Somebody stop me! Alamo Drafthouse is taking a trip back 30 years to the Clinton-era and the year 1994 for a two-month long repertory slate of classic film screenings. And IndieWire can exclusively reveal the full lineup of films as part of the Alamo Time Capsules 1994 series.

Beginning the week of March 1 and running through the end of April, Alamo Drafthouse locations across the country will screen 29 different films all released in 1994.

Among them are some blockbusters and fan favorites, including “Pulp Fiction,” “Dumb and Dumber,” “The Mask,” “Interview With a Vampire,” “Forrest Gump,” “Little Women,” “The Shawshank Redemption,” and the live-action “The Flintstones.” There’s some cult classics like “Clerks,” “Drunken Master II,” “Reality Bites,” and “The Crow,” some art house darlings like “Chungking Express” and the “Three Colors” trilogy, and there are even some obscure deep cuts such as the bizarre Martin Short film “Clifford” or a special “Gore Cut” of “Tammy and the T-Rex” starring Denise Richards and Paul Walker before he was famous.

It’s an eclectic mix of movies for any sort of ’90s fan, and John Smith, senior film programmer with Alamo Drafthouse, tells IndieWire “that’s the idea,” and it’s something they’ve “sweated” for a long time.

Because as you may have noticed, the theatrical release slate for new movies in 2024 is a little light because of last year’s actors and writers strikes. Repertory screenings have always been a part of Alamo’s strategy, and the idea to do a whole series of screenings centered around different years has been in the works for some time. Alamo recently wrapped a 1999 series and has plans for 1989, 1984, 1979, and 1974 series later this year, some titles of which have already been announced. But the extended series offers a chance to fill some of the void left by a lighter slate of new studio films.

“It’s an essential part of our brand, but this was a way of packaging that felt fun and opened up some creative possibilities,” Smith said.

Seven percent of all of Alamo’s year-to-date box office receipts in 2023 were from repertory showings. Year-to-date so far in 2024, it’s 10 percent. Smith says Alamo in particular has been one of the better performers for Sony Pictures Classics’ recent re-release of “Amelie.” It’s a big chunk of business, and Smith says none of the screenings are being structured as one-night only options.

He expects all of the films, perhaps even especially the more obscure ones not readily available on streaming, will be in demand and are likely to sell out in some of Alamo’s key markets like Austin, Los Angeles, San Francisco, and New York. “Clifford,” for instance, which Roger Ebert said is “so odd, it’s almost worth seeing just because we’ll never see anything like it again,” Smith is certain “beyond a shadow of a doubt” that it will demand multiple showings.

“It might only be a one-third full house, but hell, they’re still gonna have a great time,” Smith said. “And if we at the very least cover our costs, great, because at the same time, we’re making sure to structure and and stagger the big performers at the same time as the more experimental or smaller titles.”

Some of the movies included in the series are arriving with new DCP prints for titles that hadn’t previously gotten much run in the repertory space. Smith says they’re frequently in close conversations with the repertory divisions at the studios to figure out what titles are available. Because Alamo Drafthouse is one of the largest circuits regularly showing repertory films, Smith says they’re able to help studios justify the costs of actually doing these new prints and restorations.

“It’s not free, especially if you want one that the director is actively involved, or it’s a restoration that may have happened in the home entertainment side of things,” Smith said. “But then bringing it into theatrical, that needs to be a justification that ‘Hey, we’re going to be able to get screenings happening with this.’ For us, there are so many different scenarios, but it could just be a confirmation that yes, we’ll we’ll play this in 20-30 or 35-40 locations, if you’ll let us have it.”

The ’94 films won’t be the only repertory screenings to hit your local Alamo in the coming months. “Star Wars: Episode I – The Phantom Menace” will also be returning to screens for its 25th anniversary, and ahead of the 1979 Time Capsules series, George Romero’s “Dawn of the Dead” will screen this April. Alamo also plans on showing all four of the “Twilight” movies month-to-month, and there’s a lot more on the horizon with future Time Capsules throughout 2024.

In addition to the screenings, you can also purchase specialty pint glasses with designs by Chris Bilheimer, who designed ’90s album covers for Neutral Milk Hotel, R.E.M., and Green Day. And the Alamo chefs have prepared a 1994-themed menu, including the “very tasty” Big Kahuna Burger, the Meat & Meatier Pizza inspired by “Dumb and Dumber,” a Bloody Mary with garlic inspired by “Interview With a Vampire” they’re calling the Bloody Claudia, and a bottomless bowl of popcorn bundled with “that shake” in either chocolate or vanilla. We’re guessing that one doesn’t cost $5.

Below, you can find the full lineup for the Alamo Time Capsules 1994 series, including blurbs from the Alamo team.

