Off The Marquee

The Invention of Lying (2009)

Written by Ricky Gervais and Matthew Robinson, The Invention of Lying imagines what the world would be like if no one had ever thought to bend the truth even for the sake of social niceties. I am always excited for a Gervais endeavor, but I remember seeing the trailer for Lying several times and not being very excited about it. But Lying is a smarter comedy than it lets on. After a particularly bad day, Mark Bellison (Gervais) has an epiphany at the bank and informs the teller that he has more money in his account than the computer shows. Since the world has never been exposed to the concept of untruths, the teller decides that the computer must be wrong and gives Bellison the money. Bellison runs out to tell his friend that he has told somebody something “that wasn’t” and it becomes clear that anybody will believe anything he says. It isn’t hard to put together that Bellison will attempt to use his new talent to save his job as a screenwriter and get a second date with Anna McDoogles (Jennifer Garner) who on their first date tells him bluntly how his physical defects will not bode well for them getting together again. Anna seems to like him well enough though, and this faint spark of interest encourages his pursuit. Bellison uses his newfound powers on Anna sparingly in light of the fact that a simple lie convinces a total stranger to agree to sleep with him. Bellison can have anything he wants, but decides to keep his gift of fibbing respectable and stays the course to win Anna’s heart rather than trying to trick her into sleeping with him. The movie suffers from its advertising, which makes the film appear to be a series of one-liners at the expense of Gervais’ physique. But Bellison gets into some interesting trouble when he is overheard telling his dying mother that death is not the end, and that when she dies she will meet the man who is in charge of creating the world and everything will be great. News of this revelation spreads quickly and Bellison is left to come to terms with the new hope he has sprung on the world. While it might seem this would be an open door for a thinly veiled attack on religious beliefs, what transpires is a fairly even handed consideration of faith. Lying is supported by a great cast of comedy actors reeling in their performances with very matter of fact line delivery that plays for exponentially enduring laughs rather than the short game imagined by the trailer. Much of what makes the movie work is that Gervais and Robison keep the world that Bellison moves in very small and this element of not seeing much out of his scope of things prevents the inconstancies inherent in this type of story from being too problematic. Lying is a nice bit of well-crafted writing for being able to present some big ideas without crossing itself or proselytizing. According to Lying, there is not much joy in a world without deceit, but it does not presume to convince you that there are any clear answers.
-Billups Allen

The Invention of Lying is playing at these second run theaters:
Grand Cinemas Crossroads 6
4811 East Grant Rd. Tucson, AZ

Century Gateway 12
770 North Kolb Rd. Tucson, AZ

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

One of my favorite Tucson events is the annual Scream-O-Rama at the Loft. The program always incorporates an awesome mix of classics and schlockier fare. The big screen really brings horror to life, and a good mix of gore standards and b-movie films brings a full scope of appreciation to the genre. Every year The Loft puts together a flawless program, and this year is no different.

Some highlights for me over the years include dozing in and out during Rob Zombie’s House of a 1000 Corpses while waiting for a 5:00AM screening of Lucio Fulci’s The Beyond. I liked House of a 1000 Corpses, but I am convinced now that it is best watched on a big screen while sleeping through it. At times, the extremely loud parts jolted me awake. It makes for a truly neurotic movie going experience. 

Another favorite moment was hearing someone yell “camel toe” during one of the school scenes in Susperia. I have seen Susperia in the theater three times and someone has yelled “camel toe” two of those times in two completely different cities. Unless the heckler moved here with me, it’s a pretty amazing co-incidence. 

Pieces (1982) is a good slasher film made during the great early 80s rush to make a slasher film. Fright Night (1985) is one of the better attempts to make vampire drama modern and funny. Hellraiser (1987)  is always worth re-visiting. I am unfamiliar with City of the Walking Dead (1980), but one great thing about Scream-O-Rama is they have great taste in Italian horror fare. I’m sure it’s worth the overnight haul.  

The highlight for me will be seeing John Carpenter’s The Thing (1982) on the big screen again.

