I've talked up The Heartbreak Kid enough already, and Jeanne Dielman... doesn't need my help. But hey, both are showing multiple times this week, and that's worth mentioning.
Also, looks like the Grandview is expanding its rep screenings.
Special Screenings
Thursday, May 8
Forgetting You Is Like Breathing Water (2024)
Alamo Drafthouse
A mistress and her client have an emotionally intense session. Presented with several other short films and a discussion between filmmakers Ayanna Dozier and Zia Anger about auto-fiction. $12/$15. 7 p.m. More info here.
Top Gun (1986)
Emagine Willow Creek
Emagine’s Val Kilmer in memoriam continues. $11.50. 7:30 p.m. More info here.
The Usual Suspects (1995)
Emagine Willow Creek
Utepils and Emagine launch their new beer collab with this parlor trick of a crime thriller. $7.60. 7 p.m. More info here.
Enter the Dragon (1973)
Grandview 1&2
Peak Bruce Lee. $14.44. 7:05 p.m. Monday 7:15 p.m. More info here.
In the Mood for Love (2000)
Grandview 1&2
Best dresses ever. $14.44. 9:15 p.m. More info here.
Bells Are Ringing (1960)
Heights Theater
Dean Martin plays against type as a drunk. $13. 7:30 p.m. More info here.
Tall Tales (2025)
Main Cinema
A “collaborative visual and audio cinema experience” featuring the music of Thom Yorke. $15. 7 p.m. More info here.
Friday, May 9
Wicked (2024)
Emagine Willow Creek
There are better movie musicals about Oz. Just sayin’. Through Wednesday. $6.60. 3:40 & 7:15 p.m. More info here.
Casablanca (1942)
Grandview 1&2
A seductive Vichy cop steals Humphrey Bogart from Ingrid Bergman. $14.44. 4:20 p.m. Tuesday 4:30 p.m. More info here.
The Seven Samurai (1954)
Grandview 1&2
That’s just the right amount of samurai. $14.44. 7 p.m. Saturday 8:45 p.m. Sunday 11:30 a.m. More info here.
The Heartbreak Kid (1972)
Trylon
Charles Grodin falls for a wholesome Minnesota gal in this heartwarming Elaine May romcom. $8. 7 p.m. Saturday 9 p.m. Sunday 3 p.m. More info here.
A New Leaf (1971)
Trylon
Walter Matthau tries to kill Elaine May for her money. $8. 9:15 p.m. Saturday 7 p.m. Sunday 5:15 p.m. More info here.
Saturday, May 10
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)
Alamo Drafthouse
An episode of a cooking show goes horribly wrong. $11.91. 11 a.m. More info here.
Bad Moms (2016)
Edina 4
Look out, these moms DGAF! $19.79. 12 p.m. More info here.
The Wizard of Oz (1939)
Emagine Willow Creek
Wow, this movie totally rips off Wicked. Also Sunday & Wednesday. $10.60 p.m. 3:30 & 6:15 p.m. More info here.
UFC 315: Muhammad vs. Della Maddalena
Emagine Willow Creek
Fightin’ on the big screen. $26.60. 9 p.m. More info here.
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)
Grandview 1&2
What, is it Jeanne Dielman weekend or something? $14.44. 12 p.m. Sunday 3:30 p.m. More info here.
Star Wars: Episode IV - A New Hope (1977)
Parkway Theater
Or, as normal people call it, Star Wars. $5-$10. 1 p.m. More info here.
Sunday, May 11
Mamma Mia! (2008)
Alamo Drafthouse
That’s Swedish for “my mother!” $11.91. 12 p.m. More info here.
Stop Making Sense (1984)
Grandview 1&2
Best concert film ever. $14.44. 6:45 p.m. Sunday 7:20 p.m. Tuesday 9:45 p.m. More info here.
True Romance (1993)
Grandview 1&2
Christian Slater and Patricia Arquette are on the run! $14.44. 9:15 p.m. More info here.
American Football Concert Film (2025)
Main Cinema
Emo on screen. $15. 7 p.m. More info here.
Hardcore (1979)
Trylon
George C. Scott hunts through the seedy world of porn for his missing daughter. $8. 7:30 p.m. Monday-Tuesday 7 & 9:15 p.m. More info here.
Monday, May 12
Hereditary (2018)
Alamo Drafthouse
Toni Collette loses her head. $15.18. 7:30 p.m. More info here.
The Brood (1979)
Emagine Willow Creek
Oliver Reed is a mad scientist! $7.60. 7:30 p.m. More info here.
North by Northwest (1959)
Grandview 1&2
The funnest Hitchcock? $14.44. 4 p.m. Monday 4:30 p.m. More info here.
