Down below, you'll find reviews of Roofman (out today) and (finally) One Battle After Another. Lots to check out at Cine Latino at the Main, and let me put in a special word for The Apple (no, not that one) at the Walker on Saturday.
Thursday, October 9
The World’s End (2013)
Emagine Willow Creek
Simon Pegg and Nick Frost battle robots. $11.60. 7:30 p.m. More info here.
Night of the Living Dead (1968)
Grandview 1&2
Never heard of it. $14.44. 9:15 p.m. More info here.
Stalker (1979)
Heights Theater
Curious travelers risk venturing to an extraterrestrial “Zone” in Tarkovsky’s meditative sci-fi classic. $15. 7:30 p.m. More info here.
Cine Latino Shorts
Main Cinema
Just what it says. Part of Cine Latino. $17. 5 p.m. More info here.
I Had the Heart (Tuve el corazón) (2024)
Main Cinema
A Buenos Aires musician is torn between tango and rock. Part of Cine Latino. $17. 7:30 p.m. More info here.
The Omen (1976)
Parkway Theater
What if your kid was the Antichrist? $9/$12. Trivia (hopefully about the niceties of Catholic doctrine) at 7:30 p.m. Movie at 8 p.m. More info here.
John and Jane (2005)
Trylon
Follows life in a Mumbai call center. Free. 7 p.m. More info here.
Friday, October 10
Coraline (2009)
Insight Brewing
Don't go through that door! Free. 8 p.m. More info here.
The Nature of Invisible Things (A natureza das coisas invisíveis) (2025)
Main Cinema
Two 10-year-old Brazilian girls become friends. Part of Cine Latino. $17. 5 p.m. More info here.
The Secret Agent (O agente secreto) (2025)
Main Cinema
In 1977, a Brazilian tech expert must go undercover. $17. 8 p.m. More info here.
Scream (1996)
Hidden Falls Regional Park
Louder! Free. Dusk. More info here.
Kuroneko (1968)
Trylon
The ghosts of two raped and murdered woman torment samurai. $8. 7 p.m. Saturday 9:15 p.m. Sunday 3 p.m. More info here.
Scream Blacula Scream (1973)
Trylon
I said, louder! $8. 9:15 p.m. Saturday 7 p.m. Sunday 5:15 p.m. More info here.
Saturday, October 11
A Matter of Life and Death (1946)
Alamo Drafthouse
WWII fighter pilot David Niven goes on heavenly trial after cheating death in what’s gotta be the most entertaining pro-Brit propaganda film ever. $10.99. 2:45 p.m. More info here.
Tinsman Road (2025)
East Side Eagles Club
A filmmaker learns disturbing secrets about his sister’s disappearance. The director will be on hand for the Midwest premiere of this film. $8. 7 p.m. More info here.
Pedro Páramo (2024)
Main Cinema
An adaptation of Juan Rulfo’s classic Mexican novel. Part of Cine Latino. Free for MSP Film Society members. 11 a.m. More info here.
Hola Frida (2024)
Main Cinema
For the kids, an animated feature about the childhood of Frida Kahlo. Part of Cine Latino. $5. 11:15 p.m. More info here.
Lluc, a Pastry Chronicle (2024)
Main Cinema
A doc about the pastry great Lluc Crusellas. Part of Cine Latino. $17. 2 p.m. More info here.
A Poet (Un poeta) (2025)
Main Cinema
A commercially unsuccessful poet mentors a talented teen. Part of Cine Latino. $17. 4:30 p.m. More info here.
Salsa Lives (La salsa vive) (2025)
Main Cinema
A doc about the evolution of salsa. Presented along with a performance by Ritmo Latino and followed by a party featuring the Twin Cities Latin Band. Part of Cine Latino. $30. 7 p.m. More info here.
Sira (2025)
Main Cinema
With the help of his son, a father searches for his daughter at a southern Morocco rave. Part of Cine Latino. $17. 9:30 p.m. More info here.
Hocus Pocus (1993)
Parkway Theater
If it came out when you were a kid then it must be a classic, right? $5/$7. 1 p.m. More info here.
The Apple (1998)
Walker Art Center
Iranian director Samira Makhmalbaf made this feminist classic when she was just 17. $6/$8. 2 p.m. More info here.
Sunday, October 12
Killer of Sheep (1977)
Alamo Drafthouse
Charles Burnett’s classic story of Black working class life in L.A. $10.99. 3 p.m. More info here.
The Craft (1996)
Alamo Drafthouse
Oh hell yeah, it’s witch season. $10.99. 12 p.m. More info here.
Battle Royale (2005)
AMC Rosedale 14/AMC Southdale 16
Talk about one battle after another. Also Monday. $15. 7:30 p.m. More info here.
The Dark Crystal (1985)
AMC Rosedale 14/AMC Southdale 16/Emagine Willow Creek/Marcus West End
Yep, still really creepy! Also Monday. Ticket prices, showtimes, and more info here.
The Corpse Bride (2005)
Emagine Willow Creek
And speaking of creepy. $10.60. 3:15 p.m. Wednesday 6:45 p.m. More info here.
