Rating: About Ratings
Opens: 07/22/2016
Running Time: 120
Rated: PG-13
Cast: Chris Pine, Zoe Saldana, Idris Elba, John Cho, Anton Yelchin, Simon Pegg, Zachary Quinto,Karl Urban and Anton Yelchin.
Crew: Director: Justin Lin. Producers: J.J. Abrams, Ron Ames, Bryan Burk, Roberto Orci and Lindsey Weber. Executive Producers: Jeffrey Chernov, David Ellison, Dana Goldberg and Tommy Harper. Screenwriters: Simon Pegg, Doug Jung, Roberto Orci, Patrick McKay, John D. Payne and Gene Roddenberry (Creator Of "Star Trek" series). Cinematographer: Stephen F. Windon.
REVIEW: By: Lana K. Wilson-Combs

“Star Trek Beyond” is the third reboot from J.J. Abrams. He produced and directed “Star Trek” in 2009 and 2013’s “Star Trek into Darkness.”

Abrams produced “Beyond,” but has relinquished directorial duties this time around to Justin Lin (“Fast & Furious”). Their collaborative effort--which also includes the savvy screenwriting of Roberto Orci, Patrick McKay, Doug Jung, John D. Payne and the film’s star, Simon Pegg (Scotty)-- makes “Star Trek Beyond” boldly soar to new and exciting heights.

Prior to all the fast and furious action that takes place in “Star Trek Beyond,” the USS Enterprise crew of Captain Kirk (Chris Pine), Spock (Zachary Quinto), Uhura (Zoe Saldana), Chekov (Anton Yelchin), Sulu (John Cho) and Bones (Karl Urban) find themselves in a rather pensive mood. There’s a bit of internal disharmony among the starship and everyone seems to be questioning their roles and places among the “Final Frontier.”

But nothing can bring a group of people together faster than an alien attack which is what Kirk and crew are lured into when a young Alien woman named Jaylah (a wonderful Sofia Boutella, “Kingsman: The Secret Service”) deceives them. She issues an SOS call claiming her crew has been overrun by an Alien force. Turns out these Aliens and their leader Krall (a great Idris Elba, “The Jungle Book”), is a brutal warrior who has ulterior motives and who may have had ties to the Starfleet.

Naturally, Kirk isn’t going to allow anyone to be harmed on his watch, especially a ship and its crew that reaches out for their help.

Jaylah reveals the real reason she summoned Kirk and his crew. She was told by Krall that if she got the Enterprise, that he would let her people go. Krall and his people do serious battle and virtually obliterate the Enterprise. The team ends up separated and stranded on the planet Altamid.

While the special effects in “Star Trek Beyond” are out of this world spectacular, some of the film’s finest and often funniest moments are character driven. They involve witty banter between Spock (Quinto) and Dr. “Bones” McCoy (Urban) and Scotty (Pegg) and Jaylah. Boutella is a terrific addition to the cast as a very resourceful and seasoned warrior. It’s easy to see why Scotty is kind of crushing on her.

“Star Trek Beyond” has an even more of a nostalgic feel about it than “Star Trek into Darkness,” which is fitting since “Star Trek” is set to celebrate its 50 year anniversary of the TV series which debuted on NBC Sept. 8, 1966. It paved the way for this lucrative film franchise.

“Star Trek Beyond” also respectfully acknowledges the death of Leonard Nimoy, the original Spock, who died last year. The film is also dedicated to Anton Yelchin, the outstanding Chekov, who died this year in a freak car accident.

“Star Trek Beyond” all adds up to one big emotional and action packed wild journey for “Trekkies” young and old.

Editor's Note: Be sure to catch my movie talk segment on the Kitty O'Neal Show Fridays at 6:40 p.m. on radio station KFBK 1530 AM and 93.1 FM.

Lana K. Wilson-Combs is a certified member of the Motion Picture Association Of America (MPAA), Broadcast Film Critics’ Association (BFCA), the Black Reel Awards Voting Academy and a Nominating Committee Voting Member for the NAACP Image Awards.

