The Old Pasadena Festival showcase, is the largest outdoor film festival in Southern California, and is known for the depth and breadth of the variety of genres that reflect the urban environment of Old Pasadena’s famous and historic downtown.

In order to make it easier for you to find the film you want to watch at the venue you’re looking for, here’s a mapped location of each venue and the days and films being shown at each one.

One Colorado Courtyard, 41 Hugus Alley

Thursday, July 8^th: Annie Hall (1977), 8:30pm
Friday, July 9^th: Mary Pickford shorts+ orchestra, 8:30pm
Saturday, July 10^th: The Women (1939), 8:30pm
Thursday, July 15^th: Harold and Maude (1971), 8:30pm
Friday, July 16^th: How to Marry a Millionaire (1953), 8:30pm
Saturday, July 17^th: The Way We Were (1973), 8:30pm
Thursday, July 22^nd: Sorry Wrong Number (1948), 8:30pm
Friday, July 23^rd: Death Becomes Her (1992), 8:30pm
Saturday, July 24^th: Bringing up Baby (1938), 8:30pm
Thursday, July 29^th: Labyrinth (1986), 8:30pm
Friday, July 30^th: Mae West Double Feature, 8:30pm
Saturday, July 31^st: All About Eve (1950), 8:30pm

Distant Land, 56 S. Raymond Ave.

Friday, July 9^th: Chocolat (2000), 7:30pm
Friday, July 16^th: Seven Years in Tibet (1997), 8:30pm
Friday, July 23^rd: Before Sunrise (1995), 7:30pm
Friday, July 30^th: Before Sunset (2004), 7:30pm

Mills Alley, 22 Mills Place

Saturday, July 17^th: Jurassic Park (1993), 8:30pm

Central Park, 260 S. Raymond Ave.

Saturday, July 24^th: Troop Beverly Hills (1989), 8:30pm

View Old Pasadena Film Festival Venues in a larger map

On the last day of the Festival, another venue will also be featured, but is yet to be disclosed, although it’s hinted to be a drive-in. And the movie to be shown at said drive-in?

Night of the Living Dead (1968)

After all, what right minded film festival wouldn’t end without a showing of George Romero’s classic film of Zombies.

The Hurt Locker, won Best Picture for 2010,. It’s a contemporary war movie that accurately portrays the reality of today’s type of warfare.

Its gravitas is in its story and from the movie’s main elements of plot, character and theme.

The motif that “War is Hell” is explained with timeliness, and its sense of identity, causality and ultimately its portrayal that freedom is a universal need–and an an universally accepted norm of storytelling.

Motive, cause and effect are brilliantly established by the movie’s director, Kathryn Bigelow, as she takes us into the heart of Iraq, in Baghdad,.

The main protagonists are a three man crew that depend on each other in their day to day struggle for survival in Iraq, circa 2004.

The title is a colloquialism for being injured in an explosion, as in “they sent him to the hurt locker,” essentially a metaphor for for “a place of ultimate pain”.

The term dates back to the Vietnam War, where it was one of several phrases meaning “in trouble or at a disadvantage; in bad shape.”

The combat crew is comprised of three Americans, in a foreign land, during wartime and acting and reacting both offensively and defensively.

Each one of their daily rotations are literally a matter of life and death for the crew members, and Bigelow’s screenplay, never lets the viewer out of that prism.

Essentially the viewer is drawn into the passion play of war’s reality, that War is Hell, as both a sense of identity along with the obvious–its consequences to the soldiers and to the people caught in the crossfire and to the insurgents.

The movie stars, Jeremy Renner as the Sergeant First Class William James, the leader of the EOD squad. He’s the quintessential universal soldier and a “bad ass” whose intelligence is masked under the many complex layers of his character—he’s unabashedly brave as the IED bomb diffuser–with many character defects–brilliant and professional, reckless, selfless, and emotionally smart.

His bravery and courage doesn’t come easily in such a hostile environment.

