In this week's listings, a review of Steven Spielberg's soon-to-be blockbuster Disclosure Day, as well as belated blurbs on Backrooms and Carolina Caroline. Plus a whole lotta great rep screenings, including a restoration of Gloria Swanson's Queen Kelly, the fantastic teen-punk flick We Are the Best!, and a mid-morning screening of the yazuka film A Colt Is My Passport.
Special Screenings
Thursday, June 11
Showgirls (1995)
Alamo Drafthouse
Elizabeth Berkley puts the “hoe” in Verhoeven. $20. 6:45 p.m. More info here.
Sacred Heart: His Reign Has No End (2026)
AMC Rosedale 14/AMC Southdale 16/Marcus West End
Jesus. Also Sunday. Showtimes and more info here.
We Are the Best! (2013)
Emagine Willow Creek
Incredibly fun Lukas Moodysson film about three Swedish girls who form a punk band in the ’80s. $9. 7:30 p.m. More info here.
Chungking Express (1994)
Grandview 1&2
One of the coolest movies of the ’90s. $14.14. 9:15 p.m. More info here.
My Neighbor Totoro (1988)
Loring Park
It’s summer—time for bike-in movies! Free. 9 p.m. More info here.
Pitch Perfect (2012)
North Loop Green
I have never seen any of these movies. Anna Kendrick is just like some kind of weird rumor to me. Free. 7 p.m. More info here.
The Watermelon Woman (1996)
Parkway Theater
Cheryl Dunye’s relaxed lesbian romantic comedy. $9/$12. Burlesque from Queenie von Curves at 7:30 p.m. Movie at 8 p.m. More info here.
Close Encounters of the Third Kind (1977)
Riverview Theater
Another man being mean to Teri Garr. $7. 7:30 p.m. Friday-Saturday 9:20 p.m. More info here.
Daughters of the Dust (1991)
Walker Art Center
Julie Dash’s beautiful film about the Gullah people of coastal South Carolina. $12/$15. 7 p.m. More info here.
Friday, June 12
Dressed to Kill (1980)
Alamo Drafthouse
Well, somebody sure likes his Hitchcock. $13.99. 9:45 p.m. More info here.
Soul (2020)
Bethune Community School
Tina Fey occupies the body of a Black man. Free. 9 p.m. More info here.
Zootopia 2 (2025)
East Side Sculpture Park
Snakes are…. good? Presented by TriLingua Cinema and Hmong American Partnership. Free. 9 p.m. More info here.
The Holy Mountain (1973)
Heights Theater
Jodorowsky’s midnight movie classic. $16. 9:45 p.m. More info here.
Cisco Pike (1971)
Trylon
Kris Kristofferson gets blackmailed into dealing weed by Gene Hackman. $8. Friday-Saturday 7 & 9 p.m. Sunday 3 & 5 p.m. More info here.
Saturday, June 13
Boogie Nights (1997)
Alamo Drafthouse
Ah, porn was so simple once. $10.99. 9:30 p.m. Sunday 2:45 p.m. More info here.
Le Bonheur (1965)
Alamo Drafthouse
Agnes Varda’s tale of infidelity is beautiful to look at and emotionally painful to watch. $10.99. 3:20 p.m. More info here.
The Graduate (1967)
Alamo Drafthouse
Floating in your pool all day and banging your girlfriend’s mom all night is just so spiritually unfulfilling, you know? $10.99. 12:45 p.m. More info here.
BTS World Tour—Arirang (2026)
AMC Southdale 16/Marcus West End
The K-pop stars are back. $30. 3 & 6:45 p.m. More info here and here.
Dinkytown: A Tale of a Legendary Village (2026)
Cedar Cultural Center
A new doc about a neighborhood that has changed a lot. Free. 4 p.m. More info here.
Moonlight (2016)
East Side Sculpture Park
Watch it in the moonlight. Presented by TriLingua Cinema. Free. 9 p.m. More info here.
The Wizard of Oz (1939)
Heights Theater
Never heard of it. $16. 11 a.m. Monday 7 p.m. More info here.
Mausoleum (1983)
Heights Theater
Demonic possession, ’80s style. Presented by Vinegar Syndrome. $13. 9:45 p.m. More info here.
A Colt Is My Passport (1967)
Howard Conn Theater
A “lean yakuza thriller steeped in spaghetti western style,” presented by Cinema Ecclesia. $12.50. 10 a.m. More info here.