Watch The Trailer For "STAR TREK BEYOND"

Rated: PG
Opens: 07/22/2016
Ice Age: Collision Course

Rated: R
Opens: 07/22/2016
Lights Out

Rated: PG-13
Opens: 07/15/2016

Rated: R
Opens: 07/15/2016
The Infiltrator

Rated: PG-13
Opens: 07/01/2016
The Legend Of Tarzan


Brian's Song Title: Brian's Song
Year Released: 1971
Running Time: 90
Production Company: Sony (Screen Gems)
Director: Buzz Kulik
Director of Photography: Joseph F. Biroc
Screenwriter: William Blinn
Author: Lana K. Wilson-Combs

REVIEW: Now with summer behind us, the arrival of fall means weekends attending and watching plenty of football games. Whether they’re college, pro or high school, I’m all over them. I’m looking forward to attending a few games at the San Francisco 49ers new Levi’s Stadium.

On the college front, my husband Rickey is a former UC Davis player/alum and...

Miles Ahead <b>(July 19)</b> Title: Miles Ahead (July 19)
Year Released: 2016
Running Time: 106
Production Company: Sony Pictures Classics
Director: Don Cheadle
Review By: Lana K. Wilson-Combs


Don Cheadle has taken another giant leap forward in his film career with his latest movie, “Miles Ahead” where he stars as the legendary, jazz trumpeter Miles Davis.

Although jazz purists may not agree that the movie captures all the
allure and essence of Davis, we do get a big and rather unorthodox glimpse into the talented artist’s reclusive and abusive lifestyle thanks to Cheadle who also directed co-wrote and produced “Miles Ahead.”

Much like Davis, “Miles Ahead” is unpredictable, daring, provocative and slightly humorous at times.

Davis certainly had plenty of demons to contend with throughout his tumultuous life, but through it all, he managed to produce some of the jazz world’s most significant and influential music from his early 1950s-1960s work such as “Sketches of Spain,” “Miles Ahead,” “Kind of Blue,” “In a Silent Way,” “Someday My Prince Will Come” and the critically acclaimed 1970 Columbia release, “Bitches Brew.”

“Miles Ahead” jumps around Davis’ life. There are several flashbacks and we get bits and pieces of his story. It’s like a puzzle coming together but in the end there are maybe three or four pieces missing.

We see Davis at the height of his career and the low points too. The composer hasn’t made much music lately and so the money isn’t flowing like it used to either. That’s mainly because Davis stays holed up in his New York apartment shooting heroin and drinking to try and escape from his chronic pain or maybe the pressures of living and just being Miles Davis.

Despite promises to the suits at Columbia Records that new music is on its way, Davis is having a hard time getting his groove back and their patience with him is wearing thin.

Dave Brill (Ewan McGregor) a reporter from Rolling Stone Magazine shows up at Davis’ door claiming he’s been assigned to do a story on him. Reluctant at first, and for good reason, Davis isn’t interested, but then realizes he can use this “crazy white boy” to get what he really wants which are of course, more drugs.

The two form a bizarre relationship. Each has their own agenda. Davis and Dave have some rather comical moments as they try and get their hands on a master tape that winds up missing from Davis’ home during a party. Dave has a little something to do with its disappearance. Davis needs it for leverage among other things with the studio honchos.

In between this scenario, the film jumps back in time showing us the relationship Davis had with his first wife, a dancer named Frances Taylor (Emayatzy Corinealdi, TV’s mini-series, “Roots”). And while Taylor supported Davis-- even giving up her career in order to be at his shows--she grew weary of his infidelity and abusive ways. They divorced in 1968.

For the record, Davis was also married to funk/soul singer Betty Mabry/Davis and actress Cicely Tyson (TV’s “House of Cards” and “How to get Away with Murder”).

Cheadle learned to play the trumpet for “Miles Ahead” and has said that making a movie about Miles Davis was always a passion project of his but he didn’t really take it seriously until he was auditioning for the movie “Ali.” The writer of “Ali,” Chris Wilkinson suggested it since he knew the family.

In 2006 when Davis was being inducted into the Rock and Roll Hall of Fame, Davis' nephew said Don Cheadle would be the only person the family would consider to play Miles. After that, the wheels for the movie began to roll.

There are musical moments to savor in the film, including the songs “Solea” and “So What,” but not nearly enough.

Still, Cheadle should be applauded for bringing Davis’ story to the big screen. It’s an ambitious project and Cheadle also makes everything he’s in just that much better. I do however; forgive him for the movie “Hotel for Dogs.”

