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Learn about our guidelines for content consumption, community engagement, and more. Terms and Conditions Last updated January 01, 2025 AGREEMENT TO OUR LEGAL TERMS We are The Cinema Dispatch ("Company," "we," "us," "our"). We operate the website https://www.cinemadispatch.com/ (the "Site"), as well as any other related products and services that refer or link to these legal terms (the "Legal Terms") (collectively, the "Services"). You can contact us by email at hunter@cinemadispatch.com. These Legal Terms constitute a legally binding agreement made between you, whether personally or on behalf of an entity ("you"), and The Cinema Dispatch, concerning your access to and use of the Services. You agree that by accessing the Services, you have read, understood, and agreed to be bound by all of these Legal Terms. IF YOU DO NOT AGREE WITH ALL OF THESE LEGAL TERMS, THEN YOU ARE EXPRESSLY PROHIBITED FROM USING THE SERVICES AND YOU MUST DISCONTINUE USE IMMEDIATELY. Supplemental terms and conditions or documents that may be posted on the Services from time to time are hereby expressly incorporated herein by reference. We reserve the right, in our sole discretion, to make changes or modifications to these Legal Terms at any time and for any reason. We will alert you about any changes by updating the "Last updated" date of these Legal Terms, and you waive any right to receive specific notice of each such change. It is your responsibility to periodically review these Legal Terms to stay informed of updates. You will be subject to, and will be deemed to have been made aware of and to have accepted, the changes in any revised Legal Terms by your continued use of the Services after the date such revised Legal Terms are posted. The Services are intended for users who are at least 18 years old. Persons under the age of 18 are not permitted to use or register for the Services. We recommend that you print a copy of these Legal Terms for your records. TABLE OF CONTENTS 1. OUR SERVICES 2. INTELLECTUAL PROPERTY RIGHTS 3. USER REPRESENTATIONS 4. PROHIBITED ACTIVITIES 5. USER-GENERATED CONTRIBUTIONS 6. CONTRIBUTION LICENSE 7. THIRD-PARTY WEBSITES AND CONTENT 8. SERVICES MANAGEMENT 9. TERM AND TERMINATION 10. MODIFICATIONS AND INTERRUPTIONS 11. GOVERNING LAW 12. DISPUTE RESOLUTION 13. CORRECTIONS 14. DISCLAIMER 15. LIMITATIONS OF LIABILITY 16. INDEMNIFICATION 17. USER DATA 18. ELECTRONIC COMMUNICATIONS, TRANSACTIONS, AND SIGNATURES 19. CALIFORNIA USERS AND RESIDENTS 20. MISCELLANEOUS 21. CONTACT US 1. OUR SERVICES The information provided when using the Services is not intended for distribution to or use by any person or entity in any jurisdiction or country where such distribution or use would be contrary to law or regulation or which would subject us to any registration requirement within such jurisdiction or country. Accordingly, those persons who choose to access the Services from other locations do so on their initiative and are solely responsible for compliance with local laws, if and to the extent local laws are applicable. The Services are not tailored to comply with industry-specific regulations (Health Insurance Portability and Accountability Act (HIPAA), Federal Information Security Management Act (FISMA), etc.), so if your interactions would be subjected to such laws, you may not use the Services. You may not use the Services in a way that would violate the Gramm-Leach-Bliley Act (GLBA). 2. INTELLECTUAL PROPERTY RIGHTS Our intellectual property We are the owner or the licensee of all intellectual property rights in our Services, including all source code, databases, functionality, software, website designs, audio, video, text, photographs, and graphics in the Services (collectively, the "Content"), as well as the trademarks, service marks, and logos contained therein (the "Marks"). Our Content and Marks are protected by copyright and trademark laws (and various other intellectual property rights and unfair competition laws) and treaties in the United States and around the world. The Content and Marks are provided in or through the Services "AS IS" for your personal, non-commercial use or internal business purpose only. Your use of our Services Subject to your compliance with these Legal Terms, including the "PROHIBITED ACTIVITIES" section below, we grant you a non-exclusive, non-transferable, revocable license to: access the Services; and download or print a copy of any portion of the Content to which you have properly gained access solely for your personal, non-commercial use or internal business purpose. Except as set out in this section or elsewhere in our Legal Terms, no part of the Services and no Content or Marks may be copied, reproduced, aggregated, republished, uploaded, posted, publicly displayed, encoded, translated, transmitted, distributed, sold, licensed, or otherwise exploited for any commercial purpose whatsoever, without our express prior written permission. If you wish to make any use of the Services, Content, or Marks other than as set out in this section or elsewhere in our Legal Terms, please address your request to: hunter@cinemadispatch.com. If we ever grant you permission to post, reproduce, or publicly display any part of our Services or Content, you must identify us as the owners or licensors of the Services, Content, or Marks and ensure that any copyright or proprietary notice appears or is visible on posting, reproducing, or displaying our Content. We reserve all rights not expressly granted to you in and to the Services, Content, and Marks. Any breach of these Intellectual Property Rights will constitute a material breach of our Legal Terms and your right to use our Services will terminate immediately. Your submissions Please review this section and the "PROHIBITED ACTIVITIES" section carefully before using our Services to understand the (a) rights you give us and (b) obligations you have when you post or upload any content through the Services. Submissions: By directly sending us any question, comment, suggestion, idea, feedback, or other information about the Services ("Submissions"), you agree to assign to us all intellectual property rights in such Submission. You agree that we shall own this Submission and be entitled to its unrestricted use and dissemination for any lawful purpose, commercial or otherwise, without acknowledgment or compensation to you. You are responsible for what you post or upload: By sending us Submissions through any part of the Services you: confirm that you have read and agree with our "PROHIBITED ACTIVITIES" and will not post, send, publish, upload, or transmit through the Services any Submission that is illegal, harassing, hateful, harmful, defamatory, obscene, bullying, abusive, discriminatory, threatening to any person or group, sexually explicit, false, inaccurate, deceitful, or misleading; to the extent permissible by applicable law, waive any moral rights to any such Submission; warrant that any such Submission is original to you or that you have the necessary rights and licenses to submit such Submissions and that you have full authority to grant us the above-mentioned rights about your Submissions; and warrant and represent that your Submissions do not constitute confidential information. You are solely responsible for your Submissions and you expressly agree to reimburse us for any losses that we may suffer because you breach (a) this section, (b) any third party’s intellectual property rights, or (c) applicable law. 3. USER REPRESENTATIONS By using the Services, you represent and warrant that: (1) you have the legal capacity and you agree to comply with these Legal Terms; (2) you are not a minor in the jurisdiction in which you reside; (3) you will not access the Services through automated or non-human means, whether through a bot, script or otherwise; (4) you will not use the Services for any illegal or unauthorized purpose; and (5) your use of the Services will not violate any applicable law or regulation. If you provide any information that is untrue, inaccurate, not current, or incomplete, we have the right to suspend or terminate your account and refuse any current or future use of the Services (or any portion thereof). 