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Friday, June 29 - Monday, July 2

Due to possible last-minute scheduling changes, moviegoers may want to confirm showtimes with theaters. 


Asheville Pizza & Brewing Co. (254-1281)
Please call the info line for updated showtimes.
Dark Shadows (PG-13)
7:00, 10:00
The Pirates! Band of Misfits (PG)
1:00, 4:00


Carmike Cinema 10 (298-4452)
Abraham Lincoln: Vampire Hunter 3D (R)
12:15 (Fri-Sun), 2:45, 5:15, 7:45,10:15
Abraham Lincoln: Vampire Hunter 2D (R)
1:55, 4:25, 7:10, 9:35
Brave 3D (PG)
12:00 (Fri-Sun), 2:20, 4:40, 7:00, 9:20
Brave 2D (PG)
1:35, 4:00, 6:20, 8:40
Dark Shadows (PG-13)
1:25, 4:05, 6:35, 9:05
The Dictator (R)
1:15, 3:30, 5:55, 8:00, 10:05
Men in Black III 3D (PG-13)
2:10, 7:20
Men in Black III 2D (PG-13)
4:50, 9:45
Seeking a Friend for the End of the World (R)
12:25 (Fri-Sun), 2:35, 5:00, 7:30, 9:55
Snow White and the Huntsman (PG-13)
12:50, 3:50, 7:05, 10:00
Ted (R)
12:05 (Fri-Sun), 2:25, 4:45, 7:15, 9:40


Carolina Asheville Cinema 14 (274-9500)
Abraham Lincoln: Vamire Hunter 3D (R)
1:25, 4:05, 7:20
Abraham Lincoln: Vamire Hunter 2D (R)
11:00, 9;50
Bernie (PG-13)
11:20, 1:50, 4:15, 7:40, 10:10 (Sofa Cinema)
The Best Exotic Marigold Hotel (PG-13)
1:00, 4:00, 7:00, 10:05
Brave 3D (PG)
11:30, 4:15, 9:20
Brave 2D (PG)
1:55, 7:00
Headhunters (R)
1:35, 8:00
Hysteria (R)
11:35, 1:55, 4:10, 7:30, 9:50 (Sofa Cinema)
Magic Mike (R)
10:50, 1:20, 3:50, 7:35, 10:05
Men in Black III 2D (PG-13)
10:45, 4:20, 10:15 (Sofa Cinema)
Moonrise Kingdom (PG-13)
10:45, 2:15, 4:40, 7:25, 9:55
Peace, Love, & Misunderstanding (R)
11:10, 3:55, 10:25
People Like Us (PG-13)
11:05, 1:50, 4:30, 7:10, 9:45
Prometheus 3D (R)
2:10, 7:55
Prometheus 2D (R)
11:25, 5:00, 10:30
Seeking a Friend for the End of the World (R)
12:30, 2:55, 5:15, 7:50, 10:15 (Sofa Cinema)
Snow White and the Huntsman (PG-13)
1:30, 7:15 (Sofa Cinema)
Ted (R)
11:15, 1:45, 4:35, 7:40, 10:10
Tyler Perry’s Madea’s Witness Protection (PG-13)
10:55, 1:40, 4:25, 7:45, 10:20


Cinebarre (665-7776)
Battleship (PG-13)
10:30 (Sat-Sun), 1:20, 4:20, 7:20, 10:00
Crooked Arrows (PG-13)
10:45 (Sat-Sun), 1:25, 4:25, 7:25, 9:45
Dark Shadows (PG-13)
10:55 (Sat-Sun), 1:25, 4:25, 7:25, 9:50
The Pirates! Band of Misfits (G)
10:50 (Sat-Sun), 1:10, 4:10, 7:10, 9:20
The Raven (R)
4:30, 10:05
Think Like a Man (PG-13)
10:40 (Sat-Sun), 1:30, 7:30


Co-ed Cinema Brevard (883-2200
Brave (PG )
1:00, 4:00, 7:00, Late show Fri-Sat 9:30


Epic of Hendersonville (693-1146)

Fine Arts Theatre (232-1536)
The Best Exotic Marigold Hotel (PG-13)
1:20, 4:20, 7:20, Late show Fri-Sat 9:40
Moonrise Kingdom (PG-13)
1:00, 4:00, 7:00, Late show Fri-Sat 9:00


Flatrock Cinema (697-2463)
Bernie (R)
4:00 (Mon-Thu), 7:00 (Fri-Sun)
Darling Companion (PG-13)
4:00 (Fri-Sun), 7:00 (Mon-Thu)


Regal Biltmore Grande Stadium 15 (684-1298)