While he was excellent alongside Denzel Washington in “Devil in a Blue Dress,” he was phenomenal in the 2007 movie, “Talk to Me” where he played Ralph “Petey” Greene, an ex-con who rose to become a prominent celebrity radio personality in Washington D.C. Directed by Kasi Lemmons, “Talk to Me” also starred Chiwetel Ejiofor and Taraji P. Henson.

Now, with “Miles Ahead,” Cheadle has shown once again what a tremendous actor he is and shined the spotlight on Miles Davis (May 26, 1926-Sept. 28, 1991), a phenomenal musician who continues to inspire the world with the gift of music he left.
(Highly Recommended).

Editor’s Note: The bonus features in “Miles Ahead” include: Commentary with director Don Cheadle and co-writer Steven Baigelman. There’s also the featurette "The Truth: Becoming Miles Davis"; and the 2016 Sundance Film Festival Q & A with Don Cheadle, Ewan McGregor, Emayatzy Corinealdi, and LaKeith Lee Stanfield.

Demolition <b>(July 19)</b> Title: Demolition (July 19)
Year Released: 2015
Running Time: 111
Production Company: Fox Searchlight
Director: Jean-Marc Valle
Review By: Lana K. Wilson-Combs


I can’t wait until Jake Gyllenhaal really becomes the talk of movie awards conversations. Although he’s come close with nominations for his star turn in the movies “Brokeback Mountain,” “Prisoners,” Nightcrawler” and “Zodiac,” he’s like one major movie away from truly breaking out and walking away with an Oscar or Golden Globe award.

With his latest movie, “Demolition,” Gyllenhaal has added another challenging and unpredictable role to his resume.

Directed by Jean-Marc Vallée (“Dallas Buyers Club” and “Wild”), “Demolition” is a complex, dark, odd, yet entertaining drama.

By all appearances it seems as if Davis Mitchell (Gyllenhaal) has the world on a string. He’s a successful New York investment banker who lives in a beautiful house with his gorgeous wife, Julia (Heather Lind, TV’s “TURN: Washington's Spies”).

Then within a matter of minutes, everything Davis had is taken away when he and Julia are involved in a car crash. She dies and he manages to survive without even a scratch.

The tragedy haunts Davis. His father-in-law (Chris Cooper, TV’s “11.22.63”), who is also his boss, never liked him and that adds to even more pain and anguish for Davis.

Davis refuses to seek any professional help and continues his downward spiral. What really sets him off, surprisingly, is when a package of M&M’s candy gets stuck in the hospital vending machine.

He’s so angered that he can’t retrieve the candy and that the hospital nurse dismisses his concern that he decides to write the company. He explains in the letter about his horrific day and how it was capped by the M&M incident.

His letters garner the attention of a customer service rep named Karen (Naomi Watts, “Allegiant”). Karen’s interest in Davis soon borders on obsession despite her being a single mom and in a committed relationship.

Davis and Karen finally meet and it’s a strange encounter. Both are weirdly attracted to each other. Davis even bonds with Karen’s foul-mouthed teen soon Chris ( Judah Lewis, “Point Break” (remake). They end up learning a lot from each other.

Davis finds an inner peace being around Karen and Chris and develops a cathartic need to “demolish” everything he can get his hands on including his multi-million dollar home. The underlying but often heavy-hitting message from the movie is that sometimes we have to tear things down in order to rebuild ourselves.

The movie takes a stunning turn when Davis also uncovers a secret that his former wife kept from him.

“Demolish” isn’t weepy or predictable, but it is engaging and made all the more intriguing by Gyllenhaal who once again why he’s one of the best actors working in Hollywood today.

Batman v. Superman: Dawn Of Justice <b>(July 19)</b> Title: Batman v. Superman: Dawn Of Justice (July 19)
Year Released: 2016
Running Time: 151
Production Company: Warner Bros. Pictures
Director: Zack Snyder
Review By: Lana K. Wilson-Combs


I can only marginally recommend director Zack Snyder’s ambitious, yet mediocre spectacle, “Batman v Superman: Dawn of Justice.”

The main reason is I simply didn’t find Ben Affleck suitable or convincing as the Caped Crusader. Plus, it’s filled with a dizzying, 2½ hours of CGI special effects.

Faring much worse is Jesse Eisenberg (“Now You See Me 2”) as the villainous Lex Luthor whose grating lisp and tic is more annoying than menacing.