The Thing (1982) 
There are circles that call this the best remake of all time. The original movie is a simple story of scientists stationed at an Arctic research facility who come upon a mysterious crash site buried under ice. After digging it up, strange things start happening around the base.  Soon, the entire team is in danger of being killed by an undefined alien suspect, and the team has nowhere to run. While the stories for both versions are essentially the same, The Thing from Another World (1951) played successfully on the horror principal that what you can’t see can be as scary as what you can see. John Carpenter threw that idea out the window with an array of on set special effects creating a gory mystery of an alien entity turning characters against one another and body parts against characters. Kurt Russell stars in the third of his four-movie stint as Carpenter’s hero; four movies should constitute the argument for a dream team of Carpenter/Russell. Wilford Brimley makes an uncharacteristic appearance in this claustrophobic sci-fi adventure.  The Thing suffered at the box office in the wake of E.T. (1982), a time when the public was clamoring for cuter aliens for their kids to fall in love with. This ain’t your daddy’s The Thing(eeeewwww), and it ain’t for kids.

There are usually loads of trailers and short films between movies as well. That element can be the best part as it revives nostalgic feelings of being in the theater as a kid and not knowing what to expect. Some of the wonder of going to the theater cannot be reproduced at home no matter how hard electronics manufacturers try to convince us to stay at home. There is some magic left in the old screen, and nothing beats facing the morning after a full night of horror movies. 

The Loft Cinema
3233 E. Speedway Blvd. Tucson, AZ
www.loftcinema.com
Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

A Serious Man (2009)
I still rush out to see any Coen brothers movie. A Serious Man follows Larry Gopnik (Michael Stuhlbarg) through a difficult stretch where his wife wants a divorce and his bid for tenure is tenuous. Set in Minnesota in the late 60s, Larry seeks advice from three rabbis, all of whom give somewhat vague guidance, and Larry trudges on trying to cope. The pace is a bit more on the side of No Country for Old Men. There are a few recognizable character actors, but the movie features no stars and that element brings life to this narrative as it relies on an ensemble that bring the look and feel of suburban life to the screen. The film does a good job of relating suburban malaise through Larry’s eyes; his problems come on strong, but they are not outside of typical fears and Larry’s plight is more complicated that the typical “loser’s life falls apart” story line. The Coens manage to shake up their style significantly from movie to movie without losing their personality. They do manage fit a ransom or blackmail in every film no matter how innocent the basic story is. Here it is in the form of a very minor sub plot and it is nice to see them stick to a theme and without it becoming contrived. The comedy comes on a bit slower as the prototypical loud Coen characters are not on play in A Serious Man, but the payoff is in the subtle humor and the Coens have once again proved that they will not languish in their formula for success.

www.billupsallen.com

This is a good week to begin getting into the spirit of Halloween. Here are a couple of classic, horror-themed screenings with laughs attached to get you in the mood.

Shaun of the Dead (2004)
With a tongue and cheek title and being laden with horror movie references, Shaun of the Dead might come across on the surface as a spoof. But director Edgar Wright has a knack for filming action scenes, and Shaun has in itself become a classic of the zombie genre. Shaun (Simon Pegg) is an appliance salesman whose inability to get his act together is interrupted by a zombie apocalypse. As he battles zombies and attempts to figure out where his relationship with his girlfriend Liz (Kate Ashfield) went wrong, he and his friend Ed (Nick Frost) track through London streets attempting to return to their favorite pub picking up a klatch of survivors on the way. Shaun stands on its comedic sensibilities without sinking into parody and brings new light to the tired arena of zombie narratives.

Young Frankenstein (1974)
Mel Brooks unique brand of humor peaked in this story parodying elements of the story of Frankenstein (1931). A young Dr. Frankenstein (Gene Wilder) inherits his dead grandfather’s castle. As he attempts to outlive the stigma of his grandfather’s work, he discovers that his grandfather’s laboratory is intact and becomes obsessed with bringing the dead back to life. Shot on the set of the original Frankenstein with Teri Garr, Cloris Leachman, Marty Feldman, and Peter Boyle as the monster, Young Frankenstein ages gracefully in spite of its occasionally corny humor.