4. PROHIBITED ACTIVITI ES You may not access or use the Services for any purpose other than that for which we make the Services available. The Services may not be used in connection with any commercial endeavors except those that are specifically endorsed or approved by us. As a user of the Services, you agree not to: * Systematically retrieve data or other content from the Services to create or compile, directly or indirectly, a collection, compilation, database, or directory without written permission from us. * Trick, defraud, or mislead us and other users, especially in any attempt to learn sensitive account information such as user passwords. * Circumvent, disable, or otherwise interfere with security-related features of the Services, including features that prevent or restrict the use or copying of any Content or enforce limitations on the use of the Services and/or the Content contained therein. * Disparage, tarnish, or otherwise harm, in our opinion, us and/or the Services. * Use any information obtained from the Services to harass, abuse, or harm another person. * Make improper use of our support services or submit false reports of abuse or misconduct. * Use the Services in a manner inconsistent with any applicable laws or regulations. * Engage in unauthorized framing of or linking to the Services. * Upload or transmit (or attempt to upload or to transmit) viruses, Trojan horses, or other material, including excessive use of capital letters and spamming (continuous posting of repetitive text), that interferes with any party’s uninterrupted use and enjoyment of the Services or modifies, impairs, disrupts, alters, or interferes with the use, features, functions, operation, or maintenance of the Services. * Engage in any automated use of the system, such as using scripts to send comments or messages, or using any data mining, robots, or similar data gathering and extraction tools. * Delete the copyright or other proprietary rights notice from any Content. * Attempt to impersonate another user or person or use the username of another user. * Upload or transmit (or attempt to upload or to transmit) any material that acts as a passive or active information collection or transmission mechanism, including without limitation, clear graphics interchange formats ("gifs"), 1×1 pixels, web bugs, cookies, or other similar devices (sometimes referred to as "spyware" or "passive collection mechanisms" or "PCM"). * Interfere with, disrupt, or create an undue burden on the Services or the networks or services connected to the Services. * Harass, annoy, intimidate, or threaten any of our employees or agents engaged in providing any portion of the Services to you. * Attempt to bypass any measures of the Services designed to prevent or restrict access to the Services, or any portion of the Services. * Copy or adapt the Services' software, including but not limited to Flash, PHP, HTML, JavaScript, or other code. * Except as permitted by applicable law, decipher, decompile, disassemble, or reverse engineer any of the software comprising or in any way making up a part of the Services. * Except as may be the result of a standard search engine or Internet browser usage, use, launch, develop, or distribute any automated system, including without limitation, any spider, robot, cheat utility, scraper, or offline reader that accesses the Services, or use or launch any unauthorized script or other software. * Use a buying agent or purchasing agent to make purchases of the Services. * Make any unauthorized use of the Services, including collecting usernames and/or email addresses of users by electronic or other means to send unsolicited emails, or create user accounts by automated means or under pretenses. * Use the Services as part of any effort to compete with us or otherwise use the Services and/or the Content for any revenue-generating endeavor or commercial enterprise. * Sell or otherwise transfer your profile. * Use the Services to advertise or offer to sell goods and services. 5. USER-GENERATED CONTRIBUTIONS The Services does not offer users to submit or post content. We may provide you with the opportunity to create, submit, post, display, transmit, perform, publish, distribute, or broadcast content and materials to us or on the Services, including but not limited to text, writings, video, audio, photographs, graphics, comments, suggestions, or personal information or other material (collectively, "Contributions"). Contributions may be viewable by other users of the Services and through third-party websites. When you create or make available any Contributions, you thereby represent and warrant that: * The creation, distribution, transmission, public display, or performance, and the accessing, downloading, or copying of your Contributions do not and will not infringe the proprietary rights, including but not limited to the copyright, patent, trademark, trade secret, or moral rights of any third party. * You are the creator and owner of or have the necessary licenses, rights, consents, releases, and permissions to use and to authorize us, the Services, and other users of the Services to use your Contributions in any manner contemplated by the Services and these Legal Terms. * You have the written consent, release, and/or permission of every identifiable person in your Contributions to use the name or likeness of every such identifiable person to enable inclusion and use of your Contributions in any manner contemplated by the Services and these Legal Terms. * Your Contributions are not false, inaccurate, or misleading. * Your Contributions are not unsolicited or unauthorized advertising, promotional materials, pyramid schemes, chain letters, spam, mass mailings, or other forms of solicitation. * Your Contributions are not obscene, lewd, lascivious, filthy, violent, harassing, libelous, slanderous, or otherwise objectionable (as determined by us). * Your Contributions do not ridicule, mock, disparage, intimidate, or abuse anyone. * Your Contributions are not used to harass or threaten (in the legal sense of those terms) any other person or to promote violence against a specific person or class of people. * Your Contributions do not violate any applicable law, regulation, or rule. * Your Contributions do not violate the privacy or publicity rights of any third party. * Your Contributions do not violate any applicable law concerning child pornography, or otherwise intended to protect the health or well-being of minors. * Your Contributions do not include any offensive comments that are connected to race, national origin, gender, sexual preference, or physical handicap. * Your Contributions do not otherwise violate, or link to material that violates any provision of these Legal Terms, or any applicable law or regulation. * Any use of the Services in violation of the foregoing violates these Legal Terms and may result in, among other things, termination or suspension of your rights to use the Services. 6. CONTRIBUTION LICENSE You and Services agree that we may access, store, process, and use any information and personal data that you provide and your choices (including settings). By submitting suggestions or other feedback regarding the Services, you agree that we can use and share such feedback for any purpose without compensation to you. We do not assert any ownership over your Contributions. You retain full ownership of all of your Contributions and any intellectual property rights or other proprietary rights associated with your Contributions. We are not liable for any statements or representations in your Contributions provided by you in any area of the Services. You are solely responsible for your Contributions to the Services and you expressly agree to exonerate us from any responsibility and to refrain from any legal action against us regarding your Contributions. 7. THIRD-PARTY WEBSITES AND CONTENT The Services may contain (or you may be sent via the Site) links to other websites ("Third-Party Websites") as well as articles, photographs, text, graphics, pictures, designs, music, sound, video, information, applications, software, and other content or items belonging to or originating from third parties ("Third-Party Content"). Such Third-Party Websites and Third-Party Content are not investigated, monitored, or checked for accuracy, appropriateness, or completeness by us, and we are not responsible for any Third-Party Websites accessed through the Services or any Third-Party Content posted on, available through, or installed from the Services, including the content, accuracy, offensiveness, opinions, reliability, privacy practices, or other policies of or contained in the Third-Party Websites or the Third-Party Content. Inclusion of, linking to, or permitting the use or installation of any Third-Party Websites or any Third-Party Content does not imply approval or endorsement thereof by us. If you decide to leave the Services and access the Third-Party Websites or to use or install any Third-Party Content, you do so at your own risk, and you should be aware these Legal Terms no longer govern. You should review the applicable terms and policies, including privacy and data gathering practices, of any website to which you navigate from the Services or relate to any applications you use or install from the Services. Any purchases you make through Third-Party Websites will be through other websites and from other companies, and we take no responsibility whatsoever about such purchases which are exclusively between you and the applicable third party. You agree and acknowledge that we do not endorse the products or services offered on Third-Party Websites and you shall hold us blameless from any harm caused by your purchase of such products or services. Additionally, you shall hold us blameless from any losses sustained by you or harm caused to you relating to or resulting in any way from any Third-Party Content or any contact with Third-Party Websites. 