By: Donna Nadeem
The Disability Justice Network of Ontario is a Hamilton-based organization launched in September by McMaster alumni Sarah Jama and Eminet Dagnachew and McMaster student Shanthiya Baheerathan.
The co-founders initially got together because of their aligning interests. For instance, Jama was working with the McMaster Students Union Diversity Services as an access coordinator, trying to push the university to create a service for people with disabilities.
“I always think that there is more that could be done, that the institution doesn’t do a good job of supporting people with disabilities in terms of responding to professors who don’t want to accommodate. There is still a lot from what I’m seeing as a person who has graduated,” said Jama.
Last year, the co-founders received an Ontario Trillium grant over 36 months to create and run the organization. The basis of DJNO is to pose questions to the community of people with disabilities to see what it is they want to work on and how DJNO can use their resources to support the community it serves.
One of DJNO’s larger goals is to politically activate and mobilize people with disabilities who consistently get left out of conversations that affect their lives.
“Our goal is to politically activate and mobilize people with disabilities across the city and the province over time and to be able to hold the institutions and places and people accountable for the spaces that they create,” said Jama.
The research committee for DJNO has recently been working on data collection for a study on issues for racialized people with disabilities.
According to Jama, there is a lack of data collection on this subject.
The DJNO also has a youth advisory council that teaches people with disabilities how to politically organize.
In just a few months of being in operation, the DJNO has hosted several events, such as a community conversation event about the Hamilton light rail transit project, a film screening and panel discussion about Justice For Soli, a movement seeking justice for the death of Soleiman Faqiri, who was killed in prison after being beaten by guards.
The film screening and panel discussion was organized alongside McMaster Muslims For Peace and Justice and the McMaster Womanists.
On March 26, the DJNO will be hosting an event called “Race and Disability: Beyond a One Dimensional Framework” in Celebration Hall at McMaster.
This discussion, being organized in collaboration with the MSU Maccess and the MSU Women and Gender Equity Network, will tackle “the intersections of race/racialization, disability, and gender for all McMaster Community Members.”
Next week, the DJNO will also be organizing a rally with Justice for Soli in order to speak out against violence against people with disabilities.
“The Justice for Soli team has been tirelessly advocating for justice, accountability, sounding the alarm of deeply systemic issues in the prison system, namely the violence that it inflicts on racialized peoples, and people with disabilities,” reads part of the event page.
For McMaster students interested in getting involved with the organization, DJNO has some open committees and is looking for individuals to help identify major community issues.
The campaign committee meets at the Hamilton Public Library monthly. Students can email [email protected] for more information.
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The Women’s Adventure Film Tour first premiered to a sold-out crowd in Sydney, Australia in May 2017. Since then, the film tour has left its home country and toured across Asia, Europe and North America. This spring, it is coming to Eastern Canada with a stop at Hamilton’s historic Playhouse Cinema on March 21.
The tour celebrates the extraordinary adventures of women by putting on a selection of short films. It is the result of a partnership between Australian company Adventure Film Tours and women-centred outdoors community She Went Wild. The Hamilton screening is open to all and will be two hours long with a short intermission. There will be also be raffle and door prizes offered.
Eastern Canada tour organizer, Benoit Brunet-Poirier got involved with the tour when he met Adventure Film Tours owner Toby Ryston-Pratt on a trip to Australia last year. At the time, Ryston-Pratt had been thinking about expanding to Canada. Brunet-Poirier discussed the opportunity with his partner Jamie Stewart and the two decided to take on the challenge of bringing the film tour home.
[embedyt] https://www.youtube.com/watch?v=r9HXWDFs4WM[/embedyt]
Adventure is important for the couple, who met while rock-climbing. The tour also combines their respective industries as Brunet-Poirier works in the entertainment industry and Stewart works for an outdoors retailer.
By showing women-centred films, the tour is helping break down barriers in the outdoors industry. Brunet-Poirier noted that women are historically thought of as individuals to be protected and this series of short films challenges that notion.
“So I really like the idea of having a woman-focused film tour just because… although women are starting to be represented more in adventure stores and in the media and in film, I do think that there still is a misrepresentation or underrepresentation of women. And so this film tour is just putting… the spotlight on women,” Stewart said.
The couple did their first screening for the film tour in Ottawa last fall. They are taking the feedback from that event on the road by increasing the number of films in order to show a few shorter ones and playing well-received flicks.