United Artists Beaucatcher (298-1234)
The Avengers 2D (PG-13)
Madagascar 3: Europe’s Most Wanted 3D (PG)
2:40, 7:10
Madagascar 3: Europe’s Most Wanted 2D (PG)
12:30,  4:55, Late show Fri-Sat 9:45
Magic Mike (R)
1:30, 4:45, 7:40, Late show Fri-Sat 10:20
People Like Us (PG-13)
1:20, 4:30, 7:20, Late show Fri-Sat 10:00
Prometheus 3D (R)
Prometheus 2D (R)
4:40, 7:50, Late show Fri-Sat 10:40
That’s My Boy (R)
1:30, 4:30, 7:30, Late show Fri-Sat 10:15
Tyler Perry’s Madea’s Witness Protection (PG-13)
1:10, 1:45, 4:20, 7:30, 8:00, Late show Fri-Sat 10:10, 10:35

Cranky Hanke’s Screening Room: Are you a movie snob?

Ken Hanke | 05/29/2011 | 58 Comment(s)

Before it’s possible to entertain the question of movie snobbery—and are you or aren’t you?—it’s necessary to arrive at some kind definition of what constitutes a movie snob. One way and another, almost all of us are some kind of movie snob. I think I once heard of someone who wasn’t, but he ended up as curator of the Martin and Lewis archives and was never heard from again (apart from strangled cries in the night of “Hey, Dino!”). We won’t mention him again. There is, after all, a very fine line between “discerning viewer”—generally defined as being capable of recognizing that anything from Michael Bay should be avoided—and the outright “movie snob”—an altogether more slippery proposition.

Cranky Hanke’s Screening Room: The mythbusting of 1939

Ken Hanke | 05/22/2011 | 40 Comment(s)

Anyone with even a casual interest in the history of the movies has almost certainly encountered the widely accepted “fact” that 1939 was the best year for movies ever. (TCM’s Robert Osborne never tires of reminding us of this.) The claim seems to be based on 1939 producing Gone with the Wind and The Wizard of Oz with everything else of even moderate value packed in afterwards to support what is to me an insupportable point. Or like the song says, “It ain’t necessarily so.” Of course, that statement means I have to attempt to support my assertion that 1939 is not the best year for movies. It’s a fool’s errand, but I’ll have a bash.

Cranky Hanke’s Screening Room: In search of the elusive (insert title here)

Ken Hanke | 05/08/2011 | 46 Comment(s)

I suppose it happens less often these days, but I imagine it still does happen that most people with a serious interest in movies have—or have had—some title or other they’ve read about or heard about that they’ve never been able to see. This used to be common back in the pre-video days. Now, it sometimes seems that nearly everything your little viewing heart could desire is but a trip to the video store, a browse on Amazon, or even a mouse or remote control click away. That’s not really true, of course, but it’s certainly more the case now that it ever was. I sometimes wonder if this is necessarily a good thing.

Cranky Hanke’s Screening Room: Titles that are better than the movies they adorn

Ken Hanke | 05/01/2011 | 35 Comment(s)

The other evening Justin Souther and I—and maybe a few others—were loitering in the bar of the Cinema Lounge of The Carolina having a meaningful conversation in depth (read: we were killing time) when—for reasons that are obscure to me now—I chanced to mention the movie Werewolf in a Girls’ Dormitory (1962). Upon invoking said title, I found myself on the receiving end of one of those looks. You know the kind—expressing disbelief in your veracity. I made it clear that indeed there is such a movie and that it could hardly be said to live up to its title. This in turn led to the discussion that brought us to the state of events you’re encountering now.

Cranky Hanke’s Screening Room: Tyler Perry, Madea, and me

Ken Hanke | 04/24/2011 | 44 Comment(s)

Having just encountered Tyler Perry’s tenth self-directed feature, Tyler Perry’s Madea’s Big Happy Family, and his eleventh big screen venture (he didn’t direct the first one), it’s incredible to realize that prior to February of 2005, I had never even heard of a Tyler Perry. That’s about the time the standee for Diary of a Mad Black Woman went up in the lobby of the theater that qualified as my day job. Just glancing at it, I was intrigued by the title and thought this might be something worth checking out. (That translates as “something I wasn’t going to fob off on another reviewer.”) I did notice that the name Tyler Perry was more prominently—and more often—featured than that of the titular director, Darren Grant, and I read up on just who this Perry fellow was.

