Spoons, Toons & Booze Gets Banned
Secret Formula presents…Your Favorite Saturday Morning Cartoons + Booze & Free Cereal + a Special Menu of Cartoon Episodes Not Allowed on TV!
Do you miss your childhood Saturday mornings of waking up early to gorge on cereal and cartoons? If so, Secret Formula has the ultimate brunch for the kid in you…Spoons, Toons & Booze! We’ve got all your favorite Saturday morning cartoons, delicious cocktails and a free all you can eat sugar cereal bar, not to mention Nitehawk Cinema’s excellent brunch menu.
Here at Secret Formula, when someone tells us not to do something we just have to do it. So we’ve put together a collection of cartoons from the 1930’s through the 1990’s that were never allowed to be shown on TV, or aren’t allowed to be shown ever again, because they’re too violent, racist, filthy, seizure inducing, devil worshiping or just downright offensive. The censors can’t keep us down and we’ll be showing them all on the big screen just for you! Come and enjoy…
– Over 80 cartoon series from the 1930?s through the 90?s and YOU get to choose what we watch!
– A special menu of cartoon episodes banned from TV!
– A free all you can eat cereal bar filled with all the sugary, marshmallowy, fruity, chocolaty cereal you crave! Soy and regular milk available.
– A White Russian menu including “The Sonny”, a White Russian topped with Cocoa Puffs.
– Cereal Shots! Drop a shot of Baileys or Kahlua in to booze up your cereal bowl!
– Compete in contests to choose which cartoons we watch and win prizes from Nitehawk Cinema.
This January, slink into the Selwyn circa 1982 as THE DEUCE presents CAT PEOPLE, Paul Schrader’s sexed-up reboot of the 1942 Jacques Tourneur/Val Lewton classic!
Plus: Selwyn Theatre history, prizes, surprises, drink special at the after-party, and music by DJ BONES! Hosted and presented by ‘The Deuce Boys’: Jeff, Andy, and Joe! Raffle Prizes (a limited edition poster and New Blu-ray collectors edition) provided by Scream Factory.
Taxi-driving, bull-raging Paul Schrader, fresh off his 1980 smash American Gigolo, directs this adaptation by Alan Ormsby, co-writer of Children Shouldn’t Play with Dead Things (with Bob Clark). Set to the stirring synth-sounds of a Giorgio Moroder (with David Bowie!) score, Schrader’s homage/update/distillation dials up the steam and smouldering passions that burn bright through the New Orleans bayou night…
A murderous black leopard is on the prowl… soon captured by hunky zoologist John Heard – but he wants to neck with the new naive gift shop-girl, Nastassja Kinski’s ice queen Irena. A repressed love affair ensues… but when kinky bro Malcolm McDowell returns, he ruins all the fun by divulging the family secrets of their incestually cursed legacy… “Every time it happens… you tell yourself it’s love. But it isn’t. It’s blood… And death!“
Starring: Lilyan Chauvin, Gilmer McCormick, Toni Nero
What could possibly be more frightening than having the ultimate child-friendly figure, Santa Claus, turn out to be a maniacal killer? Tales from the Crypt did it back in the early 1970s and the vivid image of a deranged Saint Nic has never left our collective conscience. Silent Night, Deadly Night brings Christmas horror home and down the chimney when an adult-age Billy puts on a Santa costume at his new job and starts hacking people to bits. He’s unable to escape his performing his cruel actions but, then again, witnessing your parents’ murder and then suffering abuse at the hands of a frustrated nun doesn’t bode well for normal adult behavior. Silent Night, Deadly Night is a certain kind of holiday classic – it slays.
A tongue-in-cheek examination of sex films as a beautiful starlet learns the ins and outs of show business, the HARD way! Screening a new DCP restoration.
The Sexualist chronicles the production of part-time astrologist Jeffrey Montclair’s latest nudie movie. Jumping between self-parody and bizarre screwball antics, and complete with a ‘gay gorilla,’ director Kemal Horulu’s mind-bending satire of the sex film industry serves as a textbook example of oddball, experimental filmmaking from the earliest years of hardcore feature films.
The Sexualist is part of our Nitehawk Naughties 2014 program in partnership with Vinegar Syndrome – intended for mature audiences.
A woman, the eponymous Miss Aggie recounts her previous sexual encounters to her lover. Screening a new DCP restoration.
Director Gerard Damiano’s tribute to Ingmar Bergman’s surreal psychological thrillers of the 1960s, Memories Within Miss Aggie follows the fantasies and daydreams of a lonely middle aged woman who endlessly attempts to remember how she first met her wheelchair bound companion named Richard. With each passing ‘memory,’ a darker and more sinister side of Aggie’s personality is revealed until the film builds to its shocking and brutal final twist.