Still, having the Dark Knight and The Man of Steel, two of the most iconic superheroes in the DC Universe, duke is appealing.

Henry Cavill as Superman, is what really made this movie work for me.

Which is why it’s odd that screenwriters David S. Goyer (“Man of Steel” and “The Dark Knight Rises”) and Chris Terrio (“Argo” and upcoming “The Justice League”) had such a wide canvas to work from and didn’t fully take advantage of it.

Things get underway when Batman/Bruce Wayne (Affleck) and his confidant Alfred, (Jeremy Irons, “Race”) see Superman/Clark Kent (a terrific Henry Cavill, “The Man from U.N.C.L.E.”/”Justice League”) destroy Wayne Enterprises’ headquarters building.

Both are thoroughly convinced that Superman—although still loved by many—is reckless and poses a major threat to the world. There’s some other issues apparently that have been festering between Batman and Superman too.

But the psycho Lex doesn’t have love for either of them and is concocting the mother of all schemes to take them down.

Now it’s up to Batman and Superman to decide whether they can put aside their differences and join forces to keep Lex and Doomsday from destroying Metropolis.
There’s a lot jammed into “Batman v Superman’s” multiple storylines including: dirty bombs, arms dealers, Superman’s mother (Diane Lane, “Trumbo”) and Senate Congressional hearings that are headed up by a Kentucky senator (Holly Hunter, “Weightless” ).

Trying to make sense out of it all is newspaper reporter Lois Lane (Amy Adams, “American Hustle”) along with her steely colleague and love interest, Clark Kent (a terrific Cavill).

If only they could convince their penny pinching, loud-mouthed editor, Perry White (Laurence Fishburne, TV’s “Black-ish”) they’re on to something big.

The numerous explosions and mass destruction throughout “Batman v Superman” is at times chillingly reminiscent of the 9/11 tragedy and the recent Brussels terrorist attack.

A lot of the pieces involving these subplots don’t quite fit, but Snyder knows how to set a stage and he paints a fairly intriguing picture if nothing else.

“Batman v Superman” looks elaborate at times particularly once the fight scenes begin. It’s unfortunate that viewers have to wait so long to get to the big "climatic" showdown.

But the real surprise and disappointment of “Batman v Superman” is when Wonder Woman (a terrific Gal Godot, “Triple 9” and “Furious 7”) finally arrives in pure beast mode fashion. However, by this time,

It’s late in the movie and her screen time is embarrassingly short. She deserved better and honestly so do Batman and Superman fans.
Editor’s Notes: A few of the Blu-ray and DVD bonus features of “Batman v. Superman” include the featurettes: "Uniting the World's Finest," "Gods and Men: A Meeting of Giants," "The Warrior, The Myth, The Wonder," "Accelerating Design: The New Batmobile," "Superman: Complexity & Truth," "Batman: Austerity & Rage," "Wonder Woman: Grace & Power," "Batcave: Legacy of the Lair," "The Might and the Power of a Punch," "The Empire of Luthor," and "Save the Bats."

Green Room <b>(July 12)</b> Title: Green Room (July 12)
Year Released: 2016
Running Time: 95
Production Company: A24 Productions
Director: Jeremy Saulnier
Review By: Lana K. Wilson-Combs


Fans of the late actor Anton Yelchin can catch him in the riveting and edgy thriller, “Green Room.”

This movie and the upcoming “Star Trek Beyond” are the last major movies Yelchin starred in prior to his death on June 19, 2016. The 27-year-old actor was killed in a freak car accident at his house.

In “Green Room,” Yelchin stars as a bass player for a punk music band called The Ain’t Rights.

The group consists of singer Tiger (Callum Turner, “Victor Frankenstein”), guitarist Sam (Alia Shawkat, “Pee-wee’s Big Holiday”) and drummer Reece (Joe Cole, TV’s “Peaky Blinders”).

After getting shafted for a gig, the group decides to pack up and see if they can score someplace else. They settle on a roadhouse in Oregon that unbeknownst to them is run and owned by a Neo-Nazi named Darcy (Patrick Stewart, TV’s “American Dad” and “Unbreakable Kimmy Schmidt”).

The place is actually a hideaway for skinheads and their drug trafficking and other illegal activities. They also happen to love punk music.