Shaun of the Dead is this week’s
Bookman’s Late Night Cult Classic
Friday, October 23rd and Saturday October 24th at 10:00pm at
The Loft Cinema
3233 E. Speedway Blvd. Tucson, AZ
www.loftcinema.com

Young Frankenstein is being shown Thursday, October 29th
as part of the
Cinema La Placita Outdoor Film Series
110 South Church Ave. Tucson, AZ
www.cinemalaplacita.com

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

Often, when the time would arrive to rent movies for Halloween, copies of The Wolfman or Night of the Living Dead would go fast when I was a kid. Lucky for me, I was more into renting whatever was left on the ransacked shelves of the local video store. There were generally a few remakes hanging around that the lay community and snobs alike would turn up their noses at. Here is a list of some worthwhile horror movie remakes. And before you come crying to me about it, I’m sure I forgot one or two.

The Horror of Dracula (1958)
Hammer Studios was an English movie studio that produced a second wave of horror classics based on the Universal movies of the 1930s. Color re-imaginings of horror standards made stars out of Christopher Lee and Peter Cushing who became the new Karloff and Lugosi of horror cinema. Most of the Hammer films are excellent, but Christopher Lee’s Count Dracula is an extraordinary horror performance. The Hammer films brought bright red blood to the screen while keeping gothic sensibilities alive in fabulously dreary color. Lee revised his Dracula six more times in Hammer films.

Invasion of the Body Snatchers (1978)
The 1978 version belongs on the list of great remakes even though the story picks up as an unspoken sequel to the original. For a brief moment, Kevin McCarthy reprises the character of Dr. Miles Bennell, the protagonist from the original movie who we last saw running in the streets yelling “they’re here.”  Twenty years later, he is nearly run over by Matthew Bennell (Donald Sutherland), a food critic who begins to notice people in his life are acting strange. Invasion brings new story elements without ruining the feel for the original; including a nefarious psychology guru played by Leonard Nimoy in his best role (yes, I said it) as he missed his calling as a nefarious character, a burgeoning Jeff Goldblum as a sarcastic guy, and the consistently overlooked stylings of Veronica Cartwright. Cartwright made her mark in the movies portraying the female character slowly losing it during the course of the movie. Cartwright is a more serious version of Terri Garr’s slow burn, and she pulls it off in a variety of genres. A great cast and good writing make this a re-vamped classic.

Nosferatu (1979)
If you asked under any other circumstances, I would say that Nosferatu is a story that should not be touched. But cinema dream team Werner Herzog and Klaus Kinski really nailed it at the end of the 70s. Kinski is a master of making the screen seem like an uncomfortable place to be. When he speaks, it’s exactly how you would imagine the count would sound in the silent version. Herzog manages to capture the feel of the original using muted colors and long takes. He creates a sense of confined danger even when Kinski is of the screen. Minimally refocused plot points give the movie an original spin without ruining the original story. The ending deserves a big gold star in the arena of abstract symbolism.

The Thing (1982)
There are circles that call this the best remake of all time. The original movie is a simple story of scientists stationed at an Arctic research facility who come upon a mysterious crash site buried under ice. After digging it up, strange things start happening around the base.  Soon, the entire team is in danger of being killed by an undefined alien suspect, and the team has nowhere to run. While the stories for both versions are essentially the same, The Thing from Another World (1951) played successfully on the horror principal that what you can’t see can be as scary as what you can see. John Carpenter threw that idea out the window with an array of on set special effects creating a gory mystery of an alien entity turning characters against one another and body parts against characters. Kurt Russell stars in the third of his four-movie stint as Carpenter’s hero; four movies should constitute the argument for a dream team moniker for Carpenter/Russell. Wilford Brimley makes an uncharacteristic appearance in this claustrophobic sci-fi adventure.  The Thing suffered at the box office in the wake of E.T. (1982), a time when the public was clamoring for cuter aliens for their kids to fall in love with. This ain’t your daddy’s The Thing(eeeewwww), and it ain’t for kids.