8. SERVICE S MANAGEMENT We reserve the right, but not the obligation, to (1) monitor the Services for violations of these Legal Terms; (2) take appropriate legal action against anyone who, in our sole discretion, violates the law or these Legal Terms, including without limitation, reporting such user to law enforcement authorities; (3) in our sole discretion and without limitation, refuse, restrict access to, limit the availability of, or disable (to the extent technologically feasible) any of your Contributions or any portion thereof; (4) in our sole discretion and without limitation, notice, or liability, to remove from the Services or otherwise disable all files and content that are excessive in size or are in any way burdensome to our systems, and (5) otherwise manage the Services in a manner designed to protect our rights and property and to facilitate the proper functioning of the Services. 9. TERM AND TERMINATION These Legal Terms shall remain in full force and effect while you use the Services. WITHOUT LIMITING ANY OTHER PROVISION OF THESE LEGAL TERMS, WE RESERVE THE RIGHT TO, IN OUR SOLE DISCRETION AND WITHOUT NOTICE OR LIABILITY, DENY ACCESS TO AND USE OF THE SERVICES (INCLUDING BLOCKING CERTAIN IP ADDRESSES), TO ANY PERSON FOR ANY REASON OR NO REASON, INCLUDING WITHOUT LIMITATION FOR BREACH OF ANY REPRESENTATION, WARRANTY, OR COVENANT CONTAINED IN THESE LEGAL TERMS OR OF ANY APPLICABLE LAW OR REGULATION. WE MAY TERMINATE YOUR USE OR PARTICIPATION IN THE SERVICES OR DELETE ANY CONTENT OR INFORMATION THAT YOU POSTED AT ANY TIME, WITHOUT WARNING, AT OUR SOLE DISCRETION. If we terminate or suspend your account for any reason, you are prohibited from registering and creating a new account under your name, a fake or borrowed name, or the name of any third party, even if you may be acting on behalf of the third party. In addition to terminating or suspending your accoun t, we reserve the right to take appropriate legal action, including without limitation pursuing civil, criminal, and injunctive redress. 10. MODIFICATIONS AND INTERRUPTIONS We reserve the right to change, modify, or remove the contents of the Services at any time or for any reason at our sole discretion without notice. However, we have no obligation to update any information on our Services. We will not be liable to you or any third party for any modification, price change, suspension, or discontinuance of the Services. We cannot guarantee the Services will be available at all times. We may experience hardware, software, or other problems or need to perform maintenance related to the Services, resulting in interruptions, delays, or errors. We reserve the right to change, revise, update, suspend, discontinue, or otherwise modify the Services at any time or for any reason without notice to you. You agree that we have no liability whatsoever for any loss, damage, or inconvenience caused by your inability to access or use the Services during any downtime or discontinuance of the Services. Nothing in these Legal Terms will be construed to obligate us to maintain and support the Services or to supply any corrections, updates, or releases in connection therewith. 11. GOVERNING LAW These Legal Terms and your use of the Services are governed by and construed by the laws of the State of Minnesota applicable to agreements made and to be entirely performed within the State of Minnesota, without regard to its conflict of law principles. 12. DISPUTE RESOLUTION Informal Negotiations To expedite resolution and control the cost of any dispute, controversy, or claim related to these Legal Terms (each a "Dispute" and collectively, the "Disputes") brought by either you or us (individually, a "Party" and collectively, the "Parties"), the Parties agree to first attempt to negotiate any Dispute (except those Disputes expressly provided below) informally for at least thirty (30) days before initiating the arbitration. Such informal negotiations commence upon written notice from one Party to the other Party. Binding Arbitration If the Parties are unable to resolve a Dispute through informal negotiations, the Dispute (except those Disputes expressly excluded below) will be finally and exclusively resolved by binding arbitration. YOU UNDERSTAND THAT WITHOUT THIS PROVISION, YOU WOULD HAVE THE RIGHT TO SUE IN COURT AND HAVE A JURY TRIAL. The arbitration shall be commenced and conducted under the Commercial Arbitration Rules of the American Arbitration Association ("AAA") and, where appropriate, the AAA’s Supplementary Procedures for Consumer Related Disputes ("AAA Consumer Rules"), both of which are available at the American Arbitration Association (AAA) website. Your arbitration fees and your share of arbitrator compensation shall be governed by the AAA Consumer Rules and, where appropriate, limited by the AAA Consumer Rules. The arbitration may be conducted in person, through the submission of documents, by phone, or online. The arbitrator will decide in writing but need not provide a statement of reasons unless requested by either Party. The arbitrator must follow applicable law, and any award may be challenged if the arbitrator fails to do so. Except where otherwise required by the applicable AAA rules or applicable law, the arbitration will take place in Scott, Minnesota. Except as otherwise provided herein, the Parties may litigate in court to compel arbitration, stay proceedings pending arbitration, or confirm, modify, vacate, or enter judgment on the award entered by the arbitrator. If for any reason, a Dispute proceeds in court rather than arbitration, the Dispute shall be commenced or prosecuted in the state and federal courts located in Scott, Minnesota, and the Parties hereby consent to, and waive all defenses of lack of personal jurisdiction, and forum non conveniens concerning venue and jurisdiction in such state and federal courts. Application of the United Nations Convention on Contracts for the International Sale of Goods and the Uniform Computer Information Transaction Act (UCITA) are excluded from these Legal Terms. In no event shall any Dispute brought by either Party related in any way to the Services be commenced more than one (1) year after the cause of action arose. If this provision is found to be illegal or unenforceable, then neither Party will elect to arbitrate any Dispute falling within that portion of this provision found to be illegal or unenforceable and such Dispute shall be decided by a court of competent jurisdiction within the courts listed for jurisdiction above, and the Parties agree to submit to the personal jurisdiction of that court. Restrictions The Parties agree that any arbitration shall be limited to the Dispute between the Parties individually. To the full extent permitted by law, (a) no arbitration shall be joined with any other proceeding; (b) there is no right or authority for any Dispute to be arbitrated on a class-action basis or to utilize class-action procedures; and (c) there is no right or authority for any Dispute to be brought in a purported representative capacity on behalf of the general public or any other persons. Exceptions to Informal Negotiations and Arbitration The Parties agree that the following Disputes are not subject to the above provisions concerning informal negotiations binding arbitration: (a) any Disputes seeking to enforce or protect, or concerning the validity of, any of the intellectual property rights of a Party; (b) any Dispute related to, or arising from, allegations of theft, piracy, invasion of privacy, or unauthorized use; and (c) any claim for injunctive relief. If this provision is found to be illegal or unenforceable, then neither Party will elect to arbitrate any Dispute falling within that portion of this provision found to be illegal or unenforceable and such Dispute shall be decided by a court of competent jurisdiction within the courts listed for jurisdiction above, and the Parties agree to submit to the personal jurisdiction of that court. 13. CORRECTIONS There may be information on the Services that contains typographical errors, inaccuracies, or omissions, including descriptions, pricing, availability, and various other information. We reserve the right to correct any errors, inaccuracies, or omissions and to change or update the information on the Services at any time, without prior notice. 