Possession (1981)
Grandview 1&2
Isabelle Adjani at her palest. $14.44. 9:15 p.m. More info here.
¡Hola Cine!
Mia
A selection of short films for kids. Part of Cine Latino. Free. 10:30 a.m. More info here.
Runa Simi (2025)
Main Cinema
A doc about a man dubbing films into the underrepresented South American language Quechua. Part of Cine Latino. $17. Noon. More info here.
On The Invention of Species (La invención de las especies) (2025)
Main Cinema
A girl traumatized by her brother’s death takes a fantastical trip to the Galapagos. Part of Cine Latino. $17. 2:30 p.m. More info here.
Deaf (Sorda) (2025)
Main Cinema
A rift develops between a pregnant deaf woman and her hearing partner, the father of their first child. Part of Cine Latino. $17. 4:30 p.m. More info here.
Selena y Los Dinos (2025)
Main Cinema
A Selena doc featuring new footage from her family. Part of Cine Latino. $30. 7:30 p.m. More info here.
Scream (1996)
Roxy’s Cabaret
In case you’d rather watch it inside. Free. 7 p.m. More info here.
Rosemary’s Baby (1968)
Trylon
Pregnant women are so over-emotional. $8. 7:30 p.m. Monday-Tuesday 7 p.m. More info here.
Monday, October 13
Lifeforce (1985)
Alamo Drafthouse
Beautiful space vampires invade Earth! $13.99. 9:45 p.m. More info here.
Night of the Living Dead (1990)
Alamo Drafthouse
The uncut version of Tom Savini's remake. $13.99. 7 p.m. More info here.
The Funhouse (1981)
Emagine Willow Creek
A vintage Tobe Hooper slasher. $7.60. 7:30 p.m. More info here.
You’ll Like My Mother (1972)
Heights Theater
Patty Duke explores spooky ol’ Glensheen Mansion. $13. 7:30 p.m. More info here.
Tuesday, October 14
Baby Blood (1990)
Alamo Drafthouse
The tastiest kind! $10.99. 8 p.m. More info here.
Trick ‘r Treat (2007)
AMC Rosedale 14/AMC Southdale 16/B&B Bloomington/Marcus West End
Who doesn’t love a horror anthology flick? Ticket prices, showtimes, and more info here.
Wednesday, October 15
After the Hunt (2025)
Alamo Drafthouse
In his latest, Luca Guadagno dares to ask the question, “What if cancel culture Gen Z sexual abuse trigger warning woke campus pronouns?” $13.99. 7:15 p.m. More info here.
The Mummy (1999)
Alamo Drafthouse
Y’all sure do love this movie. $20. 7 p.m. More info here.
Critical Role: Jester and Fjord’s Wedding: Live from Radio City Music Hall
AMC Rosedale 14/AMC Southdale 16/Marcus West End
A live RPG event. $27.22. 7 p.m. More info here.
The Family McMullen (2025)
AMC Rosedale 14/AMC Southdale 16/Marcus West End
Remember when folks talked about Ed Burns like some kind of indie wunderkind? Well, he married Christy Turlington, so it must have worked. Anyway, here's The Brothers McMullen, 20 years later. Showtimes, prices, and more info here.
Ozone (1993)
Trylon
A cop gets jabbed with a new drug with horrifying side effects. $5. 7 p.m. More info here.
Opening This Week
Follow the links for showtimes.
The Bride!
Maggie Gyllenhaal’s update transports Mary Shelley’s creature and his gal to 1930s Chicago.
Deathstalker
A remake of the Roger Corman swords 'n' sorcery flick.
A House of Dynamite
Not what I would build my house out of, to be quite honest.
Kiss of the Spider Woman
It’s a musical now, I guess?
Orwell: 2+2=5
Raoul Peck’s characteristically unique taste on George’s life and thought.
Roofman
Probably not a good movie, and certainly not an honest one, Roofman is as desperate to be liked as its main character, serial McDonald's robber and escaped convict Jeffrey Manchester (Channing Tatum). After ingeniously smuggling himself out of the clink, Manchester hides out in a Toys "R" Us and inconveniently falls for a store employee because she’s played by Kirsten Dunst. He follows her to church (calling himself John Zorn, heh heh), wins over her daughters and fellow churchgoers, and creates a new life for himself that can’t possibly last. And you know what, gosh darn it? I did like Roofman in spite of my (spiteful) self. Because Tatum is charming, especially when he’s playing with kids or flirting with Dunst, who is infallibly wonderful. Because the movie is relatively free of condescension to ordinary folks who find community at church and because it assumes that there’s a cineplex audience out there willing to root (with reservations) for a guy who robs fast food chains and big box stores. Let’s not go crazy here, though. Though relatively effective, the handheld camera is an affectation, a sign that director Derek Cianfrance wants Roofman to be a more credible movie than it is. But Tatum doesn’t have what it takes to truly plumb the pathological side of Manchester’s need to be loved. Still, if you’re in the mood for a crowd-pleaser turned tear-jerker or just want to see a liberal amount of Tatum’s bare ass, happy holidays. B
Soul on Fire
The latest from the director of Reagan and The Even Stevens Movie.
