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The AllGood Cafe is more than pleased, we are downright EXCITED to announce our new Film Festival for 2008. Last year's Rock N Reel 2007 was great fun, while raising awareness of and funds for the Video Association of Dallas and their Annual Dallas Video Festival. For each of the 52 weeks in 2007, we featured the BEST of Film and Video releases, mostly related to the world of Music and the Counterculture. This year our Film Festival will celebrate the Great Directors of our time.

We are adopting a new format that will encourage attendance and audience participation in the selection of some of the films we will screen. EACH MONTH we will highlight the works of a different Film Director. Each Wednesday night, we will screen one of their films. The first three weeks of the month, WE will make the selections, while the film to be screened on the fourth or final Wednesday of each month will be chosen by YOU, the viewers and film fans. Your suggestions/votes can be submitted at the weekly screenings, or on-line at our website www.allgoodcafe.com.

Also, as an added incentive to attend each week: any film fan attending ALL of one month's screenings AND dining each week, will get their entree FREE on the 4th week! WHAT A DEAL !!!

Alright. Now that I have you all as excited as we are, let the drumroll begin. Here is our scheduled Directors and Films for the first few months: Other Directors under consideration for August and beyond include: Martin Scorcese, Woody Allen, Robert Altman, Brian DePalma, etc. We may also feature a month of French New Wave, or Film Noir, or some other niche genre ... so your feedback is genuinely requested.

Wednesday, April 16 at 9PM

NOW, if all THAT hasn't gotten you EXCITED enough then ... here we go with what will Kick-Off the AllGood FILM FESTIVAL 2008 with a Big Dallas BANG !!!

The film had its Dallas Premier during the inaugural AFI/Dallas Film Festival 2007 and also has been shown at the Tribeca Film Fest and the SXSW Austin Film Fest. The Night of the White Pants will be released on DVD by image entertainment in the fall of 2008. Tonight's presentation was made possible with the help of Amy Talkington, Bart Weiss, Taylor Young and the generosity of image entertainment. Proceeds will benefit the Video Association of Dallas and the 2008 Dallas Video Festival. We would appreciate a minimum $5 donation per person. Popcorn will be served. This Special Screening screening will commence at 9PM sharp.

Wednesday, May 7 at 9PM

PATHS OF GLORY is among the most powerful antiwar films ever made. The story takes place in 1916 France, as the French command orders an exhausted unit to wrest control of an anthill from the Germans--expecting a casualty rate of 60 percent. The battle--during which the Germans are never seen, indicating that the French are their own worst enemy--turns into a bloody massacre. Looking for a scapegoat, General Mireau (George Macready) orders Colonel Dax (a never-more-intense Kirk Douglas) to select three of his men to face a court-martial and possible firing squad for the troops' cowardice. Directed by Stanley Kubrick, PATHS OF GLORY, based on the novel by Humphrey Cobbs, is a gut-wrenching, unforgettable drama. Every scene is awash in grays, covered in doom. Kubrick marvelously contrasts the ornate palace where the generals sip their cognac with the ramshackle trenches where injured men stumble about, demoralized and shellshocked. Douglas gives a tough, gritty performance; his tense sparring with the high command features sharp, biting dialogue. The entire cast is outstanding; watching so many men die for no reason is maddening. Kubrick captured the Vietnam War in FULL METAL JACKET, the cold war in DR. STRANGELOVE, the Seven Years' War in BARRY LYNDON, and a slave uprising in SPARTACUS, but PATHS OF GLORY is his crowning achievement when it comes to depicting the devastation, both physical and psychological, that war wreaks on the individual--as well as the state. ‑ rottentomatoes.com

Wednesday, May 14 at 9PM

DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB is Stanley Kubrick's Cold War masterpiece. Based on the novel RED ALERT by Peter George, the film is set at the height of the tensions between Russia and the United States, when all it would take to destroy the world was one push of a button. And General Jack D. Ripper (Sterling Hayden) is just the man to do it. Convinced that the Russians have infiltrated America's "vital essence," the crazed Ripper gives the go code to the 843rd bomb wing to attack Russia, setting in motion a series of darkly hilarious vignettes involving gung-ho soldiers, wacky generals, spying Russians, drunken premiers, battles with soda machines, fights in the War Room, and the Russians' top-secret Doomsday Machine. Shot in black and white, the film has three main centers of action: one of the B-52 bombers, on which a group of loyal men know they are about to start World War III; Burpelson Air Force Base, where Group Captain Lionel Mandrake (Peter Sellers) is trying to convince everyone that Ripper has gone mad and the bombing must be stopped; and the War Room, where President Merkin Muffley (Sellers again) is trying to make peace with the Russians. The finale featuring Sellers as Dr. Strangelove is a comic gem. Hayden, George C. Scott, Slim Pickens, Keenan Wynn, and Sellers (in three roles) are especially terrific in what may be the funniest, most poignant black comedy ever made, a vicious satire on the farcical aspects of the military and the cold war. ‑ rottentomatoes.com

