Things to do in Los Angeles today

Eat|See|Hear travels to different locales throughout the city each Saturday during the summer, showing cult flicks on an inflatable screen taller than your average Malibu mansion. Bring your own bites or sample snacks from the impressive roster of resident food trucks and show up early for a set from local L.A. bands. Parking is free at most of the venues, and tickets for screenings at the Autry even include admission to the museum. What’s more? If you want to skip the crowds and stroll in casually during the opening credits, spring for an exclusive “Fashionably Late” pass, which guarantees you a reserved seat in front. All of the events dog-friendly, and a portion of ticket sales benefit Best Friends Animal Society.

It isn’t summer in L.A. until the first cemetery screening brings hoards of movie-lovers to Hollywood Forever, toting folding chairs, picnic blankets, snack spreads and lots of booze. Each year, Cinespia brings classic cult favorites to the hallowed resting place of such Hollywood greats as Rudolph Valentino and Bugsy Siegel. The series typically releases its slate one month at a time, most recently for August: Point Break (Aug 3), Boyz n the Hood featuring a John Singleton tribute from Questlove and DJ Pooh (Aug 10) and Psycho (Aug 24). Of particular note: the 9th Annual Slumber Party on August 24, with a trio of sleepover staples including Never Been Kissed, I Know What You Did Last Summer and Jawbreaker. Angelenos line up for hours to partake in the concept—and to enjoy DJ sets, dance parties, sleepovers and more magical mischief otherwise strictly forbidden behind the cemetery gates. It’s an L.A. rite of passage, a quintessential summer experience and one of the best film venues in the city. Just be sure to get your ticket early, arrive early (doors open at 6:45pm), pee early… it’s getting a bit overcrowded, to say the least.

Eat|See|Hear travels to different locales throughout the city each Saturday during the summer, showing cult flicks on an inflatable screen taller than your average Malibu mansion. Bring your own bites or sample snacks from the impressive roster of resident food trucks and show up early for a set from local L.A. bands. Parking is free at most of the venues, and tickets for screenings at the Autry even include admission to the museum. What’s more? If you want to skip the crowds and stroll in casually during the opening credits, spring for an exclusive “Fashionably Late” pass, which guarantees you a reserved seat in front. All of the events dog-friendly, and a portion of ticket sales benefit Best Friends Animal Society.

It isn’t summer in L.A. until the first cemetery screening brings hoards of movie-lovers to Hollywood Forever, toting folding chairs, picnic blankets, snack spreads and lots of booze. Each year, Cinespia brings classic cult favorites to the hallowed resting place of such Hollywood greats as Rudolph Valentino and Bugsy Siegel. The series typically releases its slate one month at a time, most recently for August: Point Break (Aug 3), Boyz n the Hood featuring a John Singleton tribute from Questlove and DJ Pooh (Aug 10) and Psycho (Aug 24). Of particular note: the 9th Annual Slumber Party on August 24, with a trio of sleepover staples including Never Been Kissed, I Know What You Did Last Summer and Jawbreaker. Angelenos line up for hours to partake in the concept—and to enjoy DJ sets, dance parties, sleepovers and more magical mischief otherwise strictly forbidden behind the cemetery gates. It’s an L.A. rite of passage, a quintessential summer experience and one of the best film venues in the city. Just be sure to get your ticket early, arrive early (doors open at 6:45pm), pee early… it’s getting a bit overcrowded, to say the least.

The masters of alfresco rooftop movie viewing have returned for another season of screenings in Hollywood and Downtown L.A. Known for excellent film choices and a steady supply of snacks and booze, Rooftop Cinema Club is your snazzy, comfortable and less stressful alternative to other outdoor movie screenings. You don’t even need to bring your own blanket or camping chair—Rooftop Cinema Club provides you with your very own comfy lawn chair, as well as blankets on request for the ultimate cozy experience. And instead of listening to the movie over loudspeakers, you’ll get a set of wireless headphones so you never have to miss a word.

Review by Dave Calhoun The sort of high-wire, playfully enjoyable riff on movies that only Quentin Tarantino could get away with, Once Upon a Time…in Hollywood is a massively fun shaggy-dog story that blends fact and fiction, inserting made-up characters at the heart of real, horrible events (Charles Manson horrible) and then daring history to do its worst. Sitting at the mature, Jackie Brown end of Tarantino’s work, the film is also a love letter to Los Angeles and the film industry, bringing his tongue-in-cheek storytelling together with exquisite craft and killer lead performances from Brad Pitt and Leonardo DiCaprio. And yet, it’s still very much a Tarantino film, trading in genuine emotion one minute, unapolegetically silly the next. Tarantino starts with Hollywood in the era of the Manson murders—specifically, the slaying of starlet Sharon Tate and her friends in August 1969—and retells the story on his own terms, first over a few days in February 1969 and then, six months later, over the weekend of the killings. That means we’re spending nearly the whole movie wondering how this director is going to deal with the actual historical tragedy. For the answer to that, you’ll just have to sweat it out. Let’s just say this: Tarantino somehow manages to carve good taste out of bad. Nonfictional characters pop up throughout: the doomed Tate (Margot Robbie), Nixon-era celebrities Steve McQueen (Damian Lewis) and Bruce Lee (Mike Moh), the Manson gang (one of whom is played by

It's the big three-oh for Martin Scorsese's bloody, beloved black-and-white biopic of middleweight boxer Jake LaMotta (De Niro), and the film's ineffable strangeness hasn't diminished. As conceived by director Scorsese and his collaborators, LaMotta is less of a character than a hollowed-out, spiritualist plaything. The church, of course, is cinema: Many have noted LaMotta's affinity to Roberto Rossellini's Saint Francis of Assisi (he does indeed look like a hopped-up fighter monk in the film's incredible title sequence). And you can see Scorsese lovingly aping his boxing-film forebears---Robert Wise's despondent The Set-Up is holy writ for the hallucinatory in-the-ring brawls. But when has a performer as fully and uniquely sacrificed himself to the moving-picture cause as De Niro? He leeches LaMotta of soul and conscience, making him a purely physical creature sculpted in sinew for the glory days, then padded up in lard for the declining years. No makeup assist---De Niro did it all himself with exercise and added calories. It's the human body as special effect, very much of a piece with, yet also a DIY rebuke to, the tent-pole blockbusters that were then asserting themselves in the public consciousness. His transformation has a mysterious purity about it that imitators (say, Christian Bale, who fluctuates masochistically between waist sizes) have never been able to attain.