New York Cinemas Reopen, Brightening Outlook for Theaters

Kathyn Dennet, center, and Brian Haver leave the IFC Center after viewing a screening on "Mank", Friday, March 5, 2021, in New York. (AP)
Kathyn Dennet, center, and Brian Haver leave the IFC Center after viewing a screening on "Mank", Friday, March 5, 2021, in New York. (AP)
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New York Cinemas Reopen, Brightening Outlook for Theaters

Kathyn Dennet, center, and Brian Haver leave the IFC Center after viewing a screening on "Mank", Friday, March 5, 2021, in New York. (AP)
Kathyn Dennet, center, and Brian Haver leave the IFC Center after viewing a screening on "Mank", Friday, March 5, 2021, in New York. (AP)

After growing cobwebs for nearly a year, movie theaters in New York City reopen Friday, returning film titles to Manhattan marquees that had for the last 12 months instead read messages like “Wear a mask” and “We’ll be back soon.”

Shortly after noon at the Angelika Film Center on Houston Street, Holly Stillman was already feeling emotional coming out of the first New York showing of Lee Isaac Chung’s tender family drama “Minari.” “My mask is drenched,” she said.

But she was equally overwhelmed by being back in a cinema. Though Stillman feared the experience would be too restrictive because of COVID-19 protocols, she instead found it euphoric.

“It was just you and the movie screen,” said Stillman. “It was wonderful to smell the popcorn as soon as I got into the theater — even though I don’t eat popcorn.”

Less than half of movie theaters are open nationwide, but reopenings are quickening. Theaters in many other areas reopened last summer around the release of Christopher Nolan’s “Tenet,” but that attempted comeback fizzled. Throughout, theaters remained shut in the five boroughs. For a year almost to the date, one of the world’s foremost movie capitals stayed dark.

For a theatrical business that has been punished by the pandemic, the resumption of moviegoing in New York — is a crucial first step in revival.

“It’s a symbolic moment,” said Michael Barker, co-president of the New York-based Sony Pictures Classics, which on Friday released the Oscar contenders “The Father” and “The Truffle Hunters” in Manhattan theaters. “It says that there is hope for the theatrical world to reactivate itself.”

Cinemas in the city are currently operating at only 25% capacity, with a maximum of 50 per each auditorium. As in other places, mask wearing is mandatory, seats are blocked out and air filters have been upgraded.

Many theaters were caught off guard when Gov. Andrew Cuomo said cinemas could, under those conditions, reopen. Some of the city’s prominent theaters, including the Film Forum, the Alamo Drafthouse, the Metrograph and Regal Cinemas were targeting openings in the coming weeks. Some needed more time to prepare. After sitting dormant all winter, the Cinema Village in Manhattan two weeks earlier burst a pipe, flooding the lobby — one last bit of bad luck in a grueling year.

“This was the worst horror movie. I don’t think any Hollywood director could have dreamed it up,” said Nicolas Nicolaou, owner of the Cinema Village and theaters in Queens and New York. “We didn’t realize we’d be 100% shutdown for this long.”

New York, along with Los Angeles (where theaters are still closed), is one of the top movie markets. For smaller films, it’s a vital epicenter of word-of-mouth. For blockbusters, it’s a lucrative necessity. Without New York or Los Angeles open, Hollywood studios have pushed most of their larger productions until more theaters are open, or they’ve steered films to streaming

“The New York opening is very significant to the theater business in New York, in the nation and in the globe,” says John Fithian, president of the National Association of Theater Owners. “We in the movie theater business live off of movies that play all around the country and all around the world. We keep seeing those movies leave the theatrical release schedule to move to later dates because there just haven’t been enough markets. New York is the most important of those markets.”

Lately, with President Biden’s prediction that every adult can be vaccinated by the end of May, the outlook for theaters has been brightening for the first time in a long time. Last weekend, “Tom & Jerry” overperformed at the box office with $14.1 million in ticket sales, even while it streamed on HBO Max. Though Universal Pictures pushed the “Fast & Furious” sequel “F9” from late May to late June, other movies have moved up on the calendar, reversing the postponement tide.