[embedyt] https://www.youtube.com/watch?v=7DE3F336tVQ[/embedyt]
One such film, titled Finding the Line, follows professional skiers and sisters Anna and Nat Segal across Canada, France and the United States. While the film’s humour and thrilling 80 degree slopes make it an exciting watch, it is one of Stewart’s personal favourites because of its narratives of overcoming fear and sisterly bonding. It is these narratives that Stewart and Brunet-Poirier feel will resonate with audiences.
“We let go of some films that were focused on physical achievement to give room to films that are focused on the psychological or social achievement of other women. So there are films about BASE jumping and extreme sports, but there are also films that are more accessible,” said Brunet-Poirier.
In this way, the films should provide something that appeals to everyone, regardless of activity level or interest in extreme sports. The couple hopes that the pictures inspire audiences of all ages to attempt new things or take on a challenge that frightens them.
[embedyt] https://www.youtube.com/watch?v=HcWXn_Ydxuc[/embedyt]
Stewart and Brunet-Poirier also focused on ensuring that the films showcases diversity. From a film about an older, blind woman learning to swim for the first time to another about the challenges a lesbian couple faces in a mountain biking community when they open a pizza shop, the films capture a range of identities.
The films were selected from Adventure Films Tours’ global database. While the couple chose some films based in North America in order to be more local, their priority on diversity led them to select films from around the world.
“I am a Chinese woman here in Canada and… we really wanted to showcase diversity and acceptance of everyone… [T]hat's the root of our cause. [We] really try to reach as many people as we can and showing representation in adventure sports of all types of people,” said Stewart.
By centring the diversity of women, Women’s Adventure Film Tour pushes back against the perception of the outdoors community as male-dominated or predominantly white. The films aim to be a comprehensive show of the physical and mental strength of women.
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By: Natalie Clark
When the quaint and beloved Westdale Theatre closed down in early 2017, residents of the Westdale community and many McMaster students were especially upset. Although fairly run down, the Westdale had been the community’s hot spot for Friday night dates, Hollywood’s must-see films and the best popcorn in town for as long as anyone could remember.
On Feb. 14, the Westdale community celebrated the long-awaited re-opening of the Westdale Theatre. Guests were told to dress in period attire for a special event accompanied by cocktails and a screening of the 1942 classic, Casablanca. The event also featured a silent auction, where guests could explore the new and improved venue while admiring local Hamilton art.
https://www.instagram.com/p/BtwPnG9B6q9/
With searchlights lighting up the night sky and a red carpet gracing the floor of the doors of the theatre, the Westdale certainly dressed to impress for their grand re-opening. The 350 ticket event sold out in two weeks.
For the past 30 years, the Westdale was owned by an elderly man in Toronto. It wasn’t until he passed away that his family put the theatre up for sale, allowing new owners to claim the theatre, known as the Westdale Cinema Group.
https://www.instagram.com/p/Battr_XFwIc/
“An enormous amount of changes were made… the theatre was in terrible condition, we spent 2.5 million dollars restoring it,” mentioned Fred Fuchs, chairperson of the Westdale Cinema Group.
“Besides equipping it with state-of-the-art projection, screens, new seats, new sound, new acoustic panelling, we also had to completely redo the air conditioning and the heating, the electrical system, the roof, the bathrooms — it was a complete overhaul of the entire theatre,” said Fuchs.
About two years later, the Westdale Theatre is back open for business, and the community is thrilled. Westdale resident and Silhouette alumnus, David Simpson, had one word to describe the re-opening event, “fabulous”.
“I think that the re-opening will be great for Westdale and for McMaster too, creating a hub for the community,” said Simpson.
https://www.instagram.com/p/Brkq2vjhA1y/
Members of the Westdale community are thrilled about the re-opening of the theatre but are also admiring the other advantages that the theatre welcomes to the community.
“It’s wonderful to see it revitalized, and to see hundreds of people in the theatre is great,” said Vivian Lewis, a member of the Westdale community.
“I think that the theatre is going to bring a diversity of films to the community,” mentioned Lewis. “Right now in Hamilton we just have lots of box theatres that are showing the same thing on every screen, and so this theatre will be our chance to see more art films and more alternative films that aren’t currently available in Hamilton.”
https://www.instagram.com/p/BrA4RzxB7e_/
Aside from standard film movies, the Westdale Theatre will also be hosting frequent live music shows, talks, performances and other special events.
