Cinecast Episode 327 – Building Gazebos

You might be interested in Kurt’s rather epic, “Kermode-ian,” Ender’s Game rant which tackles one of the key issues with modern blockbuster storytelling. He uses Gavin Hood’s slipshod execution and shading as a kind of Case Study in lazy storytelling and not realizing how rich the material one has at hand. But before that, there is a more civilized and in depth conversation on Steve McQueen’s 12 Years A Slave which looks at what the likely future Best Picture winner does well, and where it perhaps mis-steps. Andrew grades the homework assignments, and hands out a new one, regarding World War I films. And a lengthy watchlist segment sees a couple of underrated Wes Anderson titles under discussion (well, full out praise is more like it), the laundry list of V/H/S 2 failures, a little love of body horror-comedy in James Gunn’s Slither, some talk on Kubrick’s The Shining and A Clockwork Orange, Tarantino’s Kill Bill as it quickly approaches being a decade old, and the ‘it’s not for us’ aspects of Steven Spielberg’s Warhorse.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

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Full show notes are under the seats…




– Kurt, Mamo! et. al. on Cronenberg Exhibit @Dork Shelf

Lorne Greene & Louis Gossett Jr.

“Bang Bang”




12 Years a Slave
Ender’s Game




Email: Kurt | Andrew

Voice Mail: 612-367-ROW3

We’ll call you!:




Jeff Who Lives at Home
The Shining
Room 237
War Horse

The Life Aquatic
The Darjeeling Ltd.
Kill Bill 1 & 2




– Dallas Buyer’s Club
– How I Live Now



~ COMMENTS or QUESTIONS? ~ (general)


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Matt Gamble

Kurt is correct, theatre’s have to pay to upgrade to IMAX as well as a licensing fee to use the name. The licensing fee alone is supposedly ~$1 million a year per location. Also, part of the IMAX upcharge goes directly to IMAX (as payment for the licensing). 3D upcharges sort of vary in how studios deal with them and it’s info I really don’t know enough about to really speak with any authority.
You are both right about ticket prices, as they have gone down but theatres still don’t make much on standard tickets. Standard studio print fees are around 65% of the gross for the first 6 weeks of the print run, though it  varies per theatre chain and per studio on the percentage and the length of time. Some studios also take cuts of other upcharges a theatre may charge (like our VIP upcharge) and some don’t. Also, some studios set baseline prices that all tickets must be at, so anything below that and the theatre has to pay the difference. So matinees for some movies literally cost the theatre money when you buy a ticket. There are also fees paid to the distributers that cut into the revenue as well, then toss in taxes and credit card fees and margins start getting pretty thin. I’m quite sure their are other costs involved that I’m not privy to either. Booking is kind of a super secret sort of thing that studios and exhibitors don’t like making public.

Matt Gamble

The point is theatres still make next to nothing on tickets and pretty much all chance of profit for the location needs to come from concessions. Second run theatres can charge less for tickets, and therefore concessions, because their print fees rarely top 35% of the gross.
As for ATMOS, installation from that costs anywhere from $50K-$150K (and that cost will probably only increase over the years), so plenty of chains are charging fees for that as well. Someplace like AMC or Regal will charge you for a standard ticket, 3D surcharge, IMAX surcharge and a ATMOS surcharge, which is how ticket prices can skyrocket.
Also, having to break up my comment is stupid.


Matt Gamble I will take a picture of the CINEPLEX cinema prices and upcharges next time I am there.

A standard movie is $12, and I believe a $3 for 3D, another 3$ Upcharge for IMAX another 3$ for Atmos, another 3$ Upcharge for D-Box.  meaning if you watch something in 3D IMAX w/Atmos and Dbox, the upcharges just doubled the cost of a ticket.

Matt Gamble

Yup, AMC and Regal tend to operate the same way, which really bothers me. It’s just nickle and diming people and is a bit disengenuous in your pricing.
I’m actually pretty glad we decided to not charge for our version of IMAX or for ATMOS, and just stuck with VIP and 3D as the only upcharges. To me it makes the megascreen and the ATMOS feel much more like value adds than just additional charges and I wish more chains operated this way. Theatres would probably start improving their reputations if they did.


Matt Gamble Having seen about 5 movies with proper soundtracks programmed in ATMOS, I have to say, I’m totally in love with the system.

Matt Gamble

Yeah, its incredible. Now if everyone would get on board and start making movies in ATMOS.

Sean Kelly

KurtHalfyard Matt Gamble Here are the prices for the Scotiabank Theatre, which offers everything but D-Box. Can’t believe there’s so many options now.
General (14-64) $12.99
Child (3-13) $8.99
Senior (65+) $9.50
3D General (14-64) $15.99
3D Child (3-13) $11.99
3D Senior (65+) $12.50
UltraAVX 3D General (14-64) $17.99
UltraAVX 3D Child (3-13) $13.99
UltraAVX 3D Senior (65+) $14.50
IMAX General (14-64) $19.99
IMAX Child (3-13) $12.99
IMAX Senior (65+) $13.50

As you can see IMAX is the most expensive option (which is the same whether or not the film is in 3D or 2D). It might have been worth it when it was still the old 70mm IMAX projector, but now that it’s been converted to digital…

Ultimo Lee

Kurt, On the soundtracks from last week, the time is when the feature ends, The Counselor talk was 40 minutes
Isn’t that how Andrew always did them?
In-house business: 7:48
12 Years a Slave (SPOILERS!) 53:47
Ender’s Game/Cinema’s fucking us: 1:26:08
Homework: 1:36:22
Watchlist 2:49:18
Next week: 2:54:59
Outro music:


Ultimo Lee Your numbers need to be iterated up a notch.  I.e. We start 12 Years a ASlave at 7:48, Enders Game at 53:47, etc. etc.


Also, I dig the NiIcolas BRO avatar.


Kurt’s ENDER’S GAME rant is AWESOME. I thought the movie was OK but agree that it felt like a lot of opportunities were missed.


I don’t know how Kurt can be a huge Ender’s Game fan and have passed the book on so many times and not know why being a third child is bad.
It’s population contol.  It’s there immediately. I’ve only read the first 40 pages of the book, and the movie doesn’t tell you why thirds are bad. But I know this.


coreypierceart Well I know ‘why’ in terms of that Card tells me, but I don’t know WHY a race almost destroyed by an alien invasion would WANT population control.  If Car lets us in on that in the book, it’s a detail that has never stuck in my brain.

Matt Gamble

Maybe because they can’t feed them?

Rick Vance

Gotta disagree about the extent of the violence and the portrayal of it. I am not sure about 12 Years but I am sure from reading about and around the Jesus story in many different places that the amount of violence and suffering and degradation done is a huge part of not only the story but the teaching and the message of it.


Kurt’s venting and the way he rants reminds me of how I feel about the Watchmen movie as a fan of the graphic novel.  Key terms being work-for-hire and lazy-as-can-be faithfulness.  Now you know how Watchmen fans feel, Kurt. “The film is insulting in how poorly it is adapted.”  And of course fans of the movie are baffled by this opinion all the time.   They think non-comic book fans don’t like it because it’s too deep for them and Watchmen fans didn’t like it because nit-picky stuff like taking out the giant alien octopus when it’s just a shitty movie.
I have not found conversations with fans of the movie to be very fruitful, to put it mildly.  I think I had maybe one total that didn’t degenerate into arguments and insults.  That might be because I’m not very convincing though. 

Of course because they decided to cash in the chips it means there will not be a proper Watchmen movie made, probably ever.
My condolences.  It sucks to see something you like get ravaged by Bob Orci or Zack Snyder.