‘Showdown At The Grand’ Review – A Love Of Cinema Elevates This True Passion Project

Showdown at the Grand proves that you don’t need a massive budget to make a grand statement. It’s clear that writer and director Orson Oblowitz likely worked with very little but that never appears to be the case on screen. This a small-budget film with big-budget intentions and it’s clear that the filmmaker has a love of cinema that actually proves to be the heartbeat of this very movie. This is a nod to people who are passionate about the movies and also the places that showcase them, especially the smaller arthouse theaters that have seemed to sadly fade away in the wake of the pandemic. Through this project, Oblowitz proves there is still a place for these venues and he does so while having a bit of fun with genre convictions that prove to offer a satirical look at action films of the past. That’s the hook but it’s really the intentions that lie beneath that make the movie work.

George Fuller (Terrence Howard) is a dreamer. He loves cinema and at times that may seem foreign to some people today. He’s all about how imagination can take you to great heights and he has just the venue to make that happen. Fuller is the owner/operator of the Warner Grand movie theater, a mere single-screen facility that shows classic, and sometimes not-so-classic, films. Fuller makes sure every screening is an experience, almost treating it like it was a big red carpet premiere, even though very few people actually show up. In addition to the movies, the theater also serves as a museum for various forms of movie memorabilia.

At the center of his display is Claude Luc Hallyday (Dolph Lundgren), a sort of C-grade action movie actor that Lundgren himself is no stranger to playing. This is no dig to Lundgren as this film proves that these performers tend to be the ones that fans latch on to the most. Across a varied filmography, their movies become a sort of soundtrack of our lives and that is exactly what Hallyday is to Fuller, even if the former is walking a fine line of obscurity. All of this comes under threat when corporate developers show up with an offer, or more like a demand, to buy Fuller’s theater. Once he rejects them, Fuller finds himself having to defend his business much like the very action hero that he admires as if he’s the most famous star to ever hit the big screen.

Oblowitz’s script truly shines, especially if you view it from a cinephile angle. The film will likely resonate with anyone who is passionate about the movies, especially the celluloid of the past. Fuller might be bordering on obsession to some but his connection to his theater is easy to identify with if you’ve come across some of these places that feel more like relics today than they ever have before. As you watch the film, you respect Fuller’s position to maintain his theater at all costs, especially from the corporate greed that would likely tear it down to throw in some trendy shopping center.

Proving to be the film’s greatest asset is Terrence Howard who could’ve easily made this role a caricature but he adds some much texture and layers to the part that you can tell that he takes Fuller completely seriously. The audience becomes engaged in Fuller’s passion because Howard makes it tangible. Once the character has to become a legit physical warrior, much like the movie heroes he admires, you buy it because the actor sells it with complete believability. He’s able to convey being a hero while also being an everyman that is relatable to the viewer and that is honestly no easy task.

In addition to Howard, Lundgren also is an inspired casting choice. He’s playing a fading action hero and at times it feels as if it’s touching a bit on Lundgren’s own real life. While I would hesitate to call him fading now since he’s continuing to act consistently, there was once a period when Lundgren wasn’t actively gracing our screens. The actor taps into this and turns the role into a memorable one. The character is mostly featured in the film clips that Fuller is watching but eventually, he makes it to the Warner Grand and the scenes he shares with Howard resonate as you can tell his character is thrilled to be alongside his favorite action hero. Beyond Fuller’s love for his theater, it’s this relationship that also works as the heart of the film and leads to some of the movie’s best moments.

There is plenty of action to be had and much of it doesn’t feel like it was held back by a minuscule budget. The finale at the Warner Grand is a true action showcase and doesn’t disappoint while a sword fight (yes, I said sword fight) between Fuller and the corporate ringleader Lynn (Amanda Righetti) does a lot with very minimal choreography. Much of the action pokes a little fun at action movies of the past and it’s obvious that Oblowitz is a fan.

It would be in poor taste to not mention the Warner Grand itself, which is an accurate representation of a movie theater that perceives itself more like a palace. It’s a shame that we don’t have more places like this anymore and the film does offer up some commentary as to why. Bigger corporate entities don’t think places like this are viable anymore so they want to drive them out for something more lucrative. The movie does a good job of making it clear that we need to hold on to places like this even harder.

Showdown at the Grand doesn’t feel like a direct-to-digital experience. What Oblowitz and his team were able to accomplish with so little is something to be admired. Much like Fuller, Oblowitz’s passion is infectious and it reminds the audience why we all love movies in the first place.

Showdown at the Grand is currently playing in select theaters and is available on digital platforms courtesy of Shout! Studios.