14. DISCLAIMER THE SERVICES ARE PROVIDED ON AN AS-IS AND AS-AVAILABLE BASIS. YOU AGREE THAT YOUR USE OF THE SERVICES WILL BE AT YOUR SOLE RISK. TO THE FULLEST EXTENT PERMITTED BY LAW, WE DISCLAIM ALL WARRANTIES, EXPRESS OR IMPLIED, IN CONNECTION WITH THE SERVICES AND YOUR USE THEREOF, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT. WE MAKE NO WARRANTIES OR REPRESENTATIONS ABOUT THE ACCURACY OR COMPLETENESS OF THE SERVICES' CONTENT OR THE CONTENT OF ANY WEBSITES OR MOBILE APPLICATIONS LINKED TO THE SERVICES AND WE WILL ASSUME NO LIABILITY OR RESPONSIBILITY FOR ANY (1) ERRORS, MISTAKES, OR INACCURACIES OF CONTENT AND MATERIALS, (2) PERSONAL INJURY OR PROPERTY DAMAGE, OF ANY NATURE WHATSOEVER, RESULTING FROM YOUR ACCESS TO AND USE OF THE SERVICES, (3) ANY UNAUTHORIZED ACCESS TO OR USE OF OUR SECURE SERVERS AND/OR ANY AND ALL PERSONAL INFORMATION AND/OR FINANCIAL INFORMATION STORED THEREIN, (4) ANY INTERRUPTION OR CESSATION OF TRANSMISSION TO OR FROM THE SERVICES, (5) ANY BUGS, VIRUSES, TROJAN HORSES, OR THE LIKE WHICH MAY BE TRANSMITTED TO OR THROUGH THE SERVICES BY ANY THIRD PARTY, AND/OR (6) ANY ERRORS OR OMISSIONS IN ANY CONTENT AND MATERIALS OR FOR ANY LOSS OR DAMAGE OF ANY KIND INCURRED AS A RESULT OF THE USE OF ANY CONTENT POSTED, TRANSMITTED, OR OTHERWISE MADE AVAILABLE VIA THE SERVICES. WE DO NOT WARRANT, ENDORSE, GUARANTEE, OR ASSUME RESPONSIBILITY FOR ANY PRODUCT OR SERVICE ADVERTISED OR OFFERED BY A THIRD PARTY THROUGH THE SERVICES, ANY HYPERLINKED WEBSITE, OR ANY WEBSITE OR MOBILE APPLICATION FEATURED IN ANY BANNER OR OTHER ADVERTISING, AND WE WILL NOT BE A PARTY TO OR IN ANY WAY BE RESPONSIBLE FOR MONITORING ANY TRANSACTION BETWEEN YOU AND ANY THIRD-PARTY PROVIDERS OF PRODUCTS OR SERVICES. AS WITH THE PURCHASE OF A PRODUCT OR SERVICE THROUGH ANY MEDIUM OR IN ANY ENVIRONMENT, YOU SHOULD USE YOUR BEST JUDGMENT AND EXERCISE CAUTION WHERE APPROPRIATE. 15. LIMITATIONS OF LIABILITY IN NO EVENT WILL WE OR OUR DIRECTORS, EMPLOYEES, OR AGENTS BE LIABLE TO YOU OR ANY THIRD PARTY FOR ANY DIRECT, INDIRECT, CONSEQUENTIAL, EXEMPLARY, INCIDENTAL, SPECIAL, OR PUNITIVE DAMAGES, INCLUDING LOST PROFIT, LOST REVENUE, LOSS OF DATA, OR OTHER DAMAGES ARISING FROM YOUR USE OF THE SERVICES, EVEN IF WE HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 16. INDEMNIFICATION You agree to defend, indemnify, and hold us harmless, including our subsidiaries, affiliates, and all of our respective officers, agents, partners, and employees, from and against any loss, damage, liability, claim, or demand, including reasonable attorneys’ fees and expenses, made by any third party due to or arising out of (1) use of the Services; (2) breach of these Legal Terms; (3) any breach of your representations and warranties outlined in these Legal Terms; (4) your violation of the rights of a third party, including but not limited to intellectual property rights; or (5) any overt harmful act toward any other user of the Services with whom you connected via the Services. Notwithstanding the foregoing, we reserve the right, at your expense, to assume the exclusive defense and control of any matter for which you are required to indemnify us, and you agree to cooperate, at your expense, with our defense of such claims. We will use reasonable efforts to notify you of any such claim, action, or proceeding which is subject to this indemnification upon becoming aware of it. 17 . USER DATA We will maintain certain data that you transmit to the Services to manage the performance of the Services, as well as data relating to your use of the Services. Although we perform routine backups of data, you are solely responsible for all data that you transmit or that relates to any activity you have undertaken using the Services. You agree that we shall have no liability to you for any loss or corruption of any such data, and you hereby waive any right of action against us arising from any such loss or corruption of such data. 18. ELECTRONIC COMMUNICATIONS, TRANSACTIONS, AND SIGNATURES Visiting the Services, sending us emails, and completing online forms constitute electronic communications. You consent to receive electronic communications, and you agree that all agreements, notices, disclosures, and other communications we provide to you electronically, via email, and on the Services, satisfy any legal requirement that such communication be in writing. YOU HEREBY AGREE TO THE USE OF ELECTRONIC SIGNATURES, CONTRACTS, ORDERS, AND OTHER RECORDS, AND ELECTRONIC DELIVERY OF NOTICES, POLICIES, AND RECORDS OF TRANSACTIONS INITIATED OR COMPLETED BY US OR VIA THE SERVICES. You hereby waive any rights or requirements under any statutes, regulations, rules, ordinances, or other laws in any jurisdiction which require an original signature or delivery or retention of non-electronic records, or to payments or the granting of credits by any means other than electronic means. 19. CALIFORNIA USERS AND RESIDENTS If any complaint with us is not satisfactorily resolved, you can contact the Complaint Assistance Unit of the Division of Consumer Services of the California Department of Consumer Affairs in writing at 1625 North Market Blvd., Suite N 112, Sacramento, California 95834 or by telephone at (800) 952-5210 or (916) 445-1254. 20. MISCELLANEOUS These Legal Terms and any policies or operating rules posted by us on the Services or with respect to the Services constitute the entire agreement and understanding between you and us. Our failure to exercise or enforce any right or provision of these Legal Terms shall not operate as a waiver of such right or provision. These Legal Terms operate to the fullest extent permissible by law. We may assign any or all of our rights and obligations to others at any time. We shall not be responsible or liable for any loss, damage, delay, or failure to act caused by any cause beyond our reasonable control. If any provision or part of a provision of these Legal Terms is determined to be unlawful, void, or unenforceable, that provision or part of the provision is deemed severable from these Legal Terms and does not affect the validity and enforceability of any remaining provisions. There is no joint venture, partnership, employment, or agency relationship created between you and us as a result of these Legal Terms or use of the Services. You agree that these Legal Terms will not be construed against us by having drafted them. You hereby waive any defenses you may have based on the electronic form of these Legal Terms and the lack of signing by the parties hereto to execute these Legal Terms. 21. CONTACT US To resolve a complaint regarding the Services or to receive further information regarding the use of the Services, please contact us at: hunter@cinemadispatch.com

Sundance 2023 Preview January 19, 2023 By: Hunter Friesen After months of Oscar movies from leading auteurs, the Sundance Film Festival offers a nice break to discover some of the brightest talent of the future. The festival has also been one of the most accessible since the start of the pandemic, with the entire 2021 and 2022 lineups being available online throughout the world. Unfortunately, that amount of openness is being slightly pulled back for the 2023 edition, with some of the "bigger" films being in-person only. No matter, there are still plenty of exciting films that I plan to catch as part of the online platform from January 24-29. You can read about each one below, and pay attention to this site for reviews and other coverage. *Descriptions and images for all films supplied by the Sundance Film Festival program* Bad Behaviour Lucy (Jennifer Connelly) seeks enlightenment. The former child actress makes a pilgrimage to join her guru, Elon Bello (Ben Whishaw), for a silent retreat at a beautiful mountain resort with a Tesla-crammed parking lot. Before she shuts off her phone to the world, Lucy reaches out to her daughter, Dylan — a stunt person training for a dangerous fight scene — to interrupt her concentration and announce that she will be unavailable and out of range, and that she is very worried about her, and that she might extend her stay. It is codependent, bad behavior. When a young model/DJ/influencer at the retreat is paired up with Lucy to do a mother/daughter role-playing exercise, hellfire stokes Lucy’s bad behavior to an astonishing low. Run Rabbit Run Fertility doctor Sarah begins her beloved daughter Mia’s seventh birthday expecting nothing amiss. But as an ominous wind swirls in, Sarah’s carefully controlled world begins to alter. Mia begins behaving oddly and a rabbit appears outside their front door — a mysterious birthday gift that delights Mia but seems to deeply disconcert Sarah. As days pass, Mia becomes increasingly not herself, demanding to see Sarah’s long-estranged, hospitalized mother (the grandmother she’s never met before) and fraying Sarah’s nerves as the child’s bizarre tantrums begin to point her toward Sarah’s own dark history. As a ghost from her past re-enters Sarah’s life, she struggles to cling to her distant young daughter. Magazine Dreams Killian Maddox (Jonathan majors) lives with his ailing veteran grandfather, obsessively working out between court-mandated therapy appointments and part-time shifts at a grocery store where he harbors a crush on a friendly cashier. Though Killian’s struggles to read social cues and maintain control of his volatile temper amplify his sense of disconnection amid a hostile world, nothing deters him from his fiercely protected dream of bodybuilding superstardom, not even the doctors who warn that he’s causing permanent damage to his body with his quest. The Starling Girl Seventeen-year-old Jem Starling (Eliza Scanlen) struggles to define her place within her fundamentalist Christian community in rural