Beneath his emotionally detached exterior, a few times he shows a remarked emotional side as he befriends an Iraqi teenager, known as “Beckham,” who Renner’s character later finds literally sliced open as a victim of a premature “suicide” bomb that was literally inserted into him.

Renner is magnanimous as he tries to diffuse a bomb that the insurgents strapped onto an Iraqi innocent, although he didn’t have to do so; notwithstanding the hourly and daily moments of courage, carnage, and difficult situations in which they, alongside all of the other soldiers must endure.

The movie’s ability to convey that this was what it was—the insanity of war—which always  bonds  the soldiers.

Quickly and immediately they’ realize what they’ve got themselves into–regarding what’s going on in Iraq and Afghanistan.

Ii’s very ugly business.

We find all three characters timely in that they all have their own reasons why they’re in Iraq–and they all have different temperaments as to what’s true for each one of them–individually–but as part of a team they are literally forced to work together; notwithstanding that often enough, their reasons are oft mutually exclusive from one another–yet the viewer easily accept this because due to the reality and texture of their world—the society portrayed, the values which are quickly assumed and all of the complex emotions rendered—may be alien–but the shape of that world will be true to life, and each character’s behavior is believable.

Bieglow’s movie—among most recent war movies–doesn’t take a political point of view.

Nonetheless it’s part of a layered texture of which the movie’s plot, themes and characters are able to reflect today’s realities–with both extemporaneous fragility, super-human endurance and courage at the same time.

While he replaced the previous Explosive Ordnance member of the team who was blown up, newcomer, Jeremy Renner is not held, initially, in high regard by the other two members of their squad.

Anthony Mackie, as Sergeant J. T. Sanborn, proffers a stellar performance as a career army intelligence officer that’s  stuck in Iraq. He relies upon his methodical manner of trying to survive in the face of unrelenting adversity.

He views the actions of Renner’s character, William James, as a “cowboy,” and at one point in the movie considered fragging him.

The remaining member of the crew is actor Brian Geraghty, who stars as Specialist Owen Eldridge. He’s both the youngest soldier in the crew, and definitely the most unsure soldier amongst the three– yet they all must endure the grinding chaos of their situation.

Geraghty, as Specialist Eldridge, is at times funny, quite, angry and also displays early signs of suffering from Post Traumatic Stress Syndrome.

He’s surprisingly tough, though he suffers mental distress and believes he’s to blame for the death of his original squad leader, SSG Thompson, due to his “belief” that because he didn’t fire at the insurgent responsible for  the IED that killed Thompson which remotely detonated.

At the bitter end of their rotation, Geraghty’s character is wounded and is flown out of the combat zone; Mackie’s character Sanborn, can’t take it anymore and wants to have kids.

And Renner’s character, Sergeant James, being the universal soldier, is ready for another tour of duty, because for him–it’s just “Combat.”

Considered a mini-masterpiece by many, a dramatic adventure by others, it’s not a movie that’s on par with previous cinematic tour de force’s including Platoon, Apocalypse Now, and Full Metal Jacket, yet it posses’ a much deserved and vaulted place among war movies for everything that it says, and a lot of what it doesn’t.

With three famous and larger than life Rock & Roll guitarists, Jack White of the White Stripes and the Raconteurs, Jimmy Page of the Yardbirds and Led Zeppelin, and The Edge of U2, together in one room, one’s not sure what you’re about to see, hear, and get.

With regard to “It Might Get Loud,” the brilliance, electrifying, and simply exquisite experience of seeing up close the voices–and sounds–and names of those that we grew up with, spanning three generations of musicians and bands, is nothing short of magical.

The movie is a complex weave of artist to art, concept to creation, how to get away with it all while staying true to yourself, and why having a good axe is always an important component.

But the entire movie is not focused on all of them together in one room continuously.

