Thursday 21 March at 6.30 p.m. Star Wars VIII: The Rise of Skywalker
Friday 22 March at 6.30 p.m. New York New York
Wednesday 27 March at 6.30 p.m. Risen
Thursday 4 April at 6.30 p.m. Mamma Mia! [the original stage musical opened in the West End on 6 April 1999!]
Friday 5 April at 6.30 p.m. Puccini: Tosca [Puccini died a hundred years ago in November 1924]

THURSDAY 21 MARCH AT 6.30 P.M. STAR WARS VIII: THE RISE OF SKYWALKER

Luke Skywalker’s peaceful and solitary existence gets upended when he encounters Rey, a young woman who shows strong signs of the Force. Her desire to learn the ways of the Jedi forces Luke to make a decision that changes their lives forever. Meanwhile, Kylo Ren and General Hux lead the First Order in an all-out assault against Leia and the Resistance for supremacy of the galaxy.

You don’t have to be a Star Wars fan to love this addition to the canon – heck, it works even if you haven’t seen any of the other movies. [Toronto Sun]
It took them 40 years, but they’ve finally done it. The best Star Warsfilm of the series. There. That’s it. It’s that simple. [The Times]
While there are elements nodding to The Empire Strikes Back, The Last Jedi is no copycat. In its most daring moments, it even tweaks a few series tropes, updating them with a decidedly populist kick. [New York Post]
After this – I never thought I’d say it – I’m up for more. Bring on the next Star Wars. [Financial Times]

[Director Rian Johnson’s] movie has a sense of humour about itself and a sense of joy, but its emotional generosity, even in the midst of all the extravagant green-screen work, is its best special effect. [TIME Magazine]
Rian Johnson, writer and director of this film, took my Star Warsreveries and served them back to me with vast improvements. [Guardian]
As the third act approaches, the crescendo of air-punching interludes accelerates, eliciting gasps, cheers and OMG whoops from an audience whom Johnson treats with respect, affection, and evident admiration. [Observer]
Rian Johnson’s middle chapter in the current Star Wars trilogy is the epic you’ve been looking for. Capped by Mark Hamill in the performance of his career, it points the way ahead to a next generation of skywalkers – and, thrillingly, to a new hope. [Rolling Stone]

Admission: US$2.50 [free to Film Members]

FRIDAY 22 MARCH AT 6.30 P.M. NEW YORK, NEW YORK

Carriages: 9.10 p.m.

Jimmy Doyle (Robert De Niro), an aspiring saxophone player, meets established band singer Francine Evans (Liza Minnelli) during V-J Day celebrations at the end of World War II. The two become a musical double act and, more importantly, fall in love. They quickly get married and start a family, however, their volatile relationship disintegrates over time. Years later, when both of them have successful careers, Jimmy and Francine find their paths crossing once again.

Martin Scorsese’s technical virtuosity and Liza Minnelli’s magnetic presence are on full display in New York, New York. [Rotten Tomatoes]
Perhaps the best American film of 1977. [Washington Blade]
Scorsese has created a very handsome and dynamic film. [Chicago Reader]
A final burst from Old Hollywood, Minnelli tears into the title song and it’s a wowser. [Variety]
Martin Scorsese’s criminally neglected tribute to the heyday of the MGM musical has aged astonishingly well. [Empire Magazine

· Overall New York New York remains possibly the last great musical of the 20th century. And Minnelli, though never everybody’s cup of tea, does sing her socks off on more than one occasion. [Amazon]

· Perhaps the best American film of 1977. [Washington Blade]

· Scorsese’s take on classic musicals is just as odd and arresting as you’d think. [Capital Times]

· What makes it such grand entertainment is the music, the costumes of the ’40s and two dynamite performances. [Los Angeles Free Press]

· New York New York features a smashing conclusion. I’m not talking about Minnelli’s final number. What’s smashing is the ending to the De Niro-Minnelli romance. It has just the right mixture of old and new.. [Chicago Tribune]

· There are things about it that rub me the right way: it has style, fire in its belly, great visuals and was ahead of its time. [Dennis Schwartz Movie Reviews]

Admission: US$2.50 [free to Red Carpet Members]

WEDNESDAY 27 MARCH AT 6.30 P.M. RISEN

Carriages: 8.35 p.m.

Risen is the epic Biblical story of the Resurrection as told through the eyes of a non-believer. Powerful Roman military tribune Clavius (Joseph Fiennes) remains set in his ways after serving 25 years in the army. He arrives at a crossroad when he’s charged with investigating the mystery of what happened to Jesus (Cliff Curtis) following the Crucifixion. Accompanied by trusted aide Lucius (Tom Felton), he needs to disprove rumours of a risen Messiah in order to prevent an uprising in Jerusalem.

Exceptionally crafted and performed, Risen is a Bible drama for a new era. [Matt’s Movie Reviews]
An uplifting masterpiece! [FOX-TV]
Fiennes commits to the role, striking the perfect balance as a non-believer who still just wants to get to the truth of this whole business with Jesus and His devout followers. [National Post]
What could have been a hammy, square affair quickly settles into an impressive political thriller/crime procedural that manages to respectfully present Jesus without becoming too preachy. [The Newnan Times-Herald]
I enjoyed the way the movie dealt with the truth and the fiction that was intertwined perfectly. A fast moving film with great performances from the cast. [Amazon]

Risen is a pretty riveting film from director Kevin Reynolds. No hammy acting or dogmatic bluntness, thanks to Fiennes’ layered performance as a conflicted man. Highly recommended. [FlixChatter Film Blog]
Compelling, intelligent and thoughtful. [Quad City Times]
For a film that could have easily become bogged down in Sunday School reverence, or culture-war opportunism, Risen presents an intriguing, oblique approach to a Bible movie. [New York Magazine]
It is too easy in this day and age to be cynical about a film like this. For me, it tells the story of the Resurrection with integrity, even leavened now and again with wit. [Daily Mail]
Epic production and unique story of a historical event [ReviewExpress.com]
If Risen had simply told of Christ’s resurrection from a fresh perspective it would be worth your while. It does much more. [Hollywood In Toto]

Admission: US$2.50 [free to Film Members]

THURSDAY 4 APRIL AT 6.30 P.M. MAMMA MIA!