Close Encounters of the Third Kind (1997)
Main Cinema
*7 y.o. me, nodding sagely* Ah yes, it’s the great French New Wave director Francois Truffaut. Free for Film Society members. 11 a.m. More info here.
Sunday, June 14
Persona (1966)
Alamo Drafthouse
Bibi Andersson is the most underrated Bergman actress. $10.99. 12 p.m. More info here.
CrazySexyWeird: A Night of Kinky, Erotic, and Bizarre Short Films
Bryant Lake Bowl
Curated by the heroes at Smitten Kitten. Bring the kids! (Under no circumstances should you bring the kids.) $15. 7 p.m. More info here.
Evil Dead 2 (1987)
Emagine Willow Creek
Such a game changer. Also Wednesday. $11. 3:45 & 6:15 p.m More info here.
UFC Freedom 250
Emagine Willow Creek
What a country. $27. 7 p.m. More info here.
Boogie Nights (1997)
Grandview 1&2
If you’d rather watch it in St. Paul. Also Thursday. $14.14. 9:15 p.m. More info here.
Queen Kelly (1929)
Heights Theater
A new reconstruction of the unfinished Erich von Stroheim silent starring Gloria Swanson. Presented by Archives on Screen, Twin Cities. $13. 7 p.m. More info here.
Elysium (2013)
Lagoon Cinema
Heads up, new Wagner Moura fans. $11. 2 p.m. Wednesday 4 & 7:20 p.m. More info here.
Charlie the Wonderdog (2026)
Marcus West End
Owen Wilson is a dog with superpowers. The dog's voice, anyway. $3. Sunday & Tuesday 11 a.m. Monday, Wednesday, & Thursday 11:30 a.m. More info here.
Jack Johnson: Surfilmusic (2026)
Marcus West End
Always thought his White Stripes cover was cute. $13. 4:15 p.m. More info here.
Drop Dead Gorgeous (1999)
Roxxy’s Cabaret
A Minnesota classic. Free. 7 p.m. More info here.
Hot Fuzz (2007)
Trylon
What happens to Timothy Dalton made me laugh as loud as anything ever has. $8. 7 p.m. Monday-Tuesday 7 & 9:15 p.m. More info here.
Monday, June 15
KPop Demon Hunters (2025)
Alamo Drafthouse
If I owned a movie theater, I’d just show this every afternoon this summer till the first day of school. Through Thursday. $7. 4 p.m. More info here.
AMC Screen Unseen
AMC Rosedale 14/AMC Southdale 16
A new secret movie. $7. 7 p.m. More info here.
Crunchyroll Anime Nights Sneak Peek
AMC Rosedale 14/AMC Southdale 16
New anime! $13.99. 7:30 p.m. More info here.
Demons (1985)
Emagine Willow Creek
Trapped in an Italian movie theater with demons! $9. 7:30 p.m. More info here.
WTF: Watch Terrible Films Club
56 Brewing
I don’t know what they’ll be showing, but I know it’ll be terrible. Free. 7 p.m. More info here.
The Gardener (2026)
Riverview Theater
Yes, but is he constant? $20. 7:15 p.m. More info here.
Tuesday, June 16
Fade to Black (1980)
Alamo Drafthouse
Movies turn a nerd into a killer. Not again! $10.99. 7 p.m. More info here.
Luca (2021)
Brackett Field Park
He lives on the second floor. Free. 9 p.m. More info here.
Gabby’s Dollhouse (2025)
Riverview Theater
It’s cheap kid’s movie season! $2. 9:45 a.m. More info here.
Wednesday, June 17
The Devil Queen (1974)
Alamo Drafthouse
A queer criminal mastermind dominates Rio’s underground. $10.99. 7:15 p.m. More info here.
Greg Allman: The Music of My Soul (2026)
AMC Rosedale 14/AMC Southdale 16/Heights Theater/Marcus West End
Brand-new doc about Cher’s ex-husband. AMC: 7 p.m. $15. More info here. Heights: $13. 7 p.m. More info here. Marcus: $13. 7:20 p.m. More info here.
Asco: Without Permission (2025)
Main Cinema
A doc about the revolutionary ’70s Chicano art group. $11. 7 p.m. More info here.
The Doctrine (2026)
Riverview Theater
Indigenous representatives confront the Vatican. $10. 7 p.m. More info here.
Dragon Ball: The Magic Begins (1991)
Trylon
An unauthorized live-action adaptation of the manga. Sold out. 7 p.m. More info here.