Stewart isn’t in the movie nearly enough as he should be, but when he is, he’s pure gold. The role is a far cry from Professor X and Jean-Luc Picard.

If only Sam (Shawkat) hadn’t forgotten her phone in the green room, chances are all hell wouldn’t have broken loose like it does. When she goes back to retrieve it, she notices a dead woman on the floor with a knife sticking out of her head and blood flowing everywhere.

When she tries to leave, one of the skinheads notices she’s seen too much and immediately gets his guys to go after the band. They lock the group in a room along with the dead girl’s best friend Amber (Imogen Poots, TV’s “Roadies”).

Now these youngsters have to figure out a way to escape. They must fight back the best they can against these machete wielding savages who are heavily armed with shotguns and killer pit-bull dogs.

There are a ton of twists here and the film is incredibly well-written, daring and unpredictable. The acting is first-rate too.

Director/screenwriter Jeremy Saulnier (“Blue Ruin”) has crafted a thoroughly satisfying B-movie.

The only thing that keeps me from giving "Green Room" “Four Reels” is the ending, but up until then “Green Room” kept me on the edge of my seat.
(Highly Recommended).
STAR TREK BEYOND By: Lana K. Wilson-Combs:


Star Trek Beyond: An IMAX 3D Experience is the highly anticipated next installment in the globally popular “Star Trek” franchise.

Created by Gene Roddenberry and reintroduced by J.J. Abrams in 2009, the series returns with director Justin Lin (“The Fast and the Furious” franchise) at the helm of this epic voyage of the U.S.S. Enterprise and her intrepid crew.

In “Beyond,” the Enterprise crew explores the furthest reaches of uncharted space, where they encounter a mysterious new enemy who puts them and everything the Federation stands for to the test. “Star Trek Beyond: An IMAX 3D Experience” opens at 7:00 p.m. on July 21 at The Esquire IMAX Theatre in Sacramento.

Tickets are on sale at the theatre box office and online

“Star Trek Beyond: An IMAX 3D Experience will be digitally re-mastered into the image and sound quality of An IMAX 3D Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images, coupled with the Esquire IMAX Theatre’s six story high and 80 feet wide screen, customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

The Esquire IMAX Theatre is located at 1211 K Street in downtown Sacramento, CA.

For information on tickets and showtimes, please call 916-443-IMAX (4629) or visit the website at


IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you've never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX's network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices inLondon, Tokyo, Shanghai and Beijing. As of Mar. 31, 2016, there were 1,066 IMAX theatres (952 commercial multiplexes, 17 commercial destinations and 97 institutions) in 68 countries.

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience®, IMAX Is Believing® and IMAX nXos® are trademarks of IMAX Corporation.

More information about the Company can be found at may also connect with IMAX on Facebook (, Twitter ( and YouTube (

Editor’s Note: Information used in this report obtained from IMAX publicity.

Step Sisters By: Lana K. Wilson-Combs:


Broad Green Pictures has announced the cast of its upcoming movie, “Step Sisters” (previously titled “Ain’t No Half Steppin”), written by Chuck Hayward (“Cooper Barrett’s Guide to Surviving Life,” “One Big Happy,” “Bent”).

The ensemble cast includes: Megalyn Echikunwoke (pictured center), who starred in “90210,” and “House of Lies”), Eden Sher (pictured left) star of (“The Middle”) and Lyndon Smith (pictured right) (“Secret in Their Eyes and “Parenthood”).

"Step Sisters" also stars Gage Golightly (“Red Oaks,”“Teen Wolf”), Nia Jervier ("Dear White People"), Alessandra Torresani (“The Big Bang Theory”), Marque Richardson ("Dear White People," "All the Way"), Naturi Naughton (“Power”, Notorious) and Matt McGorry (“Orange Is the New Black,” “How to Get Away with Murder”).

The upbeat comedy is being directed by Charles Stone (“Drumline”) and produced by Matt Alvarez (“Straight Outta Compton,” the “Ride Along” franchise), Lena Waithe (“Masters of None” series regular, “Dear White People,” Showtime’s “The Chicago Project”) and Benjamin Cory Jones (“Hand of God”).

Broad Green Pictures’ Josh Reinhold is an executive producer.

“Step Sisters” is expected to hit theatres in 2017. The movie centers on an ambitious black sorority girl (Echikunwoke) who, in order to get admitted to the law school of her dreams, agrees to cross cultural lines and teach the exclusive art of black Greek stepping to a band of wild, party-obsessed white sorority girls whose charter is about to be revoked.