Kentucky. Even her greatest joy — the church dance group — is tempered by worry that her love of dance is actually sinful, and she’s caught between a burgeoning awareness of her own sexuality and an instinctive resistance to her mom’s insistence that the time has come to begin courting. She finds respite from her confusion in the encouragement of her youth pastor Owen, who is likewise drawn to the blossoming Jem’s attention. Theater Camp As summer rolls around again, kids are gathering from all over to attend AdirondACTS, a scrappy theater camp in upstate New York that’s a haven for budding performers. After its indomitable founder Joan (Amy Sedaris) falls into a coma, her clueless “crypto-bro” son Troy (Jimmy Tatro) is tasked with keeping the thespian paradise running. With financial ruin looming, Troy must join forces with Amos (Ben Platt), Rebecca-Diane (Molly Gordon), and their band of eccentric teachers to come up with a solution before the curtain rises on opening night. Fair Play Hot off the heels of their new engagement, thriving New York couple Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) can’t get enough of each other. When a coveted promotion at a cutthroat financial firm arises, supportive exchanges between the lovers begin to sour into something more sinister. As the power dynamics irrevocably shift in their relationship, Luke and Emily must face the true price of success and the unnerving limits of ambition. Sometimes I Think About Dying Lost on the dreary Oregon coast, Fran (Daisy Ridley) wastes her daylight hours in the solitude of a cubicle, listening to the constant hum of officemates, occasionally daydreaming to pass the time. She is ghosting through life unable to pop her bubble of isolation. And then Robert starts up at the company. He is new to town and the dynamics of the office. He is a naturally friendly person who keeps trying to chat with Fran. Though it goes against every fiber of her being, she may have to give this guy a chance. Cat Person Margot (Emilia Jones), a college student working concessions at an art house theater, meets frequent filmgoer — and rather older local — Robert (Nicholas Braun), on the job. Flirtation across the counter evolves into continuous texting. As the two inch toward romance, shifts between them, awkward moments, red flags, and discomforts pile up. Margot feels both attached and reticent, as her gnawing hesitations blossom into vivid daydreams where Robert realizes his most threatening potential. As her distrust and uncertainty mount, an evening, their relationship, and possibly their lives unravel. More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Twin Cities Film Fest 2025 Preview October 14, 2025 By: Hunter Friesen From late August through mid-September, the fall film festival corridor reaches its apex of influence and popularity with the overlapping of the trifecta that is the Venice International Film Festival, Telluride Film Festival, and Toronto International Film Festival. Dozens of A-list movie stars and auteurs debut their newest projects, walking the red carpet and shaking hands to attract as much attention as possible. It’s all a game, with the victor being showered with praise in the form of box office earnings and industry awards. While those headlining festivals are mostly exclusive events, a democratization of this process begins in October with the blitz of the regional festivals. All across the country (and the world), smaller festivals gather a collection of the best that world cinema has to offer, curating for local tastes and building narratives that carry on throughout the rest of the year. Notable festivals that take place during this time include the New York Film Festival, the Chicago International Film Festival, the Philadelphia Film Festival, and AFI Fest. Also a part of that mix is the Twin Cities Film Fest (TCFF), now celebrating its “Sweet 16” anniversary with its lineup of blockbusters and headliners. Distributor Focus Features retains its opening night slot for the third year in a row after The Holdovers and Conclave , respectively. Both of those films placed for the Best Feature Film Award, something that this year’s selection, Hamnet , could very likely do, considering its rave reviews and awarding of the People’s Choice Award at the Toronto International Film Festival. Tissues will be needed for the audience of this tear-jerker, which features Oscar-worthy performances by Jessie Buckley and Paul Mescal. It will then be released in theaters around the Thanksgiving holiday. Also from Focus Features is Bugonia , the newest collaboration between director Yorgos Lanthimos and star Emma Stone, whose previous works include The Favourite , Poor Things , and Kinds of Kindness . Stone plays a CEO who is kidnapped by two conspiracy-obsessed young men who believe that she is an alien who has been sent to destroy the planet. Amazon MGM Studios will bring Hedda , writer/director Nia DaCosta’s reimagining of Henrik Ibsen’s classic play, starring Tessa Thompson. Aziz Ansari, Seth Rogen, and Keanu Reeves headline Ansari’s directorial debut, Good Fortune , which will play at the Edina Mann 4 Theatre as part of the festival’s new partnership to expand its programming capabilities. Searchlight Pictures will be pulling double duty during the festival’s final days with the dramedies Rental Family and Is This Thing On? . In the lineup press release, Executive Director Jatin Setia said that he wanted to “put a brighter spotlight on the independent spirit.” That sentiment is illustrated by the selection of The Floaters as the Spotlight Centerpiece. Marking its Minnesota Premiere at the festival, the indie dramedy features an eclectic cast of performers like Jackie Tohn, Seth Green, Aya Cash, and Steve Guttenberg. Director Rachel Israel and producer Shai Korman will conduct a Q&A following the screening. The Closing Night Gala, Lost & Found in Cleveland , will also bring together its cast and crew, including directors Keith Gerchak and Marisa Guterman, as well as actors Santino Fontana and Benjamin Steinhauser. The festival received a record number of submissions this year, with over 150 films set to screen at the Marcus West End Cinema, Edina Mann 4 Theatre, or virtually via the TCFF streams platform. The selection runs from October 16 to the 25th, with information about scheduling and tickets available at twincitiesfilmfest.org . More Reviews The Super Mario Galaxy Movie March 31, 2026 By: Hunter Friesen The Drama April 1, 2026 By: Hunter Friesen Project Hail Mary March 10, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Hunter Friesen

Discover a new dimension of storytelling as we delve into the world of cinema, sharing our perspectives and sparking conversations about the latest and greatest movies. Reviews Project Hail Mary March 10, 2026 By: Hunter Friesen Ready or Not 2: Here I Come March 19, 2026 By: Hunter Friesen Mike & Nick & Nick & Alice March 25, 2026 By: Hunter Friesen Alpha March 23, 2026 By: Hunter Friesen Reviews by Hunter Friesen Reviews by Tyler Banark Button Button A Christmas Party Button Button Button Eden Button Button Button Friendship Button Button Button In a Violent Nature Button Button Button Kung Fu Panda 4 Button Button Button Pinocchio Button Button Button Saturday Night Button Button Button TIFF24 Dispatch #2 Button Button Button TIFF25 Dispatch - Cannes Catchup Button Button Button The Wild Robot Button Button Button We Live in Time Button Button Button Boy Kills World Button Button Button Eileen Button Button Button Immaculate Button Button Button Inside Out 2 Button Button Button Late Night with the Devil Button Button Button Robot Dreams Button Button Button Snack Shack Button Button Button TIFF24 Dispatch #4 Button Button Button The Last Showgirl Button Button Button We Grown Now Button

