Ayrsley Grand’s Retro Horror Series Continues Into 11th Year

In a world surrounded by chains and mega-conglomerates, independence is a rare thing, and that is nowhere more true than with movie theaters. This year we’ve seen Alamo Drafthouse, a national cinema chain, announce bankruptcy, and while it was brought back from the brink of death by Sony Pictures, we’ve also seen mass closures at Regal, Metropolitan, CMX, and Cinemark locations. 

On a more local stage, we’ve lost Regal Cinebarre, Regal Phillips Place, Studio Movie Grill at the Epicentre and, just a few years before those, the closure of Cinemark Matthews, that town’s beloved “$1.50 Theater.” 

Independent or not, these theater chains played major roles in the childhoods of so many, and it’s depressing to see where these once wondrous multi-screen affairs have fallen to. Of course, I understand the economics behind it; since the pandemic started, habits have changed, prices have risen, wallets have tightened. Taking the whole family out for a movie could set you back over $100, while staying home and streaming something may not cost a thing. 

What a lot of these theaters are now realizing in their attempts to push back on the grim reality of the situation is that curation is key. Personalizing the movie experience, offering something you can’t get from staying home, gets results. But this isn’t a new realization to some. 

Ayrsley Grand Cinemas opened as a truly independent movie theater in the Steele Creek area of southwest Charlotte in 2006. 

The 12-room theater offers a refreshing alternative to the chain-heavy landscape dominated by companies like Regal and AMC. The independence of the privately owned business allows them to cultivate a unique atmosphere and curate programming unlike any other theater of that size in the city. 

“The benefits of being independent is we can play by our own rules,” general manager Josh Leonard told Queen City Nerve. 

One example of how they do so is with the Ayrsley Retro Horror Series, a yearly run of classic horror flicks that rotate throughout the month of October, giving patrons the chance to see films dating back to the mid-20th century that they never thought they’d get to check out on the big screen. 

Launched by former general manager Kara Leonard in 2013, the Ayrsley Retro Horror Series saw modest success at first, but by 2016 it had become a bona fide local institution. That was the year they expanded the series to offer double features that lasted the whole week, changing films out on a weekly basis. 

Another draw for the Retro Horror Series is the affordability of it; while tickets can range from $12-15 in the current market, Ayrsley has never pushed its horror series ticket price past $5. 

Justin Leonard said the challenge for his team comes in curating a selection that will please everyone — film nerds looking for cult hits and the more mainstream moviegoers who may want to see a classic like Jaws. Then there are more contemporary options sprinkled in, like last year’s inclusion of the 2004 parody Shaun of the Dead. 

“Certain years some films may not be available,” he said, “and then there’s the case of Dawn of the Dead which has never been made available due to the owner of the film having strict rights on it. It’s always tough to decide which films to choose as so many people want cult classics but we also have to appease the majority who want the classics.”

This year’s slate of movies includes Rosemary’s Baby and Possession (Oct. 4-10), The Ring and Poltergeist (Oct. 11-17), An American Werewolf in London and Silver Bullet (Oct. 18-24), and lastly, The Exorcist and The Shining Oct. 25-31. Possession, The Ring and Silver Bullet are all firsts for the series. 

So starting with week one, let’s break this year’s selection down. (In case you need a spoiler alert for movies that are decades old and in some instances more than half-a-century old, consider yourself warned.) 

Roman Polanski’s Rosemary’s Baby (1968) starring Mia Farrow’s pixie cut is a classic in the “I’m having the devil’s baby” genre. In 2014, the film was selected to be preserved by the Library of Congress, in case you need such gravitas to bring you out, and it may warrant a draw this year thanks to the new prequel flick Apartment 7A starring Julia Garner that premiered on Paramount+ just last week.  

Next up, we have Andrzej Zelawski’s 1981 psychological horror mind-melter Possesion, which follows the relationship between an international spy (a young Sam Neill) and his wife (Isabelle Adjani in dual roles), who begins exhibiting increasingly disturbing behavior after asking for a divorce.

That summary doesn’t even begin to break down what’s truly going on in this movie and to be honest, I’ve seen it multiple times and I don’t think I could break it all down. It’s truly one you wanna leave the house and see for yourself — a severely underrated classic. 

In week 2, you have the 2002 US version of The Ring, directed by Gore Verbinski, who would rise to blockbuster renown the following year with the first of his three Pirates of the Caribbean movies. Let it be known, however, that the man also directed one of the greatest family films ever made, the 1997 classic Mouse Hunt. 

The Ring was a huge hit upon its release and remains rather reference-able more than two decades later. It pairs well with the next feature, Poltergeist, also a cultural touchstone. And like Verbinski, director Tobe Hooper was on top of his game when he made this movie. What I would say for both films, is if you haven’t watched them lately, they deserve a fresh rewatch, especially on a big screen. 

For week three you’re getting into pure “Josh Robbins territory.” An American Werewolf in London and Silver Bullet are two films that are near and dear to my heart for reasons that tie back to my hometown of Wilmington. 

As a kid living there I remember seeing 1997’s American Werewolf in Paris, which made me obsessed with the werewolf genre, but if I’m being truly honest what really ignited that passion was Howling V, a film I maybe shouldn’t have watched at 5 years old, but I made it out alright. 

Of course 1981’s London is the better film than Paris, and that’s what’s showing at Ayrsley this fall, but the DNA of the former is all over the follow-up ’90s-schlock classic, 

The true hometown connection comes with Silver Bullet (1985), a movie that, along with some other Stephen King adaptations, was filmed in Wilmington. All in all, when you need a werewolf film that’s done well, which is rare, Silver Bullet and American Werewolf in London are the two to reach for. 

Week four closes the festivities out with a bang — two movies that absolutely warrant a rewatch on the big screen.The Exorcist is still as strong a film today as it was upon its release in 1973. When considering the whole franchise, save for arguably The Exorcist III, this is the cream of the crop by far. 

There’s nothing left to say that this film doesn’t say for itself during its 122-minute runtime. It is William Friedkin at his peak, which is a feat considering we’re talking about the man that gave us Cruising, Sorcerer, and The French Connection. Lest we not forget, 1980’s Stanley Kubrick classic The Shining. Entering its 44th year in circulation, if you don’t already know about The Shining, what is there that I can tell you? 

Read more: Marking Two Years at Independent Picture House with ‘The Bikeriders’

As its Retro Horror series continues to grow in its 11th year, Ayrsley Grand stands as a testament to the power of independent cinema. By prioritizing affordability and a love for the genre, the theater ensures that everyone can partake in the chilling joy of horror films. 

I recommend you grab your friends (most of these movies are relatively family-friendly, as well), don your favorite horror-themed attire, and prepare for a night of spine-tingling thrills — where horror comes alive, one screening at a time.

Read more of Josh Robbins’ movie writing in his VisArt Diaries series.