ABOUT BROAD GREEN PICTURES: The fully-integrated movie studio founded by Gabriel and Daniel Hammond provides filmmakers with unparalleled development support, production infrastructure, and marketing resources to execute their vision from script to screen.

Through collaborative partnerships with both rising talent and established filmmakers, Broad Green shares incredible stories with the widest possible audiences, pushing boundaries and taking creative risks.

The studio’s upcoming slate includes: “Bad Santa 2,” a co-production with Miramax, and “Villa Capri.” The studio will also release Terrence Malick’s “Voyage of Time” and his untitled project starring Ryan Gosling, Rooney Mara and Michael Fassbender.

Previously released films include: “A Walk in the Woods,” the critically-acclaimed “99 Homes,” “I Smile Back,” “Learning to Drive,” “Knight of Cups” and “The Dark Horse.”

Editor's Note: Information used in this report obtained from Broad Green Pictures.

academy By: Lana K. Wilson-Combs:


The Academy celebrates the 25th anniversary of the Academy Film Archive with the screening series: “Archival Revival – 25 years of the Academy Film Archive,” curated from the extensive, diverse collection of motion pictures that the archive has restored and preserved.

The series, which runs from July 18 through September 12, will showcase a broad range of titles – musicals, documentaries, silent films, Pre-Code comedies, experimental films and horror classics.

In 1991 the Academy’s Board of Governors made a commitment to create a world-class archive for the preservation, restoration, documentation and study of motion pictures.

The Academy Film Archive currently holds more than 190,000 elements, including trailers, feature films, and the film collections of such artists as Alfred Hitchcock, Penelope Spheeris, James Wong Howe, Albert Maysles and Su Friedrich.

It also holds the collections of such institutions and programs as the Japanese American National Museum, Los Angeles Latino International Film Festival and the Student Academy Awards.


“WEST SIDE STORY (1961) – JULY 18 – 7:30 p.m. The Samuel Goldwyn Theater with actors George Chakiris, Russ Tamblyn and Maria Jimenez Henley, and producer Walter Mirisch. Presented in 70mm. Film print struck from the original negative.

”THE PIT AND THE PENDULUM” (1961)–JULY 26–7:30 p.m. The Samuel Goldwyn Theater with producer-director Roger Corman and producer Julie Corman. Debuting a new 35mm print made by the Academy Film Archive with support from Roger Corman, Julie Corman and Jon Davison.

“THE BALLAD OF GREGORIO CORTEZ” (1982)– AUGUST 1–7:30 p.m. The Samuel Goldwyn Theater with actor Edward James Olmos and director Robert M. Young, hosted by documentarian Lourdes Portillo. This restoration world premiere is presented as part of the Academy’s participation in Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 60 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

“SINGIN’ IN THE RAIN” (1952) – AUGUST 8–7:30 p.m. The Samuel Goldwyn Theater with Derek Hough, choreographer, two time Emmy winner and six-time “Dancing with the Stars” champion. Screening an original 35mm Technicolor print.

CONSTANCE TALMADGE RESTORED: “THE PERFECT WOMAN” (1920) and “GOOD NIGHT, PAUL” (1918) – AUGUST 11–7:30 p.m. The Linwood Dunn Theater with musical accompaniment by Joe Rinaudo. The Academy’s newly restored 1915 Fotoplayer is unveiled for its inaugural public performance.

“THE FRONT PAGE” (1931) and “COCK OF THE AIR” (1932)–AUGUST 15–7:30 p.m. The Samuel Goldwyn Theater. “The Front Page” is a restoration West Coast premiere of the rediscovered “American” release version, and “Cock of the Air” is a restoration world premiere of the original uncensored “Pre-Code” release version.

“PLASTIC REALITIES:” FILMS BY SUZAN PITT AND PAT O’NEILL–AUGUST 25–7:30 p.m. The Linwood Dunn Theater with filmmakers Suzan Pitt and Pat O’Neill.

“MY OWN PRIVATE IDAHO” (1991) – SEPTEMBER 12–7:30 p.m. The Samuel Goldwyn Theater with director Gus Van Sant. Screening of a new 35mm print.

Editor’s Note: Some information used in this report obtained from the Academy.