“I’m excited about the idea that it’s not just a movie theatre anymore and that it’s also performance based,” said Sue Trerise-Adamson, another Westdale resident.
“I think that is a really good idea, and it expands all the possibilities of the theatre… I think it’s a real anchor for the whole community of Westdale,” mentioned Trerise-Adamson.
Westdale locals have already begun visiting the theatre for their regular screenings and are grateful to have the theatre back in the community.
Experience the new and improved Westdale Theatre on your own and check out all available screenings and shows on their website: https://www.thewestdale.ca/now-playing/
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[spacer height="20px"]The AGH BMO World Film Festival is Hamilton’s largest Festival of international, independent, and Canadian film. This year over 60 films will be screened between October 11-21, and in honour of its 10th anniversary there are some extra-special things happening throughout the 10-days.
AGH Film Curator, Ryan Ferguson, works year-round selecting an impressive program of films that not only celebrate the power and beauty of film, but also highlight different issues in our present-day society.
There are many films for the LGBTQ+ audience this year. Love, Scott is a documentary about Scott Jones, a gay musician who was the victim of a hateful attack and is now paralyzed from the waist down. Scott will be attending the screening on October 17 for a Q&A period and will talk about his journey. Other highlights include: The Miseducation of Cameron Post (October 15) , starring Chloe Grace Moretz, and Rafiki (October 19), a film banned in its home country of Kenya. The closing-night party of the Festival will feature a screening of the documentary Paris is Burning (October 20) with a drag-show hosted by Hamilton’s own queer event planners #AdamandSteve.
If you like a little fun with your films, one of the Festival’s cult-classic themed events are sure to be an excuse to get a group of friends together. On October 13, join Girl on the Wing for a romantic screening of the 90s classic Romeo and Juliet set in a church filled with candles and other atmospheric touches. For another blast from the past, grab tickets to see Spice World on October 17, featuring the Spice Girls during their peak in the 90s. To cap off the evening, join us for 90s karaoke afterwards at Toast, a local wine bar, hosted by The Eye of Faith.
A film festival that takes place in October wouldn’t be complete without some horror flicks! You can expect classics like the haunted ballet academy flick Suspiria (October 11), unexpected beauty in the offbeat November (October 21), and a don’t-mess-with-me Nicholas Cage in the action-packed Mandy (October 13). These are all sure to get your Halloween season off to a spooky start.
To find out more information about the AGH BMO World Film Festival, head to www.aghfilmfest.com for the full schedule and to buy tickets. Follow along on Instagram @at_theagh or with the hashtag #aghfilmfest. Remember the days where you had to go to a video store to pick out a movie? Check out the Film Festival Video Store Pop-Up at Redchurch Cafe & Gallery (68 King St East), an interactive experience complete with retro VHS cases for each film! Take a look – with so many options at this year’s Festival, you’re bound to find a film that speaks to you.
Screening Locations:
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Local filmmakers are making waves with their breakout movie, Chesterfield.
Aptly named, Chesterfield is a movie about a couch. Much more than that, however, it is a movie about friendship, adventure and the opportunities that come out of saying yes.
Chesterfield takes audiences on a trip through Toronto. Lead character, Lewis, is new to the city and has found a couch on Kijiji to furnish his new apartment. When the only person that Lewis knows in the city is unable to help, he resorts to moving the couch from one end of the city to the other on his own.
From the kindness of strangers, the places he sees and the friends that he makes along the way, Lewis ends up with more than a couch, but a feeling of home in this new city.
The film was derived from a true story. Florence B, Director, says that when they shared an apartment with their brother, who suffered from a neurological disorder and was unable to walk, they found a perfect couch online.
“I had to figure out a way to carry the couch from downtown Hamilton to our home in the North end of the city,” said B.
B began imagining all the ways in which transporting their new couch could turn into an adventure.
“I loved the idea of carrying a couch across town. My imagination got away with me and I thought of all the exciting times that could be had; making pit-stops to visit friends, taking coffee breaks, inviting people to come sit and talk. I could imagine a whole day of good times.”
When B asked their friends for help, however, they weren’t interested in the adventure that could take place.
