Notice that in the list of posters in PURCHASE TICKETS you find the 'filter' option to see only the films that are recommended. We do this so that you can discover little gems and great jewels, highlighting those films which have been rated by most critics as great works.
We recommend all types of movies, the commercial as well as children's films and art-house. What is important for our recommendation is the quality of the film, whatever its type might be. To this end, we follow two websites of reference and recommend only films that are well above average.
The webs we use are rottentomatoes.com (for North American films) and filmaffinity.com/es (for Spanish and European films)
We have selected these two sites as points of reference because we like their professionalism. In the case of Rotten Tomatoes, it is a website that stands out among online sites in the Anglo-Saxon world.
It brings together the opinions of a multitude of American critics and gives the option of choosing the critic you prefer and of seeing his or her evaluation. We have selected our favourite critics from all on offer; those who, in our opinion, are more interested in giving a quality review than in demonstrating that they are smart and sophisticated. An average score is obtained from this large group of critics, and with this in our hands, we recommend films that have scored higher than 70% (on a scale from 0 to 100%).
in the case of filmaffinity.com/es we have selected this site because it is, to the best of our knowledge, the only web that performs a similar task to Rotten Tomatoes in covering all new releases. Unfortunately it doesn't give the option to choose our favourite critics. Using the criteria of this website for non-North American films, we recommend those that get a score above 7 (on a scale of 0 to 10).
Prices and discounts are all detailed in the table of prices and discounts.
The Loyalty Card is indispensable to obtain a Loyalty Armchair and, on top of that, on your birthday you will receive our congratulations in the form of free entry to a film.
Come every day at a great price: If you are already a customer of Full HD and have the Loyalty Card, we offer our packages of admission passes valid for any day of the week at a reduced price.
Once you have chosen the seat(s) and have made payment by Internet, a screen will appear to allow you to print your tickets. If you can't print them, don't worry.
You have two options:
1)VERY EASY: On the payment confirmation screen you will see the "Purchase Code".
Take a note of this code and go to the machines you'll find at the entrance of the cinema, just as you pass through the box office. A sign on the machines sign reads "Ticket Sales". If you enter the "Purchase Code"... You'll instantly receive your tickets!
2) If you have questions or can't see this code, go to the Information Point and present the credit card with which you purchased the tickets. You'll receive your tickets right away!
If you don't like the film, or if for any reason you are not comfortable in the screening, don't worry. Leave the auditorium before more than half an hour has passed since the beginning of the film, ask for the cinema manager, show him or her your customer card and you will be given an invitation to use whenever you want.
Full HD Cinema is a different cinema. So much so that you will feel part of the action of the film... We are reinventing cinema!
Better 3D technology: Now, in Full HD Cinemas you have the best digital projection existing and the best 3D glasses- active glasses. These glasses connect with the projector and open the vision in each eye only when the image for that eye is being projected. This is the best 3D you can find today in a 'normal' cinema.
Special auditoria: With the new Full HD Cinemas you will have auditoria designed with your immersion in the action in mind. With spectacularly steeply raked seating rows, and screens which are very large and very curved and inclined above the spectator. And if the sensation is spectacular in 2D... just imagine 3D!
Areas of maximum and minimum immersion: In a film in Full HD, whether in 2D or 3D, you choose the degree of immersion that you most like. Maximum immersion (the area to the front of the auditorium) will give you much more movement and spectacle. If you choose minimal immersion (the area to the rear of the auditorium) you will have more visual comfort. Between the two extremes, you choose the balance that you prefer. For this reason, once the film begins after the trailers, numbered seat reserve no longer applies. So if you are not comfortable in your seat and there are seats free elsewhere, you can change.
Online Ticket Sales: With no additional fee for the service.
- So you can print the ticket at home, allowing you to go directly to the cinema door attendant and present it without having to queue at the box office.
- So you choose and guarantee your preferred seat in the auditorium.
- And finally, so that - if you are fast - you can find Loyalty Armchairs free. Take advantage of the opportunity!
Loyalty Card: It's free, and you can apply online, here on the website, or at the box office. In addition to being essential to securing a Loyalty Armchair, it is also the passport to the 10-admissions pass, which allows you to go to the movies more cheaply any day and any session of the week. And, on top of that, on your birthday you will receive our congratulations in the form of free entry to a film.
Loyalty Armchair: If you are a customer of Full HD Cinemas and have the Loyalty Card, you can choose a Loyalty Armchair at the same price as normal seating.
Your maximum enjoyment: If you don't like the film, or if for any reason you are not comfortable in the screening, don't worry. Leave the auditorium before more than half an hour has passed since the beginning of the film, ask for the cinema manager, show him or her your customer card and you will be given an invitation to use whenever you want.
Free parking: In the Splau Shopping Mall (subject to availability).
We also have: Bar service, popcorn and confectionery. Bi-amplified Digital Dolby sound. 24 channels of sound (screen 9). Seats for children Special disabled access. Rental of rooms for conferences, presentations, etc.