The theme and message of the movie is how each guitar genius initially became exposed to the electric guitar, how they each had their initial trials and tribulations, their early embrace of the electric guitar in their collective formative years, their early descriptions of how they were able to “breakthrough” the existing barriers that held them back from fully expressing themselves the way they desired as artists, each musician’s desire to push the then envelope of guitar playing, their musical influences, each of their musical directions and decisions, and how they were able to “get from here to there” in their quest for individual musical expression to be a part of them, and as an unintended result, how they became part of musical history.

It Might Get Loud isn’t like any other Rock and Roll documentary. Filmed through the eyes of three different generations, audiences get close and personal, discovering how a furniture upholsterer from Detroit—Jack White, a studio musician and painter from England—Jimmy Page, and a seventeen-year old Dublin schoolboy, each chose the electric guitar to develop their unique sound and the pantheon of superstar. Rare and insightful discussions are presented and provoked when Jimmy Page, The Edge and Jack White travel to influential locations of their pasts. Born from the experience is intimate access to the creative genesis of each legend, such as Link Wray’s Rumble’s impression upon Jimmy Page, who surprises us with an impromptu air guitar performance knowing every move as it was the driving force and his favorite recording to this day; the raw artistic impact of Son House’s “Grinnin In Your Face” to be Jack White’s favorite song of all time; and how The Edge’s desire to fulfill his destiny to be a Rock and Roll Musician was fueled by the bands such as the Buzzcocks, The Clash, and The Sex Pistols, and further fueled by his disgust at the violence and hopelessness he felt living in Belfast during his childhood.

Such is the genesis of a movie about three music geniuses, who share their love of Rock and Roll and the Electric Guitar with unabashed lack of ego and self-consciousness, and a chance to connect with the viewers.

In the end, it all came together as the three jammed on the song, The Band’s “The Weight” on acoustic guitars.

This is one movie that defines genius as to both film documentaries as well as to its subject matter. As a fan of all three musicians, there wasn’t a flaw in the movie.

By now, you all know the drill!

We eagerly put the television on to watch the Oscar’s live, and hope to watch an exciting and eventful Oscar’s event. Of course, seeing what the celebrities are wearing is always fun.  More often than not, we’re bored to tears, well into the first hour. Ahh, somehow that’s part of the tradition.  Every once in awhile, there is a good Awards Ceremony, but this is an annual event that we’re nationally, and internationally hooked on.  With Steve Martin and Alex Baldwin hosting, it could be great.

It’s the "Oscar.com’s must-see site content," so until the live event, select a category to explore, and to enjoy.

Until then, hit the Nominees header link, and you’ll be redirected into a scroll over bar of the pictures and names of all this year’s Oscar nominees. Also, check out the History and Organization of the Academy. Their homepage and other pages are very cool, and also provide a look into cinematic history, as well as an eye to the present, while mindful of the future of the Cinematic Arts.

Predict the Oscars Winners

Make your Oscar predictions, share your picks with friends, and come back again and again to make changes right up until show time. See how you’ve done after every Oscar is won.

Travelin’ local’s always interested in what you think, who won, who should have won, and give us your opinions, or dish the dirt, no matter, it’s all about having an evening of fun.

Nominees for the 82nd Academy Awards

Best Picture: "Avatar," "The Blind Side," "District 9," "An Education," "The Hurt Locker," "Inglourious Basterds," "Precious: Based on the Novel ‘Push’ by Sapphire," "A Serious Man," "Up," "Up in the Air."

Actor: Jeff Bridges, "Crazy Heart"; George Clooney, "Up in the Air"; Colin Firth, "A Single Man"; Morgan Freeman, "Invictus"; Jeremy Renner, "The Hurt Locker."

Actress: Sandra Bullock, "The Blind Side"; Helen Mirren, "The Last Station"; Carey Mulligan, "An Education"; Gabourey Sidibe, "Precious: Based on the Novel `Push’ by Sapphire"; Meryl Streep, "Julie & Julia."

Supporting Actor: Matt Damon, "Invictus"; Woody Harrelson, "The Messenger"; Christopher Plummer, "The Last Station"; Stanley Tucci, "The Lovely Bones"; Christoph Waltz, "Inglourious Basterds."