“I got nothing but negativity and I remember feeling so taken aback by their responses,” said B. “No one saw the adventure that could be had. You really find out who your friends are when you got to move a couch. That moment really inspired me to tell the story I knew existed.”
The team behind the film, which consists of local filmmakers Christoph Benfey and Gabriel Patti, launched Chesterfield on May 14 at Toronto’s Future of Film Showcase where they won awards for Best Film and Audience Choice. They also won an award for Best Film at Hamilton’s Fringe Festival this past July.
“We really didn’t know how well this film would do,” said B. “We put our hearts into it and just hoped that people would connect with our message. The response we got truly blew us away. People loved our film. Everything that we hoped to achieve with our film seemed to hit a home run with the audiences we shared it with. People approached us with amazing positivity. The reviews were outstanding.”
The team has submitted the film to other festivals to take place throughout the year, and will continue to submit the film to various festivals until next summer.
Chesterfield has also been selected for two upcoming festivals, including Toronto Independent Film Festival and the Toronto New Wave Film Festival.
“Having the opportunity to make a film with my best friends has been incredible,” said B.
“We’ve grown so much through this project and we’ve made so many amazing connections. I feel like we’ve found our footing and a place in the industry, and I’m so excited to see what we can do next.”
By: Hess Sahlollbey
Two anthropomorphic dog-women lay on a Grecian style bed in bliss while a cherub plays a horn amidst a mustard yellow background. The cover of J’aime les filles (I Like Girls) by Diane “Obom” Obomswin firmly establishes its surreal presentation.
A Montréal-based comics creator, Obomsawin originally lived abroad in France for 20 years before moving to Quebec permanently in the 80s.
Rent made Montréal more affordable than Paris, Obom found a home in the LGBTQ+ community.
Working as a graphic designer for magazines and advertisements, she was all the while studying animation in the late 1990s. A student at Concordia University, Obom was amongst one of the last groups of students to study traditional hand-drawn animation.
“It’s funny, I always seem to arrive at the end of things and beginnings of new ones,” said Obom.
The medium was shifting from colored plastic cells to hand-drawn sheets that computers and digital colours would then bring to life. As digital consumed the medium, Obom would use her newfound foundations and technology to shift her comics and storytelling to the screen.
“I got used to drawing on a graphic tablet… but I really miss that I have lost the opportunity to work with ink and paper,” said Obom.
While creating comics, Obom would soon fall in with the other creators in the arts scene of Montreal where the atmosphere was less cynical than France.
In Montreal, artists would openly discuss the poetry or their paintings without being looked down upon or facing pretention.
“It was a very collaborative time, but it was also the beginning of individualism, a time where collectively working on a project was on the decline,” said Obom.
This individualism would lend itself perfectly to comics and animation.
The mediums that call upon a tremendous amount of devotion, cartoonist and animators are often working in isolation for hours on end as they transition their characters through a story.
J’aime les filles, which is Obom’s latest collection published by Drawn and Quarterly, recounts short stories of lesbianism, first loves, affection and romantic expression. In 2016, Jaime les filles was adapted into a National Film Board of Canada short film.
“I was not aware of sexuality or of homosexuality as a child, but I knew I was attracted to girls and I would learn more about it later in life.”
With an equal distribution of weight distributed to each panel of a page, the heart and emotion of the stories that Obom conveys take precedence over flashy, superficial art.
“[I find comics] more difficult because you always have think panels and find the relationship between each panel whereas in animation I simply have to think about the scene and what I want to convey.”
Obom often finds herself working for hours on end when animating. Her passion for the medium makes it easy for her to lose track of time.
“With comics I have to think so much more… so when I make a comic I often look for excuses to get up and eat and maybe talk to my dog,” explained Obom.
While many coming-of-age tales in cinema or books may evoke a certain pathos where the viewer shares in the trials and tribulations of the characters uncertainties and anguishes; Obom flips the script with her unique style.
Characters are rendered as anthropomorphic funny animals with unique physical traits that amplify their personality.
Telling her own stories and those of her friends became a more straightforward process once it was divorced from artistic realism.
No longer a victim to the conventional artistic rules of proportion, anatomy and perspective, she is liberated to take more creative risks.
This subversive aspect also allows Obom to inject a distance into the characters that allows her friends to personify their favorite animals and share their personal experiences with first loves and feelings while still maintaining a certain level of anonymity.