The Blob (1988)
It doesn’t seem that The Blob (1988) could be very good, especially in the wake of The Thing (1982). But for fans of the remake of The Thing, The Blob has a lot to offer. Director Chuck Russell, perhaps by accident or perhaps not, captured a similar dynamic in his monster movie remake adding a claustrophobic setting, good special effects and an alternative ending to The Blob’s “small town in peril” story line. The movie stars Kevin Dillon in his finest performance, if that says anything. If Keanu Reeves had a few good roles, then Kevin Dillon deserves to be distinguished. The obvious comparison just can’t be helped; for audiences who can’t get enough of The Thing, The Blob is a good watch.

Village of the Damned (1995)
I would like to compile a list of science fiction that I admire, but feel would work better as a Twilight Zone episode as opposed to a full length movie. I think Stephen King stories would be at the top of this category, and the original Village of the Damned (1960) would fit nicely into that category as well. However, the 1995 remake was directed by John Carpenter and Carpenter can stretch out a plot with unsettling imagery and evil government plots and make it worth watching. Maybe I’m too sentimental about seeing Christopher Reeve right before his accident, but I think the remake was tweaked just enough to make it great.

Dawn of the Dead (2003)
With all the technological advances at our disposal, it seems no one can do a good re-make anymore. However, a few years ago, I was surprised to find myself enjoying this Dawn of the Dead. This Dawn of the Dead shines among a string shitty ’00 remakes that I inexplicably continue supporting. As I was watching and not hating it, I thought perhaps it was because there was something endlessly appealing about the prospect of being trapped in a shopping mall while the world crumbles. As the actual end of the movie was revealed during the closing credits, I discovered that the movie was written by James Gunn. Gunn cut his teeth on Troma’s Tromeo and Juliet (1996), by far their best Troma movie since The Toxic Avenger (1984).  Gunn’s version of Dawn had all the structural elements of the original formula framed with new takes on the concept that made the story fresh. Except for a ridiculous zombie baby, it’s a really nice piece of horror writing. Faster zombies and faster action was balanced by the presence of Ving Rhames. The cast as a whole was a nice mix of ages and dispositions adding depth to the story by ignoring the formulaic gaggle of breast enhancement victims being catty with one another while Judd Apatow rejects high five about beer and sex. There is not much atmosphere in this Dawn, but as an action movie, it’s pretty good. The plot line is reverent of the original, yet diverges enough to keep it interesting. Compared to the awful state of recent horror, it’s a gem.

Honorable mentions:
Since it makes me feel like an old coot to always be dissing everything modern, I tried to highlight a few shining moments in the pathetic canon of ‘00 remakes in an attempt to differ from turning into the old guy who busts through the screen door in his bathrobe to yell at kids to get off his lawn. However, I don’t think I was very successful. I tried.  So you damn kids get off my lawn.

The Hills Have Eyes (2006)
I thought the charm of the original was in the low budget imagining of the story. This remake was pretty stupid, but the chase/slug-off  scene at the end with a huge, weird mutant guy in a 50s nuclear bomb-testing town was pretty kick-ass. Worth it for the last twenty minutes.

Halloween (2007)
I have to distinguish Rob Zombie for trying. He doesn’t deserve to be categorized with all the other dross, but this movie just didn’t quite make it for me. I can’t get used to his style of fast cut editing. That style served him better in House of a Thousand Corpses (2003). Still, there were some good frights and it looked cool most of the time. I’m convinced he is eventually going to make a classic.

Friday the 13^th (2009)
This series has been a parody of itself for so long that the “prequal humor” moments in this version are pretty redundant. The humor attempts to explain away traits in the character that have endured through all the films. These moments were moderately fun to watch, even though they were somewhat inaccurate. Sure, maybe I am being too purist about it, but why redo the whole thing and re-establish facts that don’t really matter in the first place? It would only be funny to those who know that the elements being told in the overall story of the franchise are wrong. It’s like making a biopic about a guy who doesn’t exist. There was one generally terrifying scene when a woman swimming in the lake realizes a guy in a hockey mask is watching her. I don’t usually go in for the helpless female moments, but the scene elicits one of the most realistic performances of the whole series. If someone put a gun to your head and forced you to watch a horror remake made in the 2000s, this would not be the worst choice.

