“We were groping towards each other like two adding machines.”
Perhaps that line from James Goldstone’s 1968 involuntary acid trip Jigsaw hit so hilarious because—by that point—I had already had two vodka “vortinis” in the admittedly addictive Vortex Room. Offering double-billed programs alchemically fueled from the 16mm library of Cosmic Hex, the Vortex Room’s plush leather seats, atmospheric lighting, ubiquitous Charles Bronson homage (yes, that’s him on black velvet), classic vinyl on turntables, and slightly sinful speakeasy vibe has become one of my favorite alternate screening spaces in San Francisco. Offering a Thursday evening film cult series of hardboiled cinema, I can’t recommend The Vortex Room highly enough. Every bad San Franciscan deserves this comeuppance. Are you bad enough? Upcoming entries include Pam Grier in Friday Foster (1975), the 1948 and 1989 versions of Road House, Coleman Francis’s The Beast of Yucca Flats (1961) and the “thrill pills...
Perhaps that line from James Goldstone’s 1968 involuntary acid trip Jigsaw hit so hilarious because—by that point—I had already had two vodka “vortinis” in the admittedly addictive Vortex Room. Offering double-billed programs alchemically fueled from the 16mm library of Cosmic Hex, the Vortex Room’s plush leather seats, atmospheric lighting, ubiquitous Charles Bronson homage (yes, that’s him on black velvet), classic vinyl on turntables, and slightly sinful speakeasy vibe has become one of my favorite alternate screening spaces in San Francisco. Offering a Thursday evening film cult series of hardboiled cinema, I can’t recommend The Vortex Room highly enough. Every bad San Franciscan deserves this comeuppance. Are you bad enough? Upcoming entries include Pam Grier in Friday Foster (1975), the 1948 and 1989 versions of Road House, Coleman Francis’s The Beast of Yucca Flats (1961) and the “thrill pills...
- 4/22/2009
- by Michael Guillen
- Screen Anarchy
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