Thanks to digital projection, image quality and stability have greatly improved the screening (and will improve it much more in the future). The big difference we seek in our theatres is to offer much more spectacle than in a regular cinema.
What do we mean?
That this superior digital image quality allows the spectator a much greater 'contact' with the screen than before. And this is how we carry out the architectural design of auditoria. The objective is to allow the spectator to be immersed in the screen and to experience the action more intensely (pronounced sloping of the seating, very large, curved and inclined screen, etc.)
But there is a problem with original version films. If you are so 'in contact' with the screen, it is very difficult to read the subtitles (located below and in the centre of the screen) and, at the same time, to see the film comfortably. It becomes like a game of tennis, and is visually very uncomfortable for the spectator. It is only comfortable if you sit at a distance from the screen.
In line with this tip, we will now show original version films every Tuesday in some auditoria of Full HD Cinemas - mainly in the smaller ones - and with a smaller screen. In the larger auditoria we recommend that you sit away from the screen.
One of the advantages of being able to go to watch original version films on a Tuesday is that, most likely, you will find free Loyalty Armchairs. Take advantage of them.
If more than 15 days have passed since your birthday and you have not yet received your invitation, you can present your ID card and Loyalty Card at the box office of the cinema; we will check that the data we have is correct so that the situation is not repeated in the future.
You can use your personal invitation whenever you like between Monday and Thursday, except on public holidays.
It is important that when your contact details change, you communicate this at the box office so that you continue to receive your invitation each year.
In this country and elsewhere around the world, some films are projected in cinemas with a different screen size to the original (e.g. Monsters University was projected in 1:1.77, while the original is 1:1.86. See IMDB)
Guaranteeing full immersion is our priority
The issue of formats is a concept that is currently in evolution and, dare we say it, undergoing a revolution as well. As explained in detail in "What is so special about FULL cinemas (PDF)?", the overriding objective in our movie theatres is maximizing the moviegoers’ immersion in the film.
We are not the only cinemas in the world to be using this type of auditorium. There are around 300 similar venues (statistics from May 2013). These are large format theatres specially designed to be integrated in multiplexes.
What sets us apart is that we are the first multiplex in the world, to the best of our knowledge, in which ALL of the theatres in the multiplex are designed as large format theatres.
Contrary to popular belief, a large format theatre is not necessarily a theatre with a large screen and lots of seats (which may also be large format, of course), but rather a theatre designed to immerse spectators more fully in the film.
Let’s look back at a bit of history
In the rest of the world, and particularly in the USA, the leading chains started to install theatres with these characteristics in their star multiplexes. The first such movie theatre was installed in 2008, by IMAX, going by the name of Imax Digital.
One of the features of these theatres is their particular type of screen. Almost all have a screen with the 1:1.77 format, slightly curved and leaning forward towards the seating area. The rows of seats tend to lean back steeply so that the moviegoer faces up at the screen (however, the same effect can be achieved by leaning the screen further towards the seating rows). The last key feature of this type of theatre is the incorporation of 3D surround sound.
All of the world’s digital projectors (except Sony’s) carry the same chip manufactured by Texas Instruments. What did the large American cinema chains need IMAX for, which, among other demands, insisted on exclusivity with just a single IMAX Digital theatre in each city? Obviously, the chains started to develop their own brands that sought to recreate the same features in their theatres. And with such theatres proving to much more successful than conventional cinemas, things were even clearer. This gave rise to the emergence of other large format theatres for multiplexes, such as AMC ETX, Cinemark XD, etc.
A detailed overview of the formats and our approach in this regard.
All of this is a recent phenomenon. In our own small way, we have developed our own brand: Cines FULL'. What makes us so original is having made all of the theatres in the multiplex like this. In fact, we believe that our smaller theatres are the most spectacular, as they are also in Scope format.
Returning to the issue of formats, the vast majority of movies are filmed in Scope (1:2.35) or Panoramic format (1:1.86). Just a few are recorded in 1:1.77 format, , but this number is starting to grow. However, what is clear is that all studios want to premiere their biggest titles and blockbusters in the main cinemas on the leading circuits.
Therefore, when they film an “important” movie, the creators are well aware that the main cinemas in which their movie will be premiered will project in 1:1.77 format. In line with this trend, we are going to project all of the titles that appear in IMAX Digital in 1:1.77 format (see http://www.imax.com/movies/#1 ) as well as any titles that appear in BIG MOVIE ZONE (http://www.bigmoviezone.com/attractions/). If they do not appear on the large format lists, we will not project them in 1:1.77.
We realise that some moviegoers will not like this decision, as a significant part of the image is obviously cut off when a movie filmed in 1:1.86 or 1:2.35 is projected in 1:1.77 format but it is important that moviegoers realise that the creator is well aware that this is going to happen with these movies, which are often those with the biggest budget and, as such, the most successful. They also know that when their film is shown on television, it will be projected in 1:1.77 (standard panoramic television format).
