As Supergirl hits theaters this week, a kindly reminder not to tell critics who disagree with you to kill themselves. That's a pretty fucked up thing to do actually. (And yes, it did happen to me after Superman.)
Special Screenings
Thursday, June 25
Paddington in Peru (2024)
Emagine Willow Creek
What’s he doing there? $8. 11 a.m. More info here.
Times Square (1980)
Emagine Willow Creek
Teen runaways become punks in NYC. $9. 7:30 p.m. More info here.
Do the Right Thing (1989)
Grandview 1&2
Not only hasn’t this David Denby review aged well, it was dumb at the time. Also Thursday. $14.14. 9:15 p.m. More info here.
Buffalo Kids (2024)
Marcus West End
Won’t you come out tonight? $3. 11:30 p.m. More info here.
Hoppers (2026)
North Loop Green
What if you could be a robot beaver? Free. 7 p.m. More info here.
Kinky Boots (2005)
Parkway Theater
A struggling shoe factory learns that sex sells. $9/$12. Pre-show burlesque from Queenie Von Curves at 7:30 p.m. Movie at 8 p.m. More info here.
How to Train Your Dragon (2025)
Riverview Theater
The live-action version. Through Thursday. $2. 10 a.m. More info here.
Stop Making Sense (1984)
Riverview Theater
Best concert movie ever. Through Saturday. $7. 9:15 p.m. More info here.
Bad Guys 2 (2025)
Webber Park
*Billie Eilish voice* Free. 9:05 p.m. More info here.
Friday, June 26
Les Magnétiques (2021)
Alliance Française
Young friends in 1980s Brittany start a pirate radio station. $10 donation requested. 6 p.m. More info here.
Guillermo del Toro's Pinocchio (2022)
Alamo Drafthouse
Hm, not sure how “kid friendly” this is anti-fascist/anti-war version of the story is, regardless of how it’s advertised. $7. 12:30 p.m. Monday & Wednesday 4 p.m. More info here.
Godzilla vs. Biollante (1989)
Alamo Drafthouse
The big guy fights a human/plant/Godzilla genetic hybrid. $10.99. 3:45 p.m. Sunday 12:30 & 3:30 p.m. Tuesday 5 p.m. More info here.
The Devil Wears Prada (2006)/The Devil Wears Prada 2 (2026)
AMC Southdale 16
Experience the full saga. Through Tuesday. $18. 1 p.m. More info here.
Wicked: For Good (2025)
Armitage Park
The looong conclusion to a looong two-part tale. Free. 9:05 p.m. More info here.
The Chef’z Kitchen Presents: The Cookbook Vol. 2 (2026)
Capri Theater
I don't exactly understand what this is, but it seems to involve cooking and dancing. $44.20. 6 p.m. More info here.
David (2025)
Emagine Willow Creek
A brave boy defeats a giant and… presumably becomes a wise king who does nothing wrong ever. $8. Friday, Monday-Thursday 11 a.m. Saturday-Sunday 10 a.m. More info here.
Vampire Hookers (1978)
Heights Theater
Once banned in Minneapolis. $13. 9:45 p.m. More info here.
Zidane: A 21st Century Portrait (2006)
Walker Art Center
An immersive look at the soccer star. $12/$15. 7 p.m. More info here.
Saturday, June 27
Blow Out (1981)
Alamo Drafthouse
One of the great Philly movies. $14.35. 12:30 p.m. Wednesday 7:15 p.m. More info here.
WWE Night of the Champions 2026
AMC Southdale 16
Wrasslin' on the big screen. $15. Noon. More info here.
Gregg Allman: The Music of My Soul (2026)
AMC Southdale 16
A new doc about the life of Cher's ex. Also Sunday. $15. Noon. More info here.
Spaceballs (1987)
Emagine Willow Creek
I was 17 when Spaceballs came out and I remember wondering two things: 1) isn't it a little late for a Star Wars parody? and 2) why isn't this funny? Also Sunday & Wednesday. $11. 3:40 & 6:20 p.m. More info here.
Monsters, Inc. (2001)
Heights Theater
Every Pixar movie is like, “What if your child’s brain was a corporation?” $13. 11 a.m. More info here.
Star Time (1992)
Heights Theater
A man spirals into violence after his favorite show is canceled. $13. 9:45 p.m. More info here.
Angels in the Outfield (1994)
McRae Park
Did not realize there was a sequel, Angels in the Endzone. Free. 9:05 p.m. More info here.
The Rocky Horror Picture Show (1975)
Parkway
Could you keep it down? I’m trying to watch the movie. $10/$15. Midnight. More info here.
Sunday, June 28
Talladega Nights: The Ballad of Ricky Bobby (2006)
AMC Southdale 16/Marcus West End
Celebrating its 20th anniversary. AMC: Also Tuesday & Wednesday. $7. 4 p.m. More info here. Marcus: $10.50. Sunday, Wednesday 4:45 p.m. Tuesday 4:25 p.m. More info here.
Paris, Texas (1984)
Edina 4
And you thought it was gonna be about the other Paris. (In Tennessee.) Also Wednesday. $12.12. 7 p.m. More info here.