Sony Pictures said it will release “Peter Rabbit 2: The Runaway” in May. Paramount Pictures’ “A Quiet Place II” moved into the May 28 date vacated by “F9.” The Walt Disney Co.’s “Black Widow” currently remains slated for May 7. Adding to the optimism: Southern California theaters are expected to reopen over the next few weeks.



'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
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'Shrek' Director Tackles Taboo in Netflix Fairy Tale 'Spellbound'

(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)
(L-R) US actress Jenifer Lewis, US-Australian actress Nicole Kidman, US actor Tituss Burgess, US actress Rachel Zegler, Spanish actor Javier Bardem and US actor Nathan Lane arrive for the New York premiere of Netflix's animated film "Spellbound," on November 11, 2024. (Photo by Yuki IWAMURA / AFP)

Animated films tackling parent separation and divorce are few and far between.

While live-action kids' classics like "The Parent Trap" and "Mrs. Doubtfire" have used the concept as a launchpad for humorous antics, animation has tended to steer entirely clear of the issue.

"Isn't that funny... you can kill off a parent in a movie like 'Lion King,' or 'Bambi,'" said Vicky Jenson, best known for co-directing "Shrek."

"Disney moms are often dead -- the only time anyone remarries is because the other spouse is dead. This topic of separation, of parents not being able to live together... it's taboo."

But in Jenson's new film, "Spellbound," a princess's parents have been transformed by a dastardly spell into literal monsters.

It is an allegorical device that forces young Ellian to try to "fix" her mother and father, and their broken family.

"We encountered some resistance when we were looking for someone to help bring the movie to the world, a partner to distribute the movie," Jenson told AFP.

"They all reacted the same way, like: 'What a beautiful movie, what a great message.' And then they ghosted us!"

The movie went through a number of different studios, including Paramount and Apple TV+, before ultimately landing at Netflix, which will release the film Friday.

"I credit Netflix for stepping up bravely and partnering with us on this," said Jenson.

"In this environment, it does feel like stories that push the boundaries are more accessible on streaming.

"Theaters are kind of filled with superheroes right now... the big safe bets."

- 'Monsters' -

As the film starts, tenacious teen princess Ellian (voiced by Rachel Zegler) is desperately seeking a cure for the mysterious spell that has transformed her parents, Queen Ellsmere (Nicole Kidman) and King Solon (Javier Bardem).

To make matters worse, she must hide the whole mess from the oblivious citizens of Lumbria.

When the secret gets out, and panic spreads throughout the kingdom, Ellian is forced on a dangerous quest to undo the curse.

But even if she succeeds, she soon learns that her family may never go back to the way it once was.

To make Ellian's reaction to her -- literally -- monstrous parents believable and accurate, filmmakers employed the consulting services of a family psychologist and therapist who specialized in divorce.

"Kids feel like it's their responsibility to fix this. They don't understand that something happened to their parents -- they're acting like monsters," explained Jenson.

The director, and cast and crew, also drew on their own experiences, "because we all know our parents are monsters at one point -- and as parents, we're all monsters at one point," she joked.

- An inverse 'Shrek'? -

The end result is a thoroughly contemporary parable, set in a magical fairytale kingdom.

That has clear echoes of Jenson's smash-hit directing debut "Shrek," but with cause and effect reversed.

"'Shrek' was the modern take on fairy tales. This was a fairy tale take on a modern story," she said.

For Jenson and the filmmakers -- including legendary composer Alan Menken, of "The Little Mermaid,Beauty and the Beast" and countless more -- it was important to bring this "truth about family life" to the screen.

It "is there for so many of us, but hadn't been approached as a myth or as a new fairy tale before," said Jenson.

"Now, a new fairy tale is out there for that experience that so many kids, so many parents, so many families need help through."