Alamo Time Capsules 1994 Full Screening Lineup

Visit for tickets and showtimes. Titles marked with an asterisk are playing in select locations only.

The Week of March 1


Wong Kar-wai’s intoxicating dive into love and loneliness in the heart of Hong Kong.


Before Greta Gerwig’s 2021’s adaptation, Winona Ryder was Jo March for an entire generation. Re-discover this heartwarming tale co-starring Claire Danes, Kirsten Dunst, Trini Alvarado, and Susan Sarandon.

The Week of March 8


Quentin Tarantino’s genre-defying classic that intertwines the lives of two mob hitmen, a boxer, a gangster’s wife, and a pair of bandits in tales of violence and redemption.


A hilarious journey back to childhood shenanigans and misadventures, and a perfect prelude to the latest Fantastic Fest Presents selection, “Riddle of Fire,” opening this March at Alamo Drafthouse locations.

Graveyard Shift: “CEMETERY MAN”*

A surreal cult blend of macabre humor and existential dread starring Rupert Everett. New 4K restoration courtesy of Severin Films.

The Week of March 15


The quintessential British rom-com by two of the masters – screenwriter Richard Curtis and his majesty, Hugh Grant.


Co-starring Tupac Shakur, experience the gritty realism of street basketball and the dreams it carries for those on and off the court. Premiere of brand-new DCP from Warner Bros.


Bring your Pebbles and Bamm-Bamm to this rockin’ adaptation of the original cartoon series starring John Goodman and Rick Moranis as Barney and Fred.


Spike Lee’s semi-autobiographical masterpiece, capturing the trials and warmth of family life in ’70s Brooklyn.


John Carpenter’s descent into Lovecraftian horror, blurring the lines between fiction and reality in 35mm glory at select locations.


Ang Lee’s delectable portrayal of family, love, and the universal language of food, served in 35mm. Select locations screening in 35mm.


A powerful, true story of injustice and redemption, showcasing a father and son’s fight for truth.

The Week of March 22


Director Ben Stiller’s snapshot of Gen X’s existential angst through the lens of a Winona Ryder / Ethan Hawke / Ben Stiller love triangle.

Queer Film Theory 101: “THE CROW

Starring Brandon Lee, a dark, stylish revenge tale that transcends boundaries, exploring themes of love and justice beyond death. Programmed by comic Micheal Foulk (Greetings from Queer Mountain, I’m Not Busy podcast), our new monthly screening series, Queer Film Theory 101, dives into the subtext of foundational pop cinema.


“For you, the day Bison graced your village was the most important day of your life. But for me, it was Tuesday.” The ultimate showdown of good vs. evil, packed with action and iconic characters from the revolutionary game.

The Week of March 29


“The movie is so odd, it’s almost worth seeing just because we’ll never see anything like it again. I hope.” – Roger Ebert

Starring Martin Short as a “human boy” named Clifford, and Charles Grodin as the uncle who refuses to take him to Dinosaur World at his own peril. “Clifford” is perhaps the most unhinged movie ever made, and it simply has to be seen with an audience of other weirdos. Premiere of brand-new DCP from Park Circus.


Robert Zemeckis’ Oscar-winning epic of an ordinary man’s extraordinary journey through the pivotal moments of 20th-century America.

The Week of April 5


The pinnacle of nineties slapstick comedy, taking stupidity to genius levels with every mile of their journey.


The long-awaited adaptation of Anne Rice’s bestseller featured three unstoppable forces coming together – Tom Cruise, Brad Pitt, and Kirsten Dunst in a seductively, dark tale of immortality, loss, and… blood.

The Week of April 12


Kevin Smith’s razor-sharp autobiographical indie gem forever changed the way independent films were made (and how we feel about “Star Wars”).


A visually stunning meditation on grief and liberation, the first chapter of Kieślowski’s masterful trilogy.


Starring pre-fame Paul Walker and Denise Richards and from the director of “Mac & Me,” a bloody, bizarre, and relentlessly entertaining love story that must be seen to be believed.

The Week of April 19

Queer Film Theory 101: “THE MASK”

A zany exploration of identity and transformation, where the lines between the hidden and visible self blur.


Jackie Chan’s kung fu masterpiece, combining breathtaking action with his signature comedic touch.


A darkly comic tale of revenge and inequality, continuing Kieślowski’s exploration of the French Revolutionary ideals.


A chilling look at the dark side of teenage rivalry and the desperate lengths to belong.

The Week of April 26


Initially a box office disappointment, writer/director Frank Darabont’s story of hope and friendship behind bars (adapted from a Stephen King novella) found its audience on cable. Thirty years later, it’s one of the most beloved movies of all time.


The profound conclusion to Kieślowski’s trilogy, weaving themes of fate, connection, and redemption.


A neo-noir rollercoaster of mistaken identity, moral dilemmas, and suspense in the American West.

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