Gummo (1997)
Grandview 1&2
Harmony Korine’s rural Ohio grotesquerie. Also Thursday. $14.14. 9:15 p.m. More info here.
The Circus (1928)
Heights Theater
The Little Tramp stumbles into the big top. $20. 7 p.m. More info here.
Dog Man (2025)
Marcus West End
Part man, part dog, all cop. $3. Sunday, Tuesday 11:15 a.m. Monday 11:40 a.m. Tuesday-Wednesday 10:45 a.m. More info here.
To Wong Foo, Thanks For Everything! Julie Newmar (1995)
Roxxy’s Cabaret
Sure is Pride weekend. Free. 7 p.m. More info here.
Monday, June 29
The Brady Bunch Movie (1995)
Alamo Drafthouse
Ah, the meta ’90s. $14.35. 1 p.m. More info here.
Minions & Monsters (2026)
AMC Rosedale 14/AMC Southdale 16/Marcus West End
Be among the first to see an advance screening. Lucky you. AMC: $20.49. 6 p.m. More info here. Marcus: $14.26. 6 p.m. More info here.
AMC Screen Unseen
AMC Rosedale 14/AMC Southdale 16
Another surprise new movie. $6.75. 7 p.m. More info here.
Cruel Jaws (1995)
Emagine Willow Creek
Is there a nice Jaws? $9. 7:30 p.m. More info here.
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Emagine Willow Creek
Until this week, I thought that it was a glitch on Emagine’s site whenever I saw this listing. Turns out it’s what they call their mystery advance screenings. Like Alanis says, “You live, you lea-a-a-arn.” $7. 7 p.m. More info here.
The Old Dark House (1932)
Heights Theater
A classic of the “trapped in a creepy house by a storm” genre with Laughton and Karloff at their peak. $13. 7 p.m. More info here.
$5 Secret Movie
Lagoon Cinema
A new movie! What could it be? $5. 7 p.m. More info here.
Marcus Mystery Movie
Marcus West End
Yes another secret new movie. $6. 7 p.m. More info here.
Kung Fu Panda 4 (2024)
Riverview Theater
There are just so many Kung Fu Panda stories to tell. Through Thursday. $2. 10 a.m. More info here.
Tuesday, June 30
Cannibal Holocaust (1980)
Alamo Drafthouse
You probably couldn’t make this today. You couldn’t make it in 1980 even. $10.99. 8 p.m. More info here.
F1 (2025)
40th Street Park
Vroom. Free. 9:05 p.m. More info here.
Barni (2026) + Runta (2026)
Main Cinema
Two new locally made films. $5. 7:15 p.m. More info here.
Wednesday, July 1
Vengeance Is Mine (1984)
Alamo Drafthouse
Michael Roemer’s striking family melodrama. $13.99. 7:45 p.m. More info here.
Hamilton (2020)
The Commons
Primo Obamacore. Free. 9:05 p.m. More info here.
Tape Freaks
Trylon
Sold out, of course. 7 p.m. More info here.
Thursday, July 2
Zootopia 2 (2025)
Dickman Park
Snakes are… good? Free. 9:05 p.m. More info here.
Pump up the Volume (1990)
Emagine WIllow Creek
Christian Slater takes on The Man. $9. 7:30 p.m. More info here.
The Warriors (1979)
Parkway Theater
Come dressed as your favorite Warrior. $9/$12. Costume contest at 7:30 p.m. Movie at 8 p.m. More info here.
Opening
Follow the links for showtimes.
Bleach: Thousand-Year Blood War - The Calamity
A new anime sequel.
Jackass: Best and Last
How are these guys still alive?
Lucky Strike
Clint Eastwood's kid is trapped behind Nazi lines.
Supergirl
Have had this song stuck in my head all week.
Unidentified
A Saudi true-crime fan sets out to solve a mystery.
Welcome to the Jungle
An Indian action-comedy.
Ongoing in Local Theaters
Follow the links for showtimes.
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
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
If you judge a martial arts movie by how many "remember that part where?"s come up in conversation afterwards (and what better measure is there?), Kenji Tanigaki’s ingenious and gory slugfest really racks 'em up. This review could easily degenerate into just a list of those moments if I didn’t want to give too much away, so let me just mention as a for instance the scene where one attacker has a knife at the throat of our hero—who’s resting on the back of another guy who has a knife at the throat over our other hero. The plot, for better or for worse, concerns a mysterious, mute handyman (Xie Miao) and an investigative journalist (Joe Taslim) whose daughter (a spunky Yang Enyou, who gives as good as she gets) and wife (Jeeja Yanin), respectively, are kidnapped by child traffickers with connections to the upper echelons of society. Up to the rescue of the imprisoned tykes, Tanigaki serves up some inventive mayhem, but The Furious earns its name with the finale, which revs into fifth gear as the two good guys face off against three baddies (and I promise you won’t be able to guess which). Here’s the kind of fight choreography that makes you wonder why we settle for such flat, rote combat in so many action flicks. I mean, the damage that these gentlemen can do with their legs alone is astonishing. A-
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+
Pressure—ends June 25