Attack on Titan
Orchestra Hall
Orchestral anime! $85-$105. 7:30 p.m. More info here.
Tuesday, May 13
Popcorn (1991)
Alamo Drafthouse
Jill Schoelen is not Winona Ryder. $11.91. 8 p.m. More info here.
Show Me Your Glory (2025)
Marcus West End
Miracles are real, says this “documentary.” $13.40. 7 p.m. More info here.
Women in Early Cinema
Ordway
Silent slapstick feminist films with live accompaniment from the Accordo quartet. $31-$36. 7:30 p.m. More info here.
Wednesday, May 14
Hurry Up Tomorrow (2025)
Alamo Drafthouse
An advance screening of The Weeknd’s latest attempt to be a movie star. 7 p.m. $18.99. More info here.
Demon Slayer The Movie: Mugen Train (2021)
Alamo Drafthouse/Emagine Willow Creek
Another anime that I know nothing about. $11.91. 3:35 & 6:45 p.m. Emagine: 6 & 9 p.m. More info here.
Secret Movie Night
Emagine Willow Creek
No one know’s what the movie is and it’s still sold out! 7 p.m. More info here.
Una noche con los Rolling Stones (A night with the Rolling Stones) (2023)
Main Cinema
A woman navigates all sorts of family drama as Havana prepares for its first rock concert since the 1950s. Part of the Minnesota Cuban Film Festival. $12. 7 p.m. More info here.
Fight Club (1999)
Parkway Theater
Where are we flying first? What? I thought this was a flight club. Ow! Stop hitting me, Meat Loaf. $9/$12. Trivia at 7:30 p.m. Movie at 8 p.m. More info here.
We Are Fugazi From Washington D.C. (2023)
Trylon
Truly incredible live footage from the vaults. Presented by Sound Unseen. $13. 7 & 9 p.m. More info here.
Opening
Follow the links for showtimes.
The Ancestral Home
A Vietnamese hit comedy-drama.
Clown in a Cornfield
It’s OK, I’m sure he’s a friendly clown.
The Encampments
Doc about the Gaza Solidarity protests at Columbia.
Fight or Flight
Josh Hartnett continues to possibly kind of make the beginnings of a comeback.
Juliet & Romeo
She gets top billing now. Because of woke.
Magic Farm
A confused documentary team arrives in the wrong country.
Shadow Force
Bounty hunters pursue an estranged couple.
#Single
An Indian romantic comedy.
Subham
An Indian horror comedy.
Tourist Family
A quirky Sri Lanka family moves to India.
Watch the Skies
A Swedish sci-fi flick dubbed in English using AI. Gross.
When Fall Is Coming
A woman’s visit from her grandson is disrupted in the latest from François Ozon.
Ongoing in Local Theaters
Follow the links for showtimes.
Bonjour Tristesse—ends Thursday
Captain America: Brave New World—ends Thursday
The Captain America movies are where the MCU gets “serious,” where comic book idealism clashes with the dark side of U.S. history, where unfettered heroism encounters the restraining forces of bureaucracy. With Anthony Mackie inheriting the shield, Brave New World adds race to that equation. After shouldering endless Steve Rogers comparisons, Mackie's Sam Wilson gets a little speech where he wonders if he'll ever be enough, while for contrast we have Isaiah Bradley (Carl Bradley), an older Black super soldier who’d been imprisoned by the U.S. government. Meanwhile, President Thaddeus Ross (Harrison Ford) nearly gets us into a war with Japan (couldn’t be China—Disney needs that big overseas market) over adamantium, a new substa—ah, you know, don’t worry about it. Since in the real world, an authoritarian prez is seeking to purge the military (and everywhere else) of non-whites while saber-rattling with the nation’s historic allies, theoretically the film’s themes should resonate, at least in a half-assed pop culture thinkpiece kinda way. But this slapdash entry is more concerned with callbacks to the MCU D-list like the Eternals and 2008's The Incredible Hulk. Its one big reveal (unless you’re genuinely wondering, “Will Liv Tyler appear?”) was torpedoed by the need to fill seats: This would have been 10 times more fun if we didn’t know Ford was gonna Hulk out at the end, but the theaters would have been ten times emptier if the trailers didn’t spoil that. Brave New World is about one thing only: The MCU struggling to justify its continued existence. C
The Legend of Ochi—ends Thursday
Misericordia
You may know French filmmaker Alain Guiraudie from his 2013 breakthrough Stranger by the Lake, about the murderous and erotic goings on at a gay nude beach. But I think he’s topped himself, if you’ll pardon the phrase, with this nasty and often quite funny little thriller, in which a young man’s return to a village after the death of his mentor raises multiple questions. Were they doin' it? Why does the deceased’s son want him to scram? Why does the deceased’s wife want him to stay? And why does that priest keep hanging around? These queries get only more pressing after, yes, a murder. And while it’s darkly enjoyable to watch the killer squirm as he evades suspicion, what’s most wickedly fun about Misericordia is that you never quite know who wants to fuck who until their pants come off. A-