We believe that the cinema of the future will be based on the spectacular aspect and moviegoers being fully immersed in the film, and current large format theatres have and will have screens of these proportions in the near future.
In our opinion, if the creator accepts that their movie is projected in this format, firstly in the cinema (advertised as IMAX) and then on television, who are we to disagree? In fact, we firmly believe that 1:1.77 format is going to be the format of the near future, not because it is our favourite format but because we think it is going to win this first race..
Further down the line, who can say? But we will be ready, whatever happens!!
As we said when we inaugurated these cinemas in 2010:
"(...) The fact is we are taking a chance. Taking a chance creating a different type of cinema, radically new cinemas, ready for the future that is approaching. In these theatres, we have digital projectors with the capacity to project format in which no movies exist yet. But the movies will come. We have screens that we cannot yet be filled because there are no suitable lenses on the market. But the lenses will come. We are debating with the leading experts whether these screens are too sloped or curved. There is no problem, we have designed them to be adjustable, and we will decide which is the ideal option in the future. One thing for sure is that these cinemas are designed to evolve significantly through time, just as long as audiences respond as we expect and we still want to keep taking chances."
There are two basic types of 3D glasses (there are more but in practice, these two are the most significant), and they are designed for two different types of stereoscopic projection.
One type, those used by the vast majority of cinemas, are termed passive glasses. They are single-use and are bagged when given to the customer.
Their advantage is that they are very light and inexpensive. They have various drawbacks. Chief of these is that they don't give very bright vision. Another important drawback is that if the spectator is sitting away from the central point of the auditorium, his or her vision of the other side of the screen darkens considerably. This is because the screen is treated with metal as passive glasses work through the polarization of the image. Finally, this type of projection causes substantial "ghosting". "Ghosting" is when one eye sees part of the image that is intended to be seen by the other eye. It is a quite annoying kind of double image. The word comes from the English "ghost". The cost price of passive glasses is approximately 0.40 Euros per unit.
The glasses that we use in our cinemas are active. They are reusable and, between projections, we wash them and sanitize them scrupulously, one by one. Our apparatus for cleaning and drying by centrifugation is spectacular.
The glasses that we currently use function by liquid crystal and, and corresponding to infra-red signals received from the projector, they open and close the vision of each eye 72 times per second, 144 times per second in total. This results in a much brighter stereoscopic effect, no shadows on the screen and minimal "ghosting". The cost price of the active glasses that we use is currently 44 Euros per unit. And we can affirm that they are easily broken...
Their main drawback, asides from the price, is their weight, which is primarily due to the need to make them watertight. This sealing is required to allow the cleaning of glasses without affecting the battery inside. New models of lighter active glasses are appearing, designed for the 3D television market. We are experimenting with different models and when we find one which is lighter and which maintains the same quality of image and seal as our current glasses, you can be sure that we will not hesitate to introduce them.
For this reason, the quality of 3D image which you enjoy in our cinema is incomparably higher than "standard". For this reason and, mainly because the auditoria are designed to ensure that the spectator is more immersed in the image, the glasses you are provided with at the entrance to the auditorium must be scrupulously clean; and if they are not, we ask that you bring this to our attention, and we will take the appropriate steps. We cannot claim to offer the best quality of existing 3D image and then fail in the most obvious, the cleanliness of our glasses.
'Full HD' is simply the trade name of the cinema. There are no 'Full HD' films. In our cinema environment we use this term to refer to very high image quality films which we project in our theatres.
What sets us apart from the rest is the different architecture of our auditoria and a different screen shape and format, which give the spectator a more intense immersion experience. With better quality of image, the spectator can be seated close to the screen without experiencing disturbance of vision. This definition of image has been given various names - Imax Digital, EXT AMC, Cinemark XD, etc. We refer to this maximum quality as 'Full HD'.
The normal procedure of our cinemas is to publicize as 'Full HD' those films with the characteristics mentioned above that have premiered in large-format theatres in the United States. But often, on considering them after their première, we at FULL Cinemas decide that they do not have sufficient image quality and no longer refer to them as 'Full HD'.
Located in C.C. Splau, in the southern part of Barcelona, between the towns of Cornellà de Llobregat and El Prat de Llobregat. It can be seen from the coast ring road Ronda del Litoral.
Direct connection with the Ronda del Litoral, near the junction of this motorway with the Ronda de Dalt ring-road, close to exit 15, which enables a fast connection with Barcelona and the municipalities of the area.
- Car: Ronda de Dalt, exit 16a (to A2).
Ronda Litoral to A2 exit Cornellà de Llobregat E. | Pol.Ind. de Cornellà | L'Hospitalet de Llobregat
- Metro: Line 5, Cornellà Centre stop
- Bus: Lines 57, 67, 68, 95, 153
- Train (Ferrocarriles de la Generalitat): stop Cornellà Riera
- Tram: T1, T2, possibles stops: Cornellà Centre and Les Aigües