Tron: Ares
What if the Trons (is that what they’re called?) entered the real world? Ever thought of that?
Ongoing in Local Theaters
Follow the links for showtimes.
Anemone
In his first feature-length picture, director Ronan Day-Lewis proves himself capable of crafting scenes that would shine in the context of a great film. Unfortunately, those scenes are part of Anemone, a mediocre movie merely aching for greatness, and here they’re ponderous and overreaching. You can’t blame papa Daniel for wanting to work with his boy, though you can blame him for the script, which he co-wrote, and which overuses that creaky actorly device, the monologue. Though this is one of those movies that pretends to generate mystery by just not telling you what the fuck is going on, the story’s pretty simple. After an unnamed (but—don’t you worry—quite dramatically revealed) trauma, a former soldier (Day-Lewis) disappears into the wilds, leaving his brother (Sean Bean) to look after his wife (Samantha Morton) and son (Samuel Bottomley). Decades later, brother sets out to retrieve soldier because son has become bitter and violent. Cinematographer Ben Fordesman, who’s done excellent work with director Rose Glass, is permitted to indulge himself with sometimes overly gorgeous results; so is Bobby Krlic, aka The Haxan Cloak, who attempts to drown the film beneath ambient swells. We get another (final?) elder Day-Lewis performance to add to the limited store. And it’s possible the younger Day-Lewis will eventually learn to hold back, maybe even to recognize how this story could have made for a quieter, more effective drama. But the climatic hail storm that sends ice chunks the size of fists plummeting from the sky doesn’t give me a lot of hope. C+
A Big Bold Beautiful Journey—ends Thursday
What if Knight Rider had been a romcom? That's not exactly the concept behind the latest from mononymous director Kogonada, who may be the first to tell you that he didn't write the script, as he had with his more subtle successes Columbus and After Yang. Put simply, this is a movie about a magical GPS that forces two relationship-averse single people to relive the most traumatic moments in their lives until they fall in love. Margot Robbie and Colin Ferrell are charming, hot, and determined to make this damn thing work, and at some of the loopier moments (Ferrell performing in a high school production of How to Succeed in Business Without Really Trying) and quieter ones (Robbie, as her 12-year-old self, seeking advice from her mother) they pull it off. In fact, I'll go out on a limb and say this may be the best possible movie you could make about a magical GPS that forces two relationship averse single people to relive the most traumatic moments in their lives until they fall in love. B-
Demon Slayer: Kimetsu no Yaiba Infinity Castle
Downton Abbey: The Grand Finale
The Last Class—ends Thursday
One Battle After Another
Paul Thomas Anderson’s universally lauded tragicomic revolutionary epic has a lot on its thematic plate. It’s a movie about rescuing your daughter that’s really about how you can’t protect your kids, about the contrast between the glamour of doomed revolutionary action and the quiet victories of everyday resistance, about a parallel United States that mirrors our police state already in progress. And to white folks (like me and maybe you and probably PTA himself) who just wonder when all this will all be over in the real world, Anderson offers his most self-explanatory movie title since There Will Be Blood. But aside from all that One Battle After Another is just plain engaging and immersive and entertaining the way too many movies that make much more money only pretend to be. As in Killers of the Flower Moon, Leonard DiCaprio is a dopey white guy outclassed by a woman of another race (glad he’s found his niche); his greasy top-knot and Arthur Dent bathrobe will be the stuff of hipster Halloween costumes. Teyana Taylor is iconic in the true sense of the word as insatiable revolutionary Perfida Beverly Hills. (I told you all to see A Thousand and One, but did you listen?) Supremely unruffled as a Latino karate instructor, Benicio Del Toro is the calm center of the film’s most remarkable sequence. As the spirited abductee, Chase Infiniti (who somehow was not herself named by Thomas Pynchon) slowly accrues an echo of Taylor’s screen intensity. And I regret to report that Sean Penn is as brilliant here as everyone says. His Steven Lockjaw is a swollen testicle of a man, incapable of properly fitting into any suit of clothes, a walking study of the psychosis of authoritarianism. Oh yeah, and that climactic car chase is totally boss. A
Perfect Blue (1997)
No time for a full review of a 30-year-old movie here, but let me just point out how fucking intense Satoshi Kon's violent, trippy psychosexual anime is on the big screen. If you think you want to see it in a theater, you want to see it in a theater.
Predators—ends Thursday
I never watched To Catch a Predator—mostly I had better things to do with my time, but I was also put off the self-righteous thirst for public humiliation that powered the show. David Osit’s skeptical documentary first places the show in context, reminding us of the high-level, universal adulation host Chris Hansen received (Jon Stewart bestows a particular sloppy smooch). Then he arrays his critiques: He speaks to the young women who pretended to be teenage girls, recounts the suicide of one nabbed “predator,” shows us the messes made by online copycat versions, and looks into the problems with prosecuting people set up by a TV show. It’s hard to capture in words what he’s after. Even taken as a whole, the concrete, documentable damage the show caused probably won’t feel damning to anyone who doesn’t already, like Osit and I, find the underlying ethos of the Predator spectacle socially corrosive. But for the haters, it’s vindication. A-