Memories Within Miss Aggie is part of our Nitehawk Naughties 2014 program in partnership with Vinegar Syndrome – intended for mature audiences.
From acclaimed erotic filmmaker, Wakefield Poole, comes Bible, like you’ve never seen it before! Screening a new DCP restoration.
The stories of Adam & Eve, Bath Sheba and Samson & Delilah are given sexual twists in this visually stunning and sensually charged masterpiece of the erotic avant-garde. Featuring Georgina Spelvin (The Devil in Miss Jones), Gloria Grant and Bo White, Wakefield Poole’s Bible been fully restored from the original negative and is returning to the big screen for the first time in nearly 40 years!
The Bible is part of our Nitehawk Naughties 2014 program in partnership with Vinegar Syndrome – intended for mature audiences.
Midnite weekend screenings are on Friday & Saturday nights (arrive on ticketed date that says Friday and/or Saturday night by 11:45pm, the movie starts after midnite)!
Don’t miss this tantalizing tale of a religious fanatic who murders people engaging in sex. Screening a new DCP restoration!
In one of the strangest mixtures of sexploitation cinema and slasher film ever produced, traveling Evangelist preacher, Sister Sarah Jane (Cleo O’Hara), is hellbent on ridding the world of evil, sex-obsessed men. Taking to the streets of Los Angeles, she quickly befriends a gullible young woman and the two embark on a outrageous, sex-filled killing spree.
Evil Come, Evil Go is part of our Nitehawk Naughties 2014 program in partnership with Vinegar Syndrome – intended for mature audiences.
A major, though forgotten, work from New York’s underground film scene of the late 60s and early 70s, Nelson Lyon’s The Telephone Book tells the story of Alice, a sex-obsessed hippie who falls in love with the world’s greatest obscene phone caller and embarks on a quest to find him. Her journey introduces her to an avant-garde stag filmmaker, a manipulative psychiatrist, a lesbian housewife, and more. Photographed in high-contrast black-and-white, and punctuated with a remarkable, surreal color animated sequence, The Telephone Book is one of the greatest cult films you’ve probably never heard of.
The Telephone Book is part of our Nitehawk Naughties 2014 program in partnership with Vinegar Syndrome – intended for mature audiences.
On the occasion of the release of Spike Lee’s Old Boy, Nitehawk is honoring Park Chan-wook’s original for two midnite showings in 35mm!
Park Chan-wook’s South Korean mystery/thriller/revenge film Oldboy follows Oh Dae-Su, a business man kidnapped on the night of his young daughter’s birthday. Imprisoned for fifteen years without knowing why, he is finally inexplicably released only to discover he has five days to find his captor. Finding himself still trapped in a web of conspiracy and violence, his own quest for vengeance becomes tied in with romance when he falls for an attractive sushi chef. Loosely based on the Japanese manga of the same name, Oldboy is the second installment of Chan-wook’s The Vengeance Trilogy and is a film Roger Ebert claimed was a, “powerful film not because of what it depicts, but because of the depths of the human heart which it strips bare.”
Nitehawk’s February Art Seen is a special 35mm screening of Edgar G. Ulmer’s Bluebeard that includes an introduction by Noah Isenberg in celebration of his new critical biography, Edgar G. Ulmer: a Filmmaker at the Margins. Will also include frieze video: John Akomfrah: On essays, identities and Stuart Hall playing before the film.
Every time I painted her, I had to kill her again – Gaston Morrell
Edgar G. Ulmer’s Bluebeard puts the darkness of artistic failure on murderous display. As one of the very first serial killer movies, it gleans from the notorious tales of Jack the Ripper and Bluebeard but remains, to this day, wholly unique. This rarely shown Ulmer film features John Carradine (in one of his only leading roles) as an artist who cannot resist killing every woman whose portrait he paints. With its devious art dealers, kind hearted women, and an artist all-too-familier with his limitations, Bluebeard is a beautiful noir representation of the perpetual entanglement of love, talent, obsession, and death. It also includes the most incredible puppetry presentation of Faust that, if you haven’t seen the film, will delight you.
About the frieze video John Akomfrah: On essays, identities and Stuart Hall: The award-winning filmmaker discusses the origins of the Black Audio Film collective, his recent project exploring the life and times of cultural theorist Stuart Hall and the ‘pariah space’ of the film essay on television and in the art gallery.
Print courtesy of the Academy Film Archive.
ART SEEN is in partnership with
Featuring Absolut Vodka Cocktails.