Carriages: 8.40 p.m.

Yes, here it is again – but the original stage musical opened in the West End 25 years ago on 6 April 1999 so is surely worth celebrating again!

And, in case you need reminding… Donna (Meryl Streep), an independent hotelier in the Greek islands, is preparing for her daughter’s wedding with the help of two old friends. Meanwhile Sophie, the spirited bride, has a plan. She secretly invites three men from her mother’s past in hope of meeting her real father and having him escort her down the aisle on her big day.

POSTERS FOR THE ORIGINAL STAGE SHOW – AND THE MOVIE!

It’s impossible not to go along with the feeling when such a strangely life-affirming song as Dancing Queen is blasted in your ears. [Washington Times]
Mamma Mia! has been made with the most delicious, joyful abandon and all it asks is that you joyfully and deliciously abandon yourself to it and don’t make too many observations. [The Spectator]
More fluff like Mamma Mia! would make mid-year movie going a happier experience. [Film Threat]
An absolutely hilarious, rousing and joyous celebration that ought to have you dancing in the aisles. Hollywood.com]
This is entertainment, not a movie. And as entertainment goes, Mamma Mia! belts it out of the park. [The Scorecard Review]

I love musicals and I love ABBA, so I was really excited for this movie. I pretty much got what I deserved. [Sin Magazine]
A lot of fun. [Ebert & Roeper]
Mamma Mia! is a delightful crowd pleaser, evidenced by the enthusiastic applause I heard at the smash ending. [Houston Community Newspapers]
Cheese – but what wonderfully salty, sinfully satisfying cheese it is. [Toronto Star]
The incongruous mix of nostalgia, James Bond crooning and the world’s greatest actress bouncing up and down on a mattress is an undeniable kick. Mamma Mia! is major fun. [Detroit News]

Admission: US$2.50 [free to Film Members]

FRIDAY 5 APRIL AT 6.30 P.M. PUCCINI: TOSCA

Carriages: 8.40 p.m.

Opera is an inherently theatrical medium that does not lend itself readily to the realism of film treatment. The shining exception is Puccini’s Tosca, an action-packed melodrama that unfolds in three taut and gripping acts like the meatiest of Hollywood films noir. And unlike most operas, these three acts are set in three very specific Roman locales. Thus this film takes place in the church of Sant’Andrea della Valle (Act 1), the Palazzo Farnese (Act 2), and the Castel Sant’Angelo (Act 3). The evocative settings, however, would be mere window-dressing if the cast wasn’t just right. Fortunately Plácido Domingo is at his virile peak in the heroic tenor role of Cavaradossi; Raina Kabaivanska is a sultry, vocally beautiful Tosca; and a more infamous and domineering Scarpia than that of Sherrill Milnes can hardly be imagined. Bruno Bartoletti and the New Philharmonia Orchestra give lustily dramatic support. With the authenticity of the settings assured and such distinguished leads singing so well, this is an almost ideal filmed Tosca. [Mark Walker]

This is both vocally enthralling and visually stunning. As Tosca, Raina Kabaivanska has never been lovelier and more animated. Her transformation from a woman plagued by jealousy and religiosity to a fiery warrior exhilarates and astounds. [Classical Net]
This is the most magnificent version of Tosca I have ever seen. In addition to exquisite singing and acting, the settings in Rome are breath-taking. Unsurpassable…. [Amazon]
This is my preferred Tosca DVD now, particularly for the often glorious Domingo. Raina Kabaivanska is a determined, strong Tosca, every inch the Italian temperament in her jealousy! The two singers work magically together [MusicWeb International]
Ms. Kabaivanska is a wonderful Tosca with a beautiful tone to her voice; she gives an emotional Vissi d’arte, and an overall fine acting performance. Seeing renowned tenor Placido Domingo in his prime is a particular treat, and he made a convincing Cavaradossi. However, the highlight of this film is baritone Sherrill Milnes, whose singing and acting in the role of the villainous Scarpia are superb. [OperaGene]

I do not think that there has been a recorded performance of Puccini’s classic tragedy to equal this, not since the days of Maria Callas and Tito Gobbi. In all aspects which the filming of opera demands, voices and actors, scenery and costumes, intensity and pacing, this film stands out as a true achievement. {IMDb]
I didn’t bargain for such a thrilling performance! The direction, by Gianfranco De Bosio, is mesmerizing. and, if you’re into this stuff, it is one you should see. [Classical Music Guide]
What a package! This film boasts superb singer-actors, ravishing orchestral playing, and the real locations in Rome. Kabaivanska’s lyrical Tosca – more coquettish than vixen-like – is unusually sympathetic and Plácido Domingo as Cavaradossi is virile, ardent and vocally at the top of his game. Having a Scarpia no older than Tosca changes the dynamic of the piece and the stand-off between Sherrill Milnes’ suave, smiling villain and the lovers is truly thrilling. [Classical Music]