Project Hail Mary struggles to get screens in India despite healthy advance sales; expected to share shows with Dhurandhar The Revenge in IMAX properties

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Less than 24 hours remain until the release of Project Hail Mary in India, and fans are disappointed as the booking has yet to open in a full-fledged manner across the board. The biggest grouse among them is that ticket sales have yet to begin in IMAX theatres. The Ryan Gosling-starrer, which released on March 20 in most parts of the world, was pushed by a week in India, to March 26, to avoid a clash with Dhurandhar The Revenge. A trade source told Bollywood Hungama, “Project Hail Mary is filmed for IMAX and hence for many moviegoers, it is a must-watch in the IMAX theatres. But the bookings still haven't began though the film releases tomorrow (Thursday, March 26). In all probability, Project Hail Mary will share shows with Dhurandhar 2 in the IMAX screens.” What alarmed netizens was that Cinepolis Kochi had initially allotted all shows for the day to Project Hail Mary, while the late-night show at Maison INOX, BKC, Mumbai, was also scheduled for the Hollywood film. However, on ...
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American Graffiti at 50: a classic hangout comedy with a surprising melancholy

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George Lucas’s 60s-set tale of California teens offers some freewheeling fun but also a lingering sadness

Ninety-nine times out of 100, the postscripts that get tucked in before the closing credits, telling us where the characters’ lives have gone from there, are totally unnecessary, especially in a fictional story where their fates are better left to the viewer’s imagination. But in George Lucas’s American Graffiti, which turns 50 this week, they are the most important part of the film, not least because two of the four characters don’t have much longer to live. We can feel that darkness lingering around the edges of Lucas’ dusk-till-dawn nostalgia piece about the last night of summer vacation in 1962 Modesto, California, even while its teenagers are getting into mostly light-hearted forms of trouble. This night has to end, and when the sun comes up, their entire world turns back into a pumpkin.

From the opening shot of Mel’s Drive-In, set to Bill Haley and His Comets’ Rock Around the Clock, American Graffiti seems to unfold inside a snow globe, an idealized past with invisible borders that separate it not only from the outside world, but from the future itself. It’s one of those films, like its spiritual successor Dazed and Confused, that has the quality of a hangout comedy, loose-limbed and goofily episodic, but laced with an air of melancholy that’s so subtle you miss it entirely. (That’s why the postscript is such a slap in the face.) It aches for a scene that had passed just a decade earlier, before the tumult of the Vietnam war and counter-culture, but must have seemed, even then, like ancient history.

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