'Immaculate' Review March 27, 2024 By: Tyler Banark In recent years, Hollywood has found a knack for releasing random religion-themed horror films that either get overlooked or flop altogether. This was evidenced when I saw Neon’s latest fright fest, Immaculate , and got a trailer for the upcoming 20th Century Studios horror film The First Omen . Director Michael Mohan and screenwriter Andrew Lobel craft a twist on the Rosemary’s Baby narrative with one of the hottest actresses working today, Sydney Sweeney. The movie looked like an intense, bloody horror show from the trailers. Ultimately, it’s a boring film that restrains itself from being the scariest thing to come out of 2024. After her parish shuts down in her hometown, American nun Cecilia (Sweeney) is assigned to a convent in rural Italy. As she settles in, she miraculously becomes pregnant and is proclaimed the next Virgin Mary. However, the more her pregnancy progresses, the more Cecilia learns of the convent’s darkest secrets. Although the synopsis seems too familiar, Immaculate initially appears to have the intention of breaking that formulaic mold through some solid cinematography and the casting of such a modern-day actress in Sweeney. But between Will Bates’ stock score and repetitious cycle of loud jumps scares and gotchas, this just feels like another entry in the already watered-down The Nun franchise. Sweeney is on a fascinating streak right now as Immaculate comes nearly one month after the disastrous Madame Web , which in turn came out a month and a half after the box office hit Anyone But You . Both of those polar opposites (as well as this project, which she produced) came after years of her presence on HBO with Sharp Objects , The White Lotus , and the controversial drama Euphoria . Her performance here might not break any new ground, but it does check off the box of being a solo leading lady who can sell a project on a concept and her acting abilities. She has a scream near the end where she’s caked in blood that echoes the signature outbursts from Janet Leigh in Psycho and Jenna Ortega in X . Aside from Sweeney, the cast isn’t very noteworthy, with everyone playing cookie-cutter horror characters. You’ve got the strict mother superior nun, the freaky priest who tries to defuse the situation but doesn’t help, the rebellious friend, and the one nun who thinks she’s better than everyone else. The only one that comes close to breaking out is Benedetta Porcaroli as Sister Gwen, the rebellious nun. When she and Cecilia are talking to each other and making humor out of whatever they’re doing, it’s cute, but it feels forced. If Immaculate is going to accomplish anything, it’s likely just that it’s a horror movie starring Sydney Sweeney and nothing else. There’s a moment where the nuns have a ceremony for Cecilia after the word of her pregnancy gets out. Cecilia is dressed in a lavish blue and yellow dress with a gold crown and see-through veil, metaphorically spotlighting her as the Virgin Mary. Everyone else is smiling and bowing their heads to her, reflecting how numerous viewers see Sweeney today. Then, in an instance, there’s a close-up of Cecilia shedding a tear, a callback to a certain shot of Sweeney in the second season of Euphoria . Are we as a society beginning to worship her as royalty this fast in her short career? Only time will tell, but I can guarantee people won’t look back at Immaculate as the primary reason for her ascendency. Must Read 'Immaculate' Review If this is going to accomplish anything, it’s likely just that it’s a horror movie starring Sydney Sweeney and nothing else SHOP 'Snack Shack' Review I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. SHOP 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP

'Snack Shack' Review March 22, 2024 By: Tyler Banark My fellow Nebraskans and Midwesterners, we have a big-name movie set and shot entirely in Nebraska for the first time in years. If you’re reading this and don’t understand the significance, Nebraska is a state that NEVER gets the Hollywood spotlight. When it does, it usually showcases only farmland, cornfields, and the nature of the panhandle/western part of the state. The only times Nebraska has been seen in a light where that’s not the case is in Alexander Payne’s filmography ( Citizen Ruth , Election , About Schmidt , Nebraska ). With Snack Shack , director Adam Carter Rehmeier crafts a love letter to his hometown of Nebraska City, a small town with roughly 7200 people. It’s a delightful treat, as Snack Shack doesn’t focus on the cliches Hollywood created for the Cornhusker State. Instead, it’s a simple teen comedy with the small town as the backdrop and a great heart. It’s 1991, and we meet our two leads, AJ (newcomer Conor Sherry) and Moose (Gabriel Labelle, in his follow-up role to The Fabelmans ), who are skipping their school field trip to the Omaha Zoo to bet on dog racing. These ambitious fifteen-year-olds want nothing more than to make a buck without doing any hard work. AJ’s strict parents catch wind of their rendezvous, and he’s forced to find a real job for the summer. While the two seek a job, their much older friend Shane (Nick Robinson) suggests buying the pool’s snack shack from the city. The two do it, and the shack becomes a hit as kids of all ages pay them hand over fist to get whatever they desire. Meanwhile, they both vie over Brooke (Mika Abdalla), a new lifeguard at the pool that puts their friendship to the test Rehmeier penned the script and does so flawlessly, taking the tropes of the coming-of-age teen comedy and applying them to his own methods. AJ and Moose are ambitious boys who are similar to the likes of duos we’ve seen in the past from the genre (i.e., Evan and Seth from Superbad , Ferris and Cameron from Ferris Bueller’s Day Off ). They try to scheme something big despite being in their early teens and do everything from making/selling their own beer to painting house numbers on curbs. One, in this case, Moose, can be seen as a bad influence while the other is playing along despite his parent's disapproval. It helps that Sherry and Labelle’s chemistry is fun and quick-witted, with comedic timings balancing each other out. Sherry brings a welcoming introduction as he fits the role of AJ perfectly. He doesn’t go overboard or play it safe; instead, he interprets the character to his own persona. AJ’s a dorky kid, and whenever he talks to Brooke, he tries to play it cool simply to impress. Luckily, Brooke finds him cute, and they build something together. On the other hand, Labelle continues to prove why The Fabelmans wasn’t a one-and-done situation. I feared he may not have much of a career after the 2022 hit, but I was proven wrong. Moose is the brains of the duo, but he often gets carried away in their plans to the point where he bosses AJ around. He can often be unlikable, and Labelle ensures that audiences feel that way whenever he does wrong by AJ. His train looks to keep going at full speed as he’s got another big project on the horizon in Jason Reitman’s SNL 1975 , which has become my most anticipated movie ever since Barbenheimer. The rest of the ensemble is fun to see on screen with Sherry and Labelle. Nick Robinson’s Shane is the big brother figure to AJ, and he nails the role. There’s a scene where AJ and Shane eat runzas at a lake when Shane gives AJ the best advice on handling Brooke and Moose. David Costabile and Gillian Vigman play AJ’s parents and are surprisingly funny whenever they scold the boys. Mika Abdalla as Brooke is also a great turn as she casually jokes around with AJ before their relationship blossoms into something more. Some viewers may see her character as one-dimensional or kind of a bland love interest. Yet, Brooke comes off as a love interest who initially intends to build a friendship with AJ, and the sparks fly when they spend time together. Rehmeier paints Nebraska summers just like how I remember them as a teenager. The plot of Snack Shack could have taken place anywhere, but he chose Nebraska City, which was a solid choice. At no point does Snack Shack present what moviegoers expect to see in a movie set in Nebraska, and it’s so satisfying that filmmakers understand that there’s more to the state than rural areas. Although Nebraska City is nowhere near as big as Omaha, it’s a neighborly town where you won’t need cornfields and farms if you find the right places. It also helps that cinematographer Jean-Philippe Bernier captures little idiosyncrasies that encapsulate a Nebraska summer, most notably whenever there’s a shot of a street at dusk with the streetlights starting to turn on. Bernier showcases the humid atmosphere of hot summer nights and how one would want just to stand outside and take it in wherever they are. Whether our characters are at a party, having a cookout, or going for a swim, it’s a refreshing sight to see. Above all, it’s a comforting feeling that only natives would understand, and those unfamiliar need to experience it to understand. Bernier also has some long takes in certain scenes, which looked great, but it made me wish it was done more often. If Snack Shack falters in any other way, it tends to milk a joke too far. When AJ and Moose open the shack, they sell candy, soda, and hot dogs. However, AJ gets the idea to write an obscene word on the hot dogs and charge 75 extra cents. Once the joke is introduced, it recurs numerous times, and by the time the film is over, it’s not as funny. Despite the humor wearing off, Snack Shack is still a fun teen comedy posing as a love letter to the small-town Nebraska that’s never seen on screen. Thanks to Sherry and Labelle's leadership and a solid script, Rehmeier knew precisely what he was going for and accomplished it satisfactorily. There’s no denying Sherry and Labelle’s fun banter and quick reactions with each other and their costars. I can guarantee these two are set for a bright future in Hollywood, especially Labelle, who has nowhere to go but up. As for Rehmeier, he made a statement for himself and the state of Nebraska. In time, I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Snack Shack' Review I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. SHOP 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP

'Road House' Review March 20, 2024 By: Hunter Friesen Remaking Road House for modern times doesn't sound like a good idea on paper, with immediate expectations slotting it next to the other misplaced-in-time remakes of Ghost in the Shell and Baywatch . There wasn’t exactly a compelling story to the 1989 original, just Patrick Swayze delivering cans of whoop ass on greasy goons with his black belt in karate. And for a film that made less money than you would think, its cultural footprint has persevered throughout the decades thanks to the funny title, cheesy concept, and, for kids closer to my generation, the frequent Family Guy parodies . Even with the setting being transplanted to the modern day, Elwood Dalton (Jake Gyllenhaal) is still a man stuck in the past. He has no phone, a clunker of a car, and simply drifts from town to town scraping by through low-end cage fights. For him, it’s harder to fight the rage inside than any opponent. He’s calm and composed, but there’s always a twinge of insanity ready to let loose. “You don’t want to know me” and “I’m not afraid of him, I’m afraid of what I’ll do,” he says a few times, with brief snapshots of his UFC past (all shot at an actual UFC event) explaining how he fell so far. Like the idea of remaking the film itself, the casting of Gyllenhaal to take over from Swayze is an odd choice. He’s an actor not exactly known for being relaxed, as evidenced by his previous work in Okja , Nightcrawler , and Velvet Buzzsaw . It’s perhaps a case of the chicken or the egg, with Gyllenhaal being a great piece of casting for this newer take on the character, or his involvement changing the tone. Either way, it works out, with Gyllenhaal’s grounded approach never taking away from the fun. Plus, he’s already had fighting experience with Southpaw , so the producers probably saved a nice chunk of change on training costs. Dalton is hired by Frankie (Jessica Williams) to be the bouncer/enforcer of her family bar called The Road House, just one of several hit-or-miss attempts at some tongue-in-cheek humor by writers Anthony Bagarozzi and Chuck Mondry. It’s located on a beautiful beach in Florida, with the only problem being the infestation of bikers and roid ragers. It’s nothing Dalton can’t handle, with his laissez-faire attitude towards kicking the crap out of someone almost making it more disrespectful. None of these guys were worth his time, which leads him up the food chain toward the head of the richest crime family in the area, Ben Brandt (Billy Magnussen). He’s got some dastardly plan and needs the bar taken out of commission by any means necessary, including kidnapping, murder, and explosions. The further the plot progresses, the less fun Road House becomes. It’s a bit of a bummer that the first fight where Dalton dismantles five bikers singlehandedly is by far the film’s best-set piece. Even if they are cartoonishly punchable, there is plenty of guilty pleasure in seeing some hooligans get their comeuppance. However, you can’t exactly fill a two-hour movie with your hero facing no resistance, so former UFC champion Conor McGregor has to be introduced as a bruising wildcard. McGregor won’t find himself with a lucrative acting career like former fighters Dwayne Johnson and Dave Bautista, but he fills his wildcard role enough here to be entertaining. Helming this bare-knuckle brawler is director Doug Liman, who helped revolutionize the action genre in the 2000s with The Bourne Identity and gave Tom Cruise another action vehicle outside of his usual Mission: Impossible films with Edge of Tomorrow . All that prowess quickly goes out the window the longer the fight scenes drag on, with questionable visual effects and camera movements overselling the brutality and undercutting the choreography. Once gasoline explosions and boat jousting get involved, things quickly go all the way overboard. Still, for as much as its faults are glaringly apparent, there’s nothing offensive about Road House . I guess that’s what you get when you do a remake of a movie that wasn’t that good to begin with and have it released exclusively on Prime Video. Must Read 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP

Omaha Film Festival 2024 - A Recap March 17, 2024 By: Tyler Banark Three weeks ago, I attended the 19th edition of the Omaha Film Festival. Smaller in scale compared to the likes of TIFF, Cannes, Venice, Sundance, and NYFF, Omaha focuses on telling Nebraska-based stories along with narratives from around the country and even the world. Although other somewhat big-named movies were part of the festival lineup, such as the documentaries Frida , Chasing Chasing Amy , and the Oscar-nominated short Red, White, and Blue , there were also various feature-length and short films. Here are my thoughts on some of the films I saw this year. Lousy Carter Lousy Carter is a comedy starring David Krumholtz as the titular character, a low-life college professor who finds out he has a terminal illness. He tries to sleep with a student of his graduate seminar on The Great Gatsby and sleeps with his best friend’s wife, all while trying to complete an animated film. Krumholtz turns in a dry but entertaining performance, making Lousy into a character that lets the audience decide whether or not he’s worth cheering for. The supporting cast of Martin Starr, Olivia Thirlby, and Jocelyn DeBoer do their parts well as the other people in his life. Although the movie didn’t offer much other than its dry, dark humor, it’s still a fun comedy thanks to Byington's script. Brave the Dark Following the true story of Pennsylvania teen Nathaniel Deen, Brave the Dark is about a troubled high school student who tries to turn his life around with the guidance of his English teacher (played by Jared Harris). Easily the best I saw at the festival this year, Brave the Dark also won Best Film and Audience Choice Feature Film prizes. The movie is fearlessly made to evoke a no-filter look into a troubled teen’s upbringing and how it transpired into his life. Nathan (played by Nicholas Hamilton, best known for playing Henry Bowers in 2017’s IT ) went through the wringer with his parents, who raised him as a little kid, leading him to the foster care system. Hamilton is great, but Jared Harris is the real MVP. He embodies the inspirational teacher trope we’ve seen (i.e., Robin Williams in Dead Poets Society , Sidney Poitier in To Sir, With Love ) and runs with it as he fights tooth and nail to ensure Nathan gets a second chance at life. The movie’s tone does feel a little melodramatic at specific points, but it still leaves a lasting impression on viewers as it’s a tearjerker that wins over their hearts. Guacamole Yesterdays A spin on Michel Gondry’s 2004 sci-fi romance drama Eternal Sunshine of the Spotless Mind , Guacamole Yesterdays follows a woman using a machine to manipulate memories of a relationship that ended in a painful separation. The two leads, Sophie Edwards and Randy Havens, showcase some excellent chemistry in not only the romantic side of their relationship but also in the darker moments. Hudson Phillips’ script benefits from this, and the movie acts as a meditation on grief and how people handle it differently depending on their situations. Guacamole Yesterdays does pull a plot twist in the vein of Shutter Island in the third act, preventing it from sticking to the landing. Overall, it’s a neat sci-fi drama that may be a bit on the nose regarding the movie it’s spinning off of, yet still gets the job done. Don't Get Eaten Don’t Get Eaten is a family comedy about YouTuber dad Noah, who takes his family on a weekend trip to a cabin in the woods. He hopes to unplug and reconnect with his wife, Rose, as their marriage is on the rocks due to his channel and her on-the-rise career as an entrepreneur. One night into the trip, he and his daughters are attacked by zombies and must hold them off before Rose finds out. This was hands down the worst movie I saw at the festival, as it was tailor-made for families to enjoy, with humor appealing mostly to the current generation of kids. Generational moments such as Noah using a GoPro or watching his videos on a live stream were some of the sight gags that don’t land. The other half of the movie’s head-shaking humor consists of dumb jokes viewers would expect to see from every other kid's movie ever (people getting severely injured from the smallest inconvenience, goofy noises, etc.). It’s a boring watch that families surely enjoyed at the screening, but for the typical viewer, it’s another headache-inducing mess. The Headliner Shot entirely in Omaha with a cast and crew entirely of Omaha natives, The Headliner is a comedy that follows a middle-aged comedian hoping to break out on the stand-up scene in Omaha. Director Tony Bonacci has been making several commercials and short films over the years, one of which is a short film version of this. He brings back Darrick Silkman to play the lead, Chad, a comedian who is out of touch with modern society and is estranged from his wife and daughter. Throughout the movie, audiences see various comedians doing their bits in the Omaha stand-up scene. Although it’s nothing compared to the likes of big cities such as Chicago, Los Angeles, and New York City, Bonacci uses this chance to give comedians at this scale a platform to be seen. The choice is neat and does its job, but the film’s narrative is lacking because of it. Chad gets offered a stand-up gig in Montreal, which coincides with his daughter’s wedding on the same day. Screenwriter Christine Burright tries to juggle these subplots with others (Chad having an intimate relationship with one of his daughter’s besties and learning how to use an iPhone), but the result is messy. Chad comes off as a one-note character, which is partially Silkman’s fault and potentially Burright’s. In the big picture, The Headliner is a movie that highlights Omaha positively but doesn’t bring a story to keep audiences invested. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP 'Ricky Stanicky' Review Seeing how far Cena is willing to go makes up for a lot of other rougher stretches. SHOP 'Spaceman' Review The simple sight of the comedian in a lower register isn’t enough to cover up an oversimplified love story with liberally borrowed plot points. SHOP