Sharing her own stories alongside her friends, Obom creates a solidarity amongst all the tales as they recount a childhood full of revelations and new experiences.
Adapting her comics into animation and vice-versa, Obom’s use of gentle animal figures to tell stories has netted her multiple awards including the Nelvana Grand Prize for Independent Short Animation at the Ottawa International Animation Festival.
A member of the National Film Board of Canada, Obom’s films and comic collections are readily available online and will be on display in May at the Montreal Comic Arts Festival.
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Read the full story here: https://www.thesil.ca/
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You can find more information about the exhibition at this site.
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By: Hess Sahlollbey
If my tickets were refundable, I would’ve left the theater after five minutes and asked for my money back. What should have been a simple grudge match between two orphans before they team up to face a greater evil is encumbered by a lengthy and superfluous political story and abstract metaphors.
While Man Of Steel was an effective introduction to Superman, Batman v Superman: Dawn Of Justice can easily be surmised as Warner Bros. attempt to address the faults in Man of Steel. While technically a sequel, it rehashes the same themes, ideas and symbolism but with a much darker tone. This over-reliance on previously used material is what ultimately causes this movie to fumble out of the gate. The darker tone also adds a sense of hopelessness that creates an unattractive package.
Zack Synder is a man who’s not unfamiliar with adapting comics to the screen. His past credits on 300, Watchmen and on Man of Steel easily prove that. However a poorly measured ambition to pay homage to Frank Miller’s The Dark Knight Returns and Dan Jurgens’ The Death of Superman is what ultimately led to the direction losing its way. Snyder’s view is clearly on that depicts Superman as a poorly stitched together Christ-figure, while Batman comes off as a billionaire fascist.
While Man of Steel gave hints to Superman being regarded as a messiah, the symbolism and metaphors in that film were subtle. In BvS however, the references are overly pleasant and forced. One element that allowed Man of Steel to succeed was the solid story-arc. Clark Kent/Kal-El struggled and grew with a culminating scene where he overcame severe odds, defeated the evil Kryptonians and ultimately found his place as Earth’s saviour. Batman V Superman, however, doesn’t have a plot that can be recounted in a few sentences because there simply isn’t one. It’s a string of beats that are poorly tied together to form an abstract narrative. Multiple convoluted plots in the story falter near the middle of this film because the acts also fail to smoothly transition from one to the next. Superman and Batman find themselves in a situation where they must fight each other and only stop when a CGI Doomsday shows up.
A poor plot could be forgiven by strong characterization, but BvS mostly comes up short in that aspect too. Superman is a character that’s simply there but has no presence. The bulk of his scenes see him engaging in self-loathing and are a regression from all the emotional development he had in Man Of Steel. He has the least amount of dialogue and spends the majority of the film transitioning from one place to the next, gathering what is often irrational advice. Henry Cavill gives a paper-thin performance with no depth. It’s a stark juxtaposition to his endearing performance in Man Of Steel.
When Ben Affleck was first announced as the new Batman, there was significant backlash online from fans. Even I was unsure whether or not he could pull it off, but his was one the stronger performances in the film. While Batman’s methods of crime fighting were questionably brutal in comparison to previous depictions of the Dark Knight, Ben Affleck easily blurs the line between himself and the character. Jeremy Irons is equally delightful as Batman’s trusty butler, Alfred. His portrayal of Alfred sees him as more of a hand’s on mechanic, while also delivering some of the wittiest lines of dialogue in the film.
Jesse Eisenberg who takes on the role of Lex Luthor, is a different story. While at first he appears as a Mark Zuckerberg-type billionaire with a sinister agenda, his ramblings make his character come off as more cuckoo. Historically the character has been portrayed as a super-genius obsessed with greed and besting Superman. In BvS however, his motivations aren’t just unclear, they’re non-existent. Eisenberg’s most captivating scenes are those where he operates silently because his conversations are filled with nonsensical biblical and theological ramblings. This dialogue again ties back into the movie’s overabundance of depthless symbolism.
The real star of this film however was Gal Gadot. She is an absolute show-stealer anytime she’s on screen. Gadot’s depiction of Wonder Woman is sexy, mysterious and most importantly sparse. She has few scenes in the movie but always leaves you wanting more. Gadot’s role in the film is the only place where Zack Snyder seems to be aware that less is more. It should also be noted that it’s the first depiction of Wonder Woman on the big screen and sets the bar very high for whatever comes next. The same can also be said of Ezra Miller, Jason Momoa and Ray Fisher who all appear as Barry Allen/Flash, Arthur Curry/Aquaman and Victor Stone/Cyborg respectively. We get brief peeks that leave us wanting more.