Thursday, June 18
But I’m a Cheerleader (2000)
Alamo Drafthouse
Sure is Pride month. $20. 7:15 p.m. More info here.
GOAT (2026)
Creekview Park
A small goat aspires to professional sports. Free. 9:05 p.m. More info here.
Breaking Glass (1980)
Emagine Willow Creek
The rise of a fictional female British punk rocker. $9. 7:30 p.m. More info here.
The Lost Boys (1987)
Riverview Theater
Get yer sexy shirtless vampire saxophone here. $7. 9 p.m. More info here.
Opening
Follow the links for showtimes.
Call Me By Your Name (2017)
Richard Butler, fantastico!
Disclosure Day
In this movie we believe aliens exist, empathy is strength, TV brings people together, truth wins out in the end, some kind of vague god-related thing—I’m sorry, but what are we doing here? Spielbergologists will no doubt thematically connect this latest, closest encounter with the extraterrestrial to his past work in ways that are meaningful to them, but for this skeptical admirer it was two-plus hours of drab auteurist tics livened occasionally by technical feats no other living (or maybe dead) director could execute. Plotwise, former cybersecurity wiz Josh O’Connor has the proof of a government/corporate coverup, and he’s ready to tell the world. He’s somehow linked with Emily Blunt, a weather gal for a Kansas City TV station who’s gifted with mystical abilities by ETs. Both leads are swell, even if Blunt’s attempts at naïveté aren’t wholly convincing and O’Connor can’t always summon enough shades of earnest to avoid monotony, But Colin Firth and Coleman Domingo, as rival spymasters of sorts, find no pleasure in their roles, and Eve Hewson, as O’Connor’s girlfriend, a former novitiate, dispenses religious doubts with a sense of obligation that shortchanges both spirituality and science—and hell, fantasy as well. And then there’s the finale. Ultimately, your view of Disclosure Day may come down to whether you find Spielberg’s nostalgic faith in the transformative power of mass spectacle touching or deluded—or, let’s face it, self-aggrandizing. B-
The Furious
Hong Kong action flick gets wide U.S. release.
Jinsei
Anime chronicles the long life of a J-pop idol.
Main Vaapas Aaunga
A new Indian historical drama.
Ponyo (2008)
I’ll say it again—a golden age of seeing Ghibli flicks in theaters.
Stop! That! Train!
Drag queens must stop a disaster.
Ongoing in Local Theaters
Follow the links for showtimes.
The Amazing Digital Circus: The Last Act
Backrooms
More film-studenty than anyone impressed at director Kane Parsons’s tender age of 20 wants to let on, this unexpected budget horror hit is ambiguous enough for us all to project our own sense of entrapment on its unrelentingly yellow liminal space. Postmodern capital, the male psyche, miscellaneous trauma, the internet—whatever’s recursively hemming you in, we all feel lost within some labyrinth right now, and much credit to Parsons for tapping into that timely sensibility. But movies, pesky damn things, will have characters, and stories, and dialogue, and, well… Chiwetel Ejiofor (as an extremely divorced furniture store owner) and Renate Reinsve (as a therapist I personally would not recommend) do what they can with some leaden dialogue by Will Soodik, who does not have youth and inexperience as an excuse. Doesn’t help that Parsons ratchets up the drama whenever a bit of the ol’ flattened affect would accentuate the eerieness. Backrooms is an A minus haunted house padded out into a B minus movie, so let’s just say… B
Carolina Caroline
I’m a single-issue voter, and that issue is: Hot people should be allowed to rob banks. Don’t the cops have anything better to do than hassle sexy criminals? But no, nigh on 60 years after Hollywood ditched the Hays Code, criminals still typically get their comeuppance in the final reel. It’s baked into the genre now. So when restless small-town girl (Samara Weaving) hits the road with shady drifter (Kyle Gallner) in the latest from buzzy director Adam Carter Rehmeier, you know a happy ending ain’t in the cards. As with any hustler movie, Carolina Caroline is best when focusing on the details of the trade—I almost believe I could scam a cashier out of a $20 after watching this; in addition I admire how its finale ducks cruel fatalism and dull moralism both. Weaving’s solid career in horror and crime flicks does make me wonder if she harbors “serious” film aspirations. Not saying she has to, but I am curious. B
Everyone Is Lying to You For Money
I Love Boosters