Cranky Hanke’s Screening Room: I won’t watch, don’t ask me

Ken Hanke | 04/18/2011 | 31 Comment(s)

Last week’s ActionFest—which was eschewed by some cineastes who don’t like “action”—and my narrow escape of having to watch Soul Surfer—which I was spared thanks to Justin Souther—give rise to the question of what people just plain, flat-out, categorically, without fear of going back on it, simply won’t watch. Since I long ago surrendered the possibility of playing the “you couldn’t pay me to watch that” card, my own feelings in the matter are largely theoretical. At the very least, my feelings are reliant on whether or not someone else can be forced or somehow cajoled into stepping into the breach. Most of the world has no such consideration. So what evokes my paraphrase of Mr. Astaire’s song about not dancing in you?

Cranky Hanke’s Screening Room: I have questions

Ken Hanke | 04/03/2011 | 20 Comment(s)

Actually, I always have questions, but I’m limiting myself here to questions that involve movies, since those are germane to this column. In this case, I’m posing two questions. I don’t necessarily expect any answers, but these seem to be worth some contemplation. Let’s start with this PG-13 version of The King’s Speech that crept its way into theaters this week.

Cranky Hanke’s Screening Room: In Praise of Trash—Again

Ken Hanke | 03/27/2011 | 17 Comment(s)

I’m going to revisit—albeit briefly, since I don’t have a lot of time this week—one of my earliest (March 2008) “Screening Rooms,” which was called “In Praise of Trash.” Why? Well, because I think there’s a lot to be said for “trash,” and because I was recently taken to task (I’d have rather been taken to Paris or London, frankly) for praising Drive Angry 3D. I was told I had “lost all credibility” with the reader, which actually suggests that the reader was not quite the regular follower of my reviews he claimed to be, since it was hardly the first time I’ve given an exploitation picture a good review. It doesn’t really matter, but what does matter to me is the idea that there is some etched-in-stone rule about what sort of movie can and can’t be liked. I don’t buy that.

Cranky Hanke’s Screening Room: Countdown to Summer

Ken Hanke | 03/20/2011 | 17 Comment(s)

Officially, it may be that today is only the first day of spring, but the movies—so far as the studios are concerned—have their own idea of time. That’s to say that they’re officially in the countdown to summer mode. This year, it appears that summer—that time when the studios unleash what they fervently hope will be the Really Big Pictures—starts on May 20 with the release of Rob Marshall’s Pirates of the Caribbean: On Stranger Tides, or possibly even on May 6 with Kenneth Branagh’s Thor, though that’s a more dicey proposition.

Cranky Hanke’s Screening Room: The Continually Surprising Audience

Ken Hanke | 03/13/2011 | 15 Comment(s)

What do Night of the Hunter (1955), Carrie (1976), City Lights (1931), The Hours (2002), Shanghai Express (1932), and The Old Dark House (1932) have in common? Well, nothing really—except that at recent Asheville Film Society and Thursday Horror Picture Show screenings, I spent all but one of those titles standing up. Why? Because there weren’t any seats or even supplementary chairs left and I’m too old to sit on the floor. The only one where I got a seat—The Old Dark House—was a very near thing. I’m not complaining, mind you, but I am on the perplexed side.

Cranky Hanke’s Screening Room: In Defense of the Biopic

Ken Hanke | 03/06/2011 | 13 Comment(s)

Probably no genre of filmmaking is so generally disdained as the biopic. It’s actually less the films themselves than it is their often somewhat-to-extemely dubious veracity. I would not deny this aspect of the movie versions of the lives of the great. It’s certainly there, though most times I’d argue that it’s no worse than your average high school history book, especially as concerns older biopics where anything too disturbing tends to be given as fine a coat of whitewash as Aunt Polly’s fence ever saw. But it seems to me that even these films served a function in terms of general knowledge that was not without its value.

Cranky Hanke’s Screening Room: Down to the Oscar wire

Ken Hanke | 02/26/2011 | 26 Comment(s)

Well, here it is—Oscar weekend—and what had started out as a seemingly predictable year at the Oscars now looks a little less predictable, and has also become one of the most promoted ceremonies I can recall. It’s certainly evolved into the busiest Oscar season I’ve ever had since I’ve been Svengali’d into—along with Justin Souther—this Oscar party at The Carolina on Sunday night.

Cranky Hanke’s Screening Room: Open letter to moviegoers—and theaters

Ken Hanke | 02/20/2011 | 56 Comment(s)

As a movie reviewer I probably spend more time in theaters than the average person. As a movie reviewer who—writing being a far from lucrative occupation—spent years working in theaters as well, I can guarantee that statement. In those capacities over the years, I’ve learned an awful lot about movie houses, how they work, what they do right, and what they do wrong. And I’ve also gotten a pretty good sense of what audiences do and don’t understand about how theaters work.