'Kung Fu Panda 4' Review March 10, 2024 By: Tyler Banark As time has proved, it’s a risky choice for a franchise to leap beyond a trilogy and into a fourth entry. For every John Wick: Chapter 4 , Mission: Impossible - Ghost Protocol , and Harry Potter and the Goblet of Fire ; there is Indiana Jones and the Kingdom of the Cyrstal Skull, The Bourne Ultimatum , and Pirates of the Caribbean: On Stranger Tides . DreamWorks’ Kung Fu Panda 4 falls more into the latter bucket by providing the expected stunning visuals, yet also displaying an overfamiliar story that signals a franchise running out of steam and bound to implode. Kung Fu Panda 4 ’s biggest flaw is its script; penned by recurring writers Jonathan Aibel, Glenn Berger, and newcomer Darren Lemke. While the three previous entries mixed plenty of laughs and memorable moments, there wasn’t a single laugh-out-loud moment here, not even for the younger members of the audience. It didn’t help that most of these attempted jokes are featured in a senseless plot. Po has taken the next step in his journey by fulfilling the position of spiritual leader for the Valley of Peace. Because of this, he must step down as The Dragon Warrior and look to find a successor. As he does this, yet another power-hungry villain in The Chameleon (Viola Davis) threatens China by harnessing the powers of all of Po’s past villains. Tai Lung, Lord Shen, and General Kai all return, with Tai Lung being the only one in the spotlight since Ian McShane was the only original voice actor of the trio to come back. Also missing are Furious Five, with their absence being attributed to “other duties.” Of course, Jack Black returns as Po, a character he never seems to take for granted. He’s up to his usual antics, which is enough since seeing Black do his thing is enough of an enjoyable time. Viola Davis’ inclusion in the franchise is great on paper, but it’s not as great in execution considering her character’s copied and pasted motivations. Although he’s not given much screentime, Dustin Hoffman still phones it in as Shifu, which also marks his first appearance in a studio film since 2017’s The Meyerowitz Stories (New and Selected) . Zimmer returns to the maestro’s corner, collaborating again with Steve Mazzaro. Although there are no outstanding pieces, the duo does provide an interestingly Eastern-sounding rendition of “Crazy Train” during a chase sequence. And that’s not the only cover song to be prominently featured, with Black and his band, Tenacious D, covering Britney Spears’ “Baby One More Time” during the end credits. It’s a better use of Black’s musical talent than “Peaches” from The Super Mario Bros Movie . Kung Fu Panda 4 feels like a dishonor to the franchise, with almost every aspect being inferior to the previous entries. Even the DreamWorks opening credit logo lacked the personality it once had. From a franchise that has always been willing to take risks, this fourth outing is safe and forgettable. Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. Must Read 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP 'Ricky Stanicky' Review Seeing how far Cena is willing to go makes up for a lot of other rougher stretches. SHOP 'Spaceman' Review The simple sight of the comedian in a lower register isn’t enough to cover up an oversimplified love story with liberally borrowed plot points. SHOP 'Drive-Away Dolls' Review The results here are a bit scatterbrained, sort of touching on a few too many Coen trademarks with only half the potency they used to have. SHOP 'Dune: Part Two' Review Just as he did with 'Blade Runner 2049,' Villeneuve has accomplished what has long been thought to be impossible. SHOP

'Argylle' Review January 31, 2024 By: Hunter Friesen Step right up, ladies and gentlemen, and behold one of the unexplained mysteries of the universe! What I present to you on the screen is a cat. But it’s also not a cat. It walks like a cat, talks like a cat, and has the overall presence of a cat. And yet, any time you look into its eyes, you are unable to detect any semblance of a soul. How can this be, you ask? The foremost scientists of our time have been unable to determine that answer, nor have they been able to ascertain an answer for why it exists. Did the producers of Argylle not think that cats already exist, and can be trained? Did they recently watch Tom Hooper’s Cats and think that they could go even further down the uncanny valley? Or are they modern Robin Hoods and decided to waste millions of dollars of Apple’s money on something so monumentally stupid? I leave all these questions up to you, ladies and gentlemen. But be warned, the journey to acquire the knowledge that you seek will not be as fun as the marketing would have you believe. A fully CGI cat is only one of several frustrating peculiarities within the freak show brought to us by the “twisted mind” of Matthew Vaughn. At this point, I’d suggest replacing “twisted” with “childish” or “immature.” “Edgy” would also be a good substitute, but only in the context of a twelve-year-old who thinks of themselves as edgy when they tell their first joke that involves swearing or sex. “Original,” however, is a word I would not use for Vaughn or Argylle , no matter how much they try (and let me tell you, they try A LOT ) to make you think they’re one step ahead. In an opening almost ripped straight from Austin Powers in Goldmember (we’re really stealing from the cream of the crop here); we see Henry Cavill sporting one of the most hideous hairstyles in modern cinema, right up there with Taylor Lautner’s flowing locks from Twilight and Nicolas Cage’s from Con Air . He’s on the trail of Lagrange (Dua Lipa), but his role gets flipped to prey once she catches him in a trap. With the help of his two sidekicks (John Cena, Ariana DeBose), Argylle escapes and gets one step closer to solving the ultimate conspiracy. But scratch all that, as Agent Argylle is only a story within a story. The topmost layer has Elly Conway (Bryce Dallas Howard) the author of Argylle’s adventures, a series in a long line of successful spy novels. For some reason, almost everything that Elly writes comes true, leading to her life being in danger once a rogue spy syndicate decides to silence her. The only source of help to keeping Elly safe and finding out the full truth is a good spy named Aidan (Sam Rockwell), who claims to know more than he lets on. It’s not that the plot of Argylle is confusing, it’s more that it never registers as interesting or sensical. There’s a lot of moving pieces, but the thread that connects them all together is embarrassingly thin. Before you have time to raise your hand and question why anything is happening, writer Jason Fuchs takes a hard pivot for another “out of this world” twist. The unpredictability of everything becomes tiringly predictable, and even more annoying. What’s also predictable is Vaughn’s staging of the action, which contains no fewer than five set pieces queued to clichéd 60s tunes. To give him credit, one of those scenes contains some nice visual flourishes and choreography. But the rest are bogged down by either horrendous CGI or excessive editing. I’m sure with $100+ million at his disposal, there wasn’t much from Vaughn’s imagination that couldn’t be filmed. But the real question was if he should, not if he could. And the vast majority of this shouldn't have left the brainstorming session. Must Read 'Argylle' Review It's time to find out who the REAL Agent Argylle is! SHOP 'Mean Girls' Review It’s harmless, fun, and will probably be forgotten within due time… kind of like a piece of plastic. SHOP 'The Beekeeper' Review It’s only the second week of January and 2024 already has its best bad movie of the year. SHOP 'The Book of Clarence' Review Samuel is more interested in making this into a good time than a good film SHOP 'Aquaman and the Lost Kingdom' Review It’s hard to care about something so uneventful and incohesive SHOP