Every time I see a movie with Keke Palmer or LaKeith Stanfield in it, I think about how much of our time directors waste by making movies without Keke Palmer or LaKeith Stanfield in them. In Boots Riley’s Seussian celebration of art, communism, and Oakland, Palmer’s Corvette is part of a crew of high-end shoplifters, along with Naomi Ackie’s Sade and Taylour Paige’s Mariah, who draw the ire of girlboss designer Christy Smith (Demi Moore). Aided by Poppy Liu as a Chinese factory worker, Eiza González as a dirtbag leftist, and a device powered by dialectical materialism, they struggle to forge a global, multi-racial, working-class alliance. The film’s design team, led by Everything Everywhere All at Once costumer/Tierra Whack collaborator Shirley Kuratais, is playing a game no one else even knows the rules of, and the whole shebang is funny as hell. Of course, if you slow down and try to puzzle it all out… wait, why are you doing that? If I have a better time at the movies this year, I’ll be a very lucky man indeed. As for Stanfield—I’m not gonna give it away, but he’s in this. Damn is he in this. A
Michael
This is the story of a sweetly eccentric young fellow who merely wants to collect exotic animals, visit children in hospitals, and share his incredible talents with the world. With the help of agent (and, incidentally, the film’s executive producer) John Branca (Miles Teller), our hero wriggles free of his abusive, domineering father (Colman Domingo) and embarks on his first solo tour in 1988, finally his own man—presumably it was all smooth sailing from there. A glitzy extended ad for the disgraced superstar’s estate, Michael follows in the footsteps of the modern music biopic not only as a form of brand management, but as a means of score-settling—from NWA to Elton John, every star wants to be a victim nowadays. Michael has a made-to-order villain in Jackson paterfamilias Joseph, but with his grotesque prosthetics and Nixonian hunched shoulders, Domingo is actually more cartoonish than Mike Myers is in his brief borscht-belt turn as CBS head Walter Yetnikoff. The lesson of Michael Jackson’s life is that the further you retreat into escapist fantasy the more inescapably your neuroses surface, and that plays out with his fandom: The more irreparably Jackson’s reputation is tarnished, the more his worshippers demand a portrait of a saint’s life. And so they get as lousy a movie as they deserve. Shout out to Janet Jackson, who refused to participate and therefore simply doesn’t exist in this Michaelverse. C
Obsession
I’ll say this for the “must see” horror flick of the summer—you should probably see it. Which is more than I say about most of the lukewarm bloodbaths (some of them not even Oz Perkins’s fault) that are regularly touted as the best thing to happen to the screen since the chainsaw. Michael Johnston’s Bear is so hapless he can’t acknowledge his crush on pal/co-worker Nikki (Inde Navarrette) even when she asks him about it point blank. So, like so many doomed losers before him, he makes a magical wish for her love, an overturning of the natural order that goes wrong is ways both predictable and un-. Like any effective horror movie, there are all sorts of psychosexual subtexts you can tease out of this scenario—the (male) anxiety that true love is smothering, the (again male) desire to efface female personality—but though YouTube-weaned auteur Curry Barker has a genre-adept’s knack for pacing and execution, Obsession doesn’t have much conceptual play. But it also doesn’t give us the easy “slay girl” catharsis of, say, Companion, and what truly sets it apart is Navarrette’s committed performance of a woman trapped in a man’s fantasy. B+
Project Hail Mary
Anyone who has a heart will love this adorably techno-optimistic film about Ryan Gosling buddying up with an intelligent alien who looks like a rock as they save the galaxy together. I guess so, anyway—I’m extrapolating from the fact that even a soulless monster like me thought it was pretty cute. Interstellar parasites are gobbling up the stars, including our sun, and as will happen when the Earth is in danger, only a middle school science teacher can save the day. Ryland Grace (which sounds like a name Gosling would give if he wanted to check into a hotel in secret) is recruited by a grim German bureaucrat (the great Sandra Hüller, who deserves all the Hollywood blockbuster cash that comes her way) to research these solar gluttons. His insights prove so invaluable he’s sent on a suicide mission to the only star that’s proven impervious to the baddies to learn how to counteract them. There he meets an alien scientist on the same quest for his own world, who he dubs Rocky, and both species work together to etc. etc. as their unique friendship and so on and so forths. Drew Goddard’s script, adapted from the much-loved Andy Weir novel, has the same plucky scientific spirit as Goddard’s script of Weir’s The Martian, and Gosling remains likeable as ever, though I do wish he’d find some new ways to be likeable. The pleased laughter all around me at the screening was so delightful I felt left out a little. Maybe someday when the wizard grants me a heart I’ll give this another go. B