Make movie time a true Halloween outing this year and check out Casa Videos’ extensive horror collection:
Casa Video 
2905 E. Speedway Blvd. Tucson, AZ 
casavideo.com

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

On Saturday, October 10^th a documentary about the current state of the comic book industry will play in Tucson as part of the Tucson Film and Music Festival. Directed by Miguel Cima, Dig Comics! tells the story of the decline of the comic industry, but takes a positive stance by putting comics in the hands people who don’t normally read them for some interesting reactions. Through an email interview, I was able to ask Cima a few questions about the film and the state of comics in general.

Q: The overall tone of the film seems very positive. What influenced you to attempt to re-educate the public rather than focus on the decay of comics as a past time?

“Well, there’s a little of both in the film actually. You gotta be honest about the past if there’s going to be a better future. But the thing is – and the movie proves this – that if you find a way to get comics into people’s hands, you will win over new converts. My focus is fueled by my love of art, my undying belief that art helps us understand each other better and reinforce beauty in our souls. And comics is such a wonderful and unique art form, an American original dying in America – it just makes me sad. Even the big publishers do little to raise awareness in the marketplace because they’re too busy counting the money that the movie licensing makes. The way I see it, it’s exactly as if you had never heard music, and here I have the Beatles’ catalog but you won’t even check it out because this whole music thing is strange and weird to you. It’s that absurd. I want to show everybody what they are missing because it is so wonderful.”

Q: With all the interest in comics as subject matter for blockbuster movies and the rising popularity of graphic novels, there is a lot of talk about the comics returning to the fold. Do you agree with this notion, or do you think any new interest being noted is nominal?

” So far, nominal. And that’s not an opinion, all you gotta do is check the numbers. In Japan, they have half the population, yet 7 times the comic sales of the US (they call comics “manga”, but it’s comics, trust me). The industry in the US as a whole does about $500 million a year. Spider-Man 3 – the crappiest of the movies – alone beat that number. I always hear, “Nobody reads anymore in this age of new technology”. Well guess what? The book publishing industry does 4 or 5 times the business of comics every year in the US. So again, that’s wrong. But you are correct that the time is NOW to raise awareness. The comics industry needs to ride the wave of success the film properties are providing and get people to read comics again. There are so many ways to do that, yet I don’t see many efforts. I am going to prod them to look at that some more once we expand the short into a feature (we are in the process of seeking financing right now).”

Q: I noticed your screening went well at the San Diego Comic Con. SDCC is such a focal point for comic enthusiasts. Were you nervous to screen it there?

“Sure I was! But it went well, was well received, and actually won the Best Documentary prize. What I’m finding is that most comics enthusiasts respond very well to the movie because they share my passion. And non comics folks enjoy my passion and energy, plus they get to learn about something new and cool.”

Dig Comics! plays at Crossroads along with I Need That Record, a documentary about the decline of independent record stores. This double feature kicks off at 11:30 AM on Saturday, October 10^th at Crossroads.

