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    Movie Lover's Paradise

    Alamo Drafthouse in Richardson opens with promise of bright film future

    Alex Bentley
    Aug 9, 2013 | 10:34 am

    The grand opening of Alamo Drafthouse in Richardson took place Thursday night, replete with city luminaries, unorthodox popping of champagne, and the unveiling of a unique lobby centerpiece. Now all Alamo has to do is live up to the hype.

    There was certainly no shortage of excitement among the crowd that included Richardson City Council members, Alamo Drafthouse founder/CEO Tim League, citizens of Richardson and, of course, the media. The crowd packed the lobby and the attached bar, the Glass Half Full Taproom, to enjoy Alamo's variety of local beers and bites of their signature menu items.

    League and Alamo Drafthouse DFW COO Bill DiGaetano continued an Alamo tradition, christening the theater by popping a bottle of champagne with a sword — or, in this case, a massive Bowie knife provided by DiGaetano's father.

    After the usual ribbon cutting, DiGaetano and Alamo creative manager James Wallace then unveiled "Johnny High Five," a huge robot hand — confusingly, one with only four fingers — made to look like it's busting through the Richardson city skyline.

    Guests were then taken on a tour of several of the theater's auditoriums to get a feel for Alamo's different offerings. Although mainstream fare like this week's Elysium andWe're the Millers will make up 80 to 90 percent of its programming, Alamo promises that it'll have a steady diet of independent films and special events like quote-a-longs to Anchorman and karaoke nights.

    In fact, the remainder of August will celebrate English drinking films like A Clockwork Orange, Trainspotting and Withnail and I, in honor of the August 23 release of The World's End. Alamo will also serve a variety of English beer and English pub food to complete the feel of being on the other side of the pond.

    The actual theater experience is a bit of a mixed bag. On the positive side, the ordering system for in-theater dining is designed for as little waiter intrusion as possible. Unlike Studio Movie Grill's light system, Alamo simply has you write down your order on provided sheets of paper that waiters pick up without a word when you place them in the designated area.

    Even better is the space between rows, where waiters can stealthily walk behind seats of the row in front of you — as opposed to leaning over you, SMG-style — to pick up those sheets and deliver your food and drink. It's likely there will be times when your order arrives without your even knowing it. It's that good.

    On the down side, even though the seats are pretty comfortable, none of them reclines, an amenity that has become an expected staple of movie theaters in recent years. And depending on the person, the tables seem to be slightly too high, especially when you put food and drink in front of you; they could have been lowered a couple of inches.

    But those are only minor quibbles. With the variety of special events and unique programming, the location in Richardson, and the famed zero-tolerance policy when it comes to movie talkers and texters, Alamo Drafthouse looks to be a movie lover's paradise.

    Alamo Drafthouse in Richardson officially opened to the public with late night shows on Thursday, August 8.

    Alamo Drafthouse in Richardson
      
    Alamo Drafthouse Facebook
    Alamo Drafthouse in Richardson officially opened to the public with late night shows on Thursday, August 8.
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    news/entertainment

    Movie Review

    Stephen King film adaptation The Life of Chuck aims for the heart

    Alex Bentley
    Jun 13, 2025 | 1:20 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
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    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.

    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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