Supporting Actress: Penelope Cruz, "Nine"; Vera Farmiga, "Up in the Air"; Maggie Gyllenhaal, "Crazy Heart"; Anna Kendrick, "Up in the Air"; Mo’Nique, "Precious: Based on the Novel ‘Push’ by Sapphire."

Directing: James Cameron, "Avatar"; Kathryn Bigelow, "The Hurt Locker"; Quentin Tarantino, "Inglourious Basterds"; Lee Daniels, "Precious: Based on the Novel ‘Push’ by Sapphire"; Jason Reitman, "Up in the Air."

Foreign Language Film: "Ajami," Israel; "El Secreto de Sus Ojos," Argentina; "The Milk of Sorrow," Peru; "Un Prophete," France; "The White Ribbon," Germany.

Adapted Screenplay: Neill Blomkamp and Terri Tatchell, "District 9"; Nick Hornby, "An Education"; Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche, "In the Loop"; Geoffrey Fletcher, "Precious: Based on the Novel ‘Push’ by Sapphire"; Jason Reitman and Sheldon Turner, "Up in the Air."

Original Screenplay: Mark Boal, "The Hurt Locker"; Quentin Tarantino, "Inglourious Basterds"; Alessandro Camon and Oren Moverman, "The Messenger"; Joel Coen and Ethan Coen, "A Serious Man"; Bob Peterson, Pete Docter, Tom McCarthy, "Up."

Animated Feature Film: "Coraline"; "Fantastic Mr. Fox"; "The Princess and the Frog"; "The Secret of Kells"; "Up."

Art Direction: "Avatar," "The Imaginarium of Doctor Parnassus," "Nine," "Sherlock Holmes," "The Young Victoria."

Cinematography: "Avatar," "Harry Potter and the Half-Blood Prince," "The Hurt Locker," "Inglourious Basterds," "The White Ribbon."

Sound Mixing: "Avatar," "The Hurt Locker," "Inglourious Basterds," "Star Trek," "Transformers: Revenge of the Fallen."

Sound Editing: "Avatar," "The Hurt Locker," "Inglourious Basterds," "Star Trek," "Up."

Original Score: "Avatar," James Horner; "Fantastic Mr. Fox," Alexandre Desplat; "The Hurt Locker," Marco Beltrami and Buck Sanders; "Sherlock Holmes," Hans Zimmer; "Up," Michael Giacchino.

Original Song: "Almost There" from "The Princess and the Frog," Randy Newman; "Down in New Orleans" from "The Princess and the Frog," Randy Newman; "Loin de Paname" from "Paris 36," Reinhardt Wagner and Frank Thomas; "Take It All" from "Nine," Maury Yeston; "The Weary Kind (Theme from Crazy Heart)" from "Crazy Heart," Ryan Bingham and T Bone Burnett.

Costume: "Bright Star," "Coco Before Chanel," "The Imaginarium of Doctor Parnassus," "Nine," "The Young Victoria."

Documentary Feature: "Burma VJ," "The Cove," "Food, Inc." "The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers," "Which Way Home."

Documentary (short subject): "China’s Unnatural Disaster: The Tears of Sichuan Province," "The Last Campaign of Governor Booth Gardner," "The Last Truck: Closing of a GM Plant," "Music by Prudence," "Rabbit a la Berlin."

Film Editing: "Avatar," "District 9," "The Hurt Locker," "Inglourious Basterds," "Precious: Based on the Novel ‘Push’ by Sapphire."

Makeup: "Il Divo," "Star Trek," "The Young Victoria."

Animated Short Film: "French Roast," "Granny O’Grimm’s Sleeping Beauty," "The Lady and the Reaper (La Dama y la Muerte)," "Logorama," "A Matter of Loaf and Death."

Live Action Short Film: "The Door," "Instead of Abracadabra," "Kavi," "Miracle Fish," "The New Tenants."

Visual Effects: "Avatar," "District 9," "Star Trek."