Grand Cinemas Crossroads 6
4811 East Grant Rd. Tucson, AZ

Visit Dig Comics! at
www.digcomics.com

I Need That Record!
www.ineedthatrecord.com 

www.tucsonfilmandmusicfestival.com/

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

My last night at De Anza Drive-in
A constellation of discarded jalapeños litter the ground in front of three cola cups standing at attention waiting for the next to the last movie ever to be shown at De Anza Drive-In to start. The theater is closing two years short of its sixtieth birthday and the word being passed around is that developers are already interested in putting down another strip mall. The ticket taker told us that lines had been around the block for the early shows and Pandorum, a moderately entertaining sci-fi thriller, will be starting late. Having snaked through the aisles with our headlights out during the end of District 9, we were lucky to find a perfect spot in front of the screen. Accidentally seeing the end of a movie you didn’t come to see is a common occurrence at the drive it. As Pandorum begins, people snuff joints and abandon the scattered islands of concrete littering the parking lot. Science fiction is particularly appealing at the drive in, as is rum, cola and pretzels. Heavy drinking can make the most intolerable movies entertaining, but tonight it becomes hard to concentrate as milestones begin to play out in secession. The fences blocking the entrance go up. The lights at the ticket booth go out. A crucial moment of dialogue is replaced by the announcement that the snack bar will close “in ten minutes.” As Jupiter makes its way across the sky, one by one the other screens go black. Pandorum wraps, and except for a few people needing jump starts, another precession of Saturday night patrons file out with their lights off to be considerate of those still watching the last show with any life left. Leaning on the back of the truck, I turn away from a depressing string of post-screening previews for movies that will never be shown at De Anza and catch a few minutes of Tarantino’s Inglourious Basterds with no sound. Jump-starting a friend’s car is an excuse to spend a few more minutes hanging around as the end of an era passes.

As a kid, I always used to perk up on car trips when we passed a drive in, acutely attentive only for the hope of a glance at a screen as we drove by. Nowadays, snobbery and extensive discussions are generally a factor in my movie going experiences. Sitting under the stars for the last night at De Anza, 108 minutes of Dennis Quaid in a space suit was all I needed.

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

Nicholas Ray’s classic about a rebellious teenager who bucks every system, including a clique of local bullies, plays at the Fox Theater as part of their Fall/Winter movie series.
Jim Stark (James Dean) is the new kid in a Los Angeles high school where he attempts to befriend Judy (Natalie Wood). But Judy’s hoodlum friends are unimpressed with Jim’s efforts and Jim is forced to prove himself against Buzz (Corey Allen) in a game of chicken. Jim’s new friend John (Sal Mineo) is elated to see someone stand up to the bullies, but becomes melancholy about his own shortcomings. Dennis Hopper, William Hopper, Jim Backus, and Rochelle Hudson also star in this classic tale of juvenile delinquency run amuck. Rebel Without a Cause was an early attempt by the studios attempting to gain a foothold in the growing youth culture market. Rebel remains a classic, timeless in its exposition of teen angst.
Rebel Without a Cause plays at the Fox Theater
Saturday, September 26th at 7:30

Fox Theater Tucson
17 West Congress St. Tucson, AZ
www.foxtucsontheatre.org

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

Unsafe on Any Screen: Cinematic Sleaze and Cheese
by Scott Phillips
“Unsafe on Any Screen” is an unpretentious movie guide filled with reviews of lesser-known cult movies and an occasional big budget gem. Filmmaker and ex-video clerk, Scott Phillips wrote a movie column for an underground newspaper in New Mexico. He has no qualms about admitting when he likes something, even if it’s Pierce Brosnen as 007. But his knowledge of underground cinema goes beyond casual, and Phillips comes up with an excellent mix of knowns and unknowns. Phillips has a great understanding of the hierarchy of reasoning behind why these movies are important to him; movies can be enjoyable for a variety or reasons. The reviews hit home without irony or too much attitude. The mark of a good movie guide for me is when the highlighter comes out for an anticipated trip to the video store. “Unsafe” is a must have for people who like to read about movies.

Unsafe on Any Screen: Cinematic Sleaze and Cheese
204 pp. RE Vardeman (publisher).
$9.99
 

Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com

Saturday, the Fox Theater is screening the premier of a new comedy by director Jackie Lee James. Trade In is the story of Marty, whose small dealership Car Kingdom struggles to compete against larger than life Wayne Empire of Empire Cars. Marty must get his sales team up to speed or lose his company.

Starring Chris Mascarelli, Christina Leigh, and Tiffany Shepis, with Special Appearances by Ron Jeremy and Corey Haim.

Visit the film website and view the trailer at www.tradeinthemovie.com

Trade In begins at 7:00 PM at:
Fox Theater Tucson
17 West Congress St. Tucson, AZ
www.foxtucsontheatre.org
Off the Marquee is a forum for reviewing and promoting overlooked classics, cult movie screenings, second-run viewing opportunities, and independent film. If you have anything in that vein you would like to share or promote, I would be psyched to hear about it.
groovetomb@hotmail.com
www.billupsallen.com