunch, jostling for not only premieres but status. That’s why SXFantastic, now in its third year, is such a welcome event. A collaboration between SXSW and Fantastic Fest, which unspools its own main event in September, SXFantastic brings Fantastic’s genre smarts and midnight-movie acumen to the South By sprawl. The result is a focused section that has been producing its own fan favorites, critical hits and even industry acquisitions. Last year’s successes included Gareth Edwards’ Monsters and the unlikely pick-up A Serbian Film (which just landed the SITGES […]
by Scott Macaulay on Mar 9, 2011