Despite months and anticipation and millions of dollars of marketing, Batman V Superman: Dawn of Justice is ludicrous in its reasoning and plot. A film whose purpose is to launch an expanded cinematic universe, the film has slivers of brilliance, but does everything else in the most inefficient manner possible.
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By: Joe Jodoin
Earlier last week, Napster-founder Sean Parker announced his plans to release a video streaming device that will allow people to watch newly released movies at home the same day that they are released in theatres.
The box itself would cost $150 to purchase and install, while each viewing of a movie would cost $50. This may seem expensive at first, but there are many scenarios where such an option would be significantly cheaper than a trip to the movies.
Famous and influential directors such as Steven Spielberg, J.J. Abrams, Peter Jackson and Martin Scorsese have come out in favor of the device, and actually serve as shareholders in the company. However, directors such as Christopher Nolan and James Cameron are very much against it, since it would negatively impact the ways movies are made and experienced.
Screening Room is so controversial amongst the industry because the pros and cons are pretty much equally balanced. One of the main benefits would be that it aims to capture an audience that doesn’t already go to the theatre, such as families. A family of four would usually need to spend more than $50 on tickets alone, while also needing to spend money on fuel and concessions. If my five roommates and I all split the money to watch a new movie together on a Friday night, it would turn out to be relatively cheap and easy compared to a trip to the theatre.
It would also serve to eliminate all the problems with going to the movies. You wouldn’t have to worry about waiting in lines, trying to find good seats, or even running late and missing part of the movie. You also wouldn’t have to deal with other audience members, who may be talking or texting on their phones. Bathroom breaks would also be possible, due to the ability to pause the movie, and you would have a 48-hour window to finish the movie in case there is an emergency (although you are only able to watch the movie once within this time period).
There are also reasons why Screening Room is feasible for theatre owners and the studios. Twenty of the $50 would go to the studio that made the movie, and when you rent a movie, you will receive two free tickets to a movie theatre. Since theatres make their money off concessions (and not the tickets), this provides encouragement for people who don’t normally go to the theatre. People should then feel more comfortable about buying snacks, since they got their tickets for free. It also provides people with a chance to see movies that aren’t playing in a theatre near them. I recently had to go to Mississauga to watch three movies, which I would have rather watched at home.
Let’s break it down. If I wanted to see a movie with my mom, we would spend $50 on a movie and get two free theater tickets. The two tickets would be worth $24 each, so we would really be spending only $26, which adds up to only $13 a person. This is only slightly more expensive than going to a theatre, yet I would have the comfort of watching the movie in my own home.
A lot of people hear the $50 price tag and immediately dismiss the service as too expensive, and the $150 cost for the box itself doesn’t help, but in the long run it could be worth it.
This device would also not be useful for people who are happy to wait for a much cheaper option to watch their movies, such as a digital download or on DVD. I’m someone who always needs to see movies as soon as possible in good quality, but people like me are a rare breed. Screening Room also plans on being the one and only video-on-demand box on the market, which will encounter problems since other companies offering VOD services have contracts with major studios. This issue would need to be resolved before the product hits the market.
Finally, Screening Room would not only change the way movies are seen, but the way they are made too. Filmmakers such as Cameron and Nolan are against this device, because they specifically design their works as movies that need to be experienced in the cinema. Whether this is because the movie is shot on film, or because of surround sound, or 3D, an artist should have the right to have people see their movies in the way they intend them to be seen. Studios also specifically make movies that people will want to see in theatres, because that’s how they make most of their profit. If audiences transition to mostly watching movies at home, things like bombastic action, special effects and sound won’t matter as much.
In an age where more and more people are investing their money into home theatre systems, Screening Room may seem like a path to the future. However, this is also an age of piracy, Netflix and Blu-ray, where people have many cheaper alternatives to accessing infinite amounts of media and entertainment. While Screening Room is attracting a lot of attention and controversy right now, if it ever does hit the market, I doubt it will be anything more than a niche product, aimed to attract families and movie obsessives. Don’t expect to see all the movie theatres getting torn down anytime soon.
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