A Nice Indian Boy—ends Thursday
On Swift Horses—ends Thursday
There’s too much happening in Daniel Minahan’s period melodrama to condense into a blurb, so let’s just say it’s about a quasi-love triangle in the 1950s between a stolid homeowner (Will Poulter), his restless wife (Daisy Edgar-Jones), and his queer brother (Jacob Elordi). Edgar-Jones starts winning at the track and explores her bisexuality in a dalliance with a freethinking neighbor (Sasha Calle). Elordi falls for a coworker (Diego Calva) while working at a casino in Vegas. An absolutely unnecessary horse plays an unnecessarily prominent role. I’ve seen reviews invoke Douglas Sirk, and while I’m tickled by the idea of Todd Haynes’s Euphoria, that’s just wishful criticking. There’s just something very YA about all this: Edgar-Jones in particular seems to be living a 21st century fantasy of how it felt to rebel in a closeted past. What a waste of a good cast. B-
Raid 2—ends Thursday
Retro—ends Thursday
The Shrouds—ends Thursday
In his later years, David Cronenberg has settled into what you could call the “hangout thriller,” a genre that’s decidedly not to everyone’s tastes. As with Crimes of the Future, multiple plots and counterplots are afoot in The Shrouds, but settling them never seems urgent, and Cronenberg is deliberately blasé about tying up loose ends. Vincent Cassel (not entirely comfortable in English) is Karsh, the proprietor of GraveTech, a full service burial company that specializes in The Shroud, a full-body cam that envelops a corpse and allows mourners to watch their loved one decompose over time. Karsh is obsessed with his late wife Becca (Diane Kruger), whose disintegration he monitors via Shroud and who reappears to him in lurid dreams. Events require Karsh to reconnect with Maury (a wonderfully schlubby Guy Pearce), the nerdy programmer behind Karsh’s creation; he's obsessed with his ex-wife, Becca’s near-identical sister (Kruger again), whose idea of foreplay is batting about conspiracy theories. So much happens to ol’ Karsh—vandalism wrecks his cemetery, his flirtatious bitmoji of a personal assistant (still Kruger) gets flakier, and he’s seduced by the blind Korean wife (Sandrine Holt) of a Hungarian mogul who wants to help GraveTech go global—and yet so little apparently changes as a result. Call The Shrouds a tone poem (or a deadpan comedy) about the interconnections between paranoia and grief and jealousy. It might just annoy the hell out of you, but I was happy to loiter in this intriguing world in and remain just as happy to muse over its ideas after the fact. B+
Sinners
Ryan Coogler’s Jim Crow vampire flick is a truly rare thing: a wholly self-assured mess. Technically and narratively, Coogler knows exactly what he wants to do, whether or not you can keep up, and each of the performers are just as committed. You get Michael B. Jordan distinguishing the murderous twins Smoke and Stack without resorting to caricature, Delroy Lindo as an aged bluesman. Hailee Steinfeld as a seductive quadroon, Jack O'Connell as an undead banjoist, Wunmi Mosaku as a wise hoodoo woman, Saul Williams as a preacher with a new wave hairdo, and I could just keep going. They all populate a vividly simulated Clarksdale, Mississippi to which Jordan’s gangsters have returned to open a juke joint soon targeted by bloodsuckers—you could call this August Wilson’s From Dusk to Dawn. There are visual moments that split the diff between cornball and visionary (I truly did not know Autumn Durald Arkapaw had this in her) and more ideas—about Black spirituality and its vexed relationship to Christianity, about the social role of music, about integration as a deal with the devil—than your average multiplex sees in a whole summer. And if Coogler never slows down to develop those ideas, they still pack a conceptual wallop that complements the film's lived-in texture. This world is so engrossing that by the time the vamps come calling, I almost wished Coogler would just let his people have their one night undisturbed. But America’s not really like that, is it? A-
The Wedding Banquet
What all but tanks Andrew Ahn’s remake of Ang Lee’s 1993 international breakthrough is that in out ‘n’ proud 2025 everyone involved seems a little embarrassed by its wacky, recycled premise (gay man has to trick his traditional family into believing that a green card marriage is real). The film's attempts at a serious relationship drama are undercut by its screwball obligations. There are cute moments and a few laughs—especially from Joan Chen as a mother belatedly overcompensating for neglecting her daughter by going gangbusters with PFLAG—but it's a bummer to watch a terrific cast try to shoehorn themselves into an unnecessary remake instead of telling an original story about queer 21st century people of color. B-