Wednesday, May 21 at 9PM

From its opening shot of Malcolm McDowell staring with evil intent directly into the camera (which pulls back to reveal him drinking a glass of milk), Stanley Kubrick's brilliant A CLOCKWORK ORANGE announces itself as a completely new kind of viewing experience. The film, set in an unidentified future, overwhelms the senses with its almost comic depictions of rape and violence set to an upbeat classical and pop music score. Kubrick based his chilling masterpiece on Anthony Burgess's culture-shaking novel about a young man growing into adulthood, but unable to shake his huge problem with authority figures. The first part of the film shows Alex (a career-defining performance by McDowell) and his "droogs" (his cohorts) indulging in what they refer to as "a little bit of the old ultraviolence." After establishing Alex and co. as unremitting psychopaths, Kubrick's movie changes tact, and shows Alex getting caught and forced to undergo controversial treatment that will make it impossible for him to commit violent acts, leading to a fascinating ending to the film. A CLOCKWORK ORANGE purposely confuses crime and punishment, cause and effect, hero and villain, irony and satire, and many other concepts, creating a truly unique work of art in the process. Its magnificent, colorful, futuristic set designs and utter determination to shock, frighten, and thoroughly entertain left audiences reeling in the '70s. Kubrick even withdrew the film from distribution in the UK, after reading newspaper reports of people dressing up as Alex and his Droogs and meting out their own brand of ultraviolence (it was subsequently rereleased after his death). One thing is for sure: No one who has seen it has ever been able to hear "Singin' in the Rain" or Beethoven again in quite the same way. ‑ rottentomatoes.com

Wednesday, June 4 at 9PM

Francis Ford Coppola's THE CONVERSATION is a towering achievement, a masterfully constructed portrait of one man's descent into madness. Gene Hackman delivers a devastating performance as Harry Caul, a surveillance expert who gets paid to invade the privacy of strangers. The film's classic opening shot is a long, slow zoom into Union Square in San Francisco, as a young couple, Mark (Frederic Forrest) and Ann (Cindy Williams), are having what seems like an otherwise mundane conversation. However, when it is revealed that Harry and his assistant Stanley (John Cazale) are eavesdropping from a nearby van, it becomes clear that something more serious is happening. Later, after Harry painstakingly reconstructs the conversation from several different audio sources, he uncovers a snippet of dialogue that unsettles him. Suspicious of his client's motives for wanting the tape, Harry becomes uncharacteristically worried about the people he may have endangered, sending him into a dangerous mental tailspin. With Harry Caul, Coppola and Hackman have managed to create one of cinema's most unforgettable characters, a man who appears to be in control on the outside but who is, in fact, crumbling on the inside. Though Teri Garr, Harrison Ford, and Allen Garfield deliver standout supporting turns, THE CONVERSATION is Hackman's show. Inspired by Michelangelo Antonioni's BLOW UP (1966), THE CONVERSATION in turn went on to influence Brian De Palma's own surveillance thriller, BLOW OUT (1981). ‑ rottentomatoes.com

Wednesday, June 11 at 9PM

Francis Ford Coppola's Vietnam epic, loosely based on HEART OF DARKNESS by Joseph Conrad, tells the story of Captain Willard (Martin Sheen), a special agent sent into Cambodia to assassinate an errant American colonel (Marlon Brando). Willard is assigned to a navy patrol boat operated by Chief (Albert Hall) and three hapless soldiers (Frederic Forrest, Sam Bottoms, and Larry Fishburne). They are escorted on part of their journey by an air cavalry unit led by Lt. Colonel Kilgore (Robert Duvall), a gung-ho commander with a love of Wagner, surfing, and napalm. After witnessing a surreal USO show featuring Playboy playmates, and an anarchic battle with the Viet Cong, Willard reaches Colonel Kurtz's compound. A crazed photo journalist and Kurtz groupie (Dennis Hopper) welcomes the crew, and Willard begins to question his orders to "terminate the colonel's command." Considered to be one of the best war movies of all time, APOCALYPSE NOW features incredible performances and beautifully chaotic visuals that make it a powerful, unforgettable work. Released in August 2001, APOCALYPSE NOW REDUX, a restored and updated version of the 1979 film, includes 49 minutes of never-before-seen footage, a Technicolor enhancement, and a six-channel soundtrack.

Wednesday, June 18 at 9PM

Francis Ford Coppola directed this experimental musical about love in Las Vegas. Shot entirely at Coppola's Zoetrope Studios, the film stars Frederic Forrest (Hank) and Teri Garr (Frannie) as an unhappy couple breaking up on their five-year anniversary. Frannie is courted by a piano player/waiter, Ray (Raul Julia), who promises to take her away on a much-needed vacation. Hank and his friend Moe (Harry Dean Stanton) encounter a beautiful circus performer, Leila (Natassja Kinski), who Hank manages to get a date with. The two couples dance their way through the streets of Las Vegas on Fourth of July evening to the songs of Tom Waits, sung by Crystal Gayle and Waits. But Frannie and Hank find it hard to forget each other, and the mood and music of the film lead the couple toward melancholy romances. In the controlled studio environment, Coppola was able to use video as an innovative aid to filmmaking and postproduction.

Wednesday, July 2 at 9PM

Wednesday, July 9 at 9PM

Wednesday, July 16 at 9PM

Wednesday, July 23 at 9PM