Bleak Week continues at the Trylon, the L.A. Rebellion series continues at the Walker, and there are plenty of other rep goodies listed below. As far as new releases go, I enjoyed the decent crime-romance Carolina Caroline below, am curious about the Paul Rudd/Nick Jonas team-up Power Ballad, and can only shrug at the revival of the Scary Movie series.
Special Screenings
Thursday, June 4
Putney Swope (1969)
Capri Theater
Robert Downey Sr.’s scathing take on race and advertising. $5. 7 p.m. More info here.
Smithereens (1983)
Emagine Willow Creek
A Jersey girl travels cross-country to become a punk. $9. 7:30 p.m. More info here.
Paris, Texas (1984)
Grandview 1&2
Harry Dean Stanton is a drifter. Then again, isn’t he always? $14.14. 9:15 p.m. More info here.
Stolen Kingdom (2025)
Heights Theater
A look at Disney World’s underground exploring community. $15. 7 p.m. More info here.
Best in Show (2000)
North Loop Green
Dog people are weird. Free. 7 p.m. More info here.
Purple Rain (1984)
Parkway Theater
Never heard of it. $9/$12. Trivia at 7:30 p.m. Movie at 8 p.m. More info here.
The Life of Oharu (1952)
Trylon
A Japanese woman falls in love with a man below her social status, with terrible consequences. $8. 7 p.m. More info here.
A Different Image (1982)
Walker Art Center
A Black art student struggles to define herself authentically. $12/$15. 7 p.m. More info here.
Friday, June 5
Matilda (1996)
Alamo Drafthouse
Who knew that little girl would grow up to write such fun posts about War and Peace? $7. 12:30 p.m. Monday-Wednesday 4 p.m. More info here.
Cruising (1986)
Heights Theater
Al Pacino goes undercover—gay undercover. $16. 9:45 p.m. More info here.
Scream It Off Screen
Parkway Theater
Let’s go yell at some movies. $18/$25. 8 p.m. More info here.
The Cremator (1969)
Trylon
A Czech crematorium director decides that Hitler has some good ideas. $8. 7 & 9 p.m. More info here.
Saturday, June 6
Sisters (1973)
Alamo Drafthouse
There were never such devoted sisters. $13.99. 9:45 p.m. More info here.
Finding Our Way (2026)
Capri Theater
The story of the Minneapolis Sound. Free. 1:30 p.m. More info here.
Robin Hood (1973)
Heights Theater
Look, I’m sorry, but the fox is just very attractive. $13. 11 a.m. More info here.
The Laurel and Hardy Festival (1929-1934)
Heights Theater
They invented one guy being thin and one guy being fat. Also Sunday. 2 p.m. $15. More info here.
New York Ninja (2021)
Heights Theater
Shot in 1984, but not released for decades. $16. 9:45 p.m. More info here.
Kids in the Hall: Brain Candy (1996)
Main Cinema
Antidepressants gone wrong. $11. 10 p.m. More info here.
Mad Max: Fury Road (2015)
North Garden Theater
The Picturegoer Film Club returns. $10. 6 p.m. More info here.
Zodiac (2007)
Trylon
Obsessing over serial killers? Bleak! $8. 11 a.m. More info here.
Sátántangó (1994)
Trylon
Seven hours of Béla Tarr long takes? I’m so fucking there. Sold out. 2 p.m. More info here.
Sunday, June 7
The Birdcage (1996)
AMC Rosedale 14/AMC Southdale 16/B&B Bloomington/Emagine Willow Creek/Marcus West End
You couldn’t make this movie today. (Robin Williams too dead.) Also Wednesday. Prices, showtimes, and more info here.
F1 on Apple TV Live in IMAX: Monaco Race
AMC Southdale 16
Watch the cars go fast on the big screen. $30. 7:45 a.m. More info here.
Clueless (1995)
Emagine Willow Creek
So sad that Stacey Dash died immediately after this and was never heard from again. Also Wednesday. $11. 3:30 & 6:15 p.m. More info here.
Chungking Express (1994)
Grandview 1&2
One of the coolest movies of the ’90s. Also Thursday. $14.14. 9:15 p.m. More info here.
Saving Private Ryan (1997)
Lagoon Cinema
Needs more about the weather forecast for D-Day. $11. 2 p.m. Wednesday 4 & 7 p.m. More info here.
Bigfoot Woods (2026)
Main Cinema
A trans teen captures footage of Bigfoot. $11. 1 p.m. More info here.
Amma’s Pride (2024)/My Sunnyside (2025)
Main Cinema
Two docs: One about a mother’s lover for her trans daughter, another about a trans couple in Queens. $11. 1 p.m. More info here.
Gabby’s Dollhouse: The Movie (2025)
Marcus West End
Oh no! Kristen Wiig has stolen the dollhouse, or something. Through Tuesday. Prices, showtimes, and more info here.
But I’m a Cheerleader (1999)
Roxy’s Cabaret
The movie that invented cheerleaders being gay. Free. 7 p.m. More info here.
Come and See (1985)
Trylon
War? Hell. $8. 1 & 4 p.m. More info here.
Shaun of the Dead (2004)
Trylon
Makes a great double feature with Come and See. $8. 7 p.m. Monday-Tuesday 7 & 9 p.m. More info here.
Monday, June 8
Girls Like Girls (2026)
Alamo Drafthouse
An advance screening of the directorial debut from former Disney kid Hayley Kiyoko. $13.99. 7 p.m. More info here.
Do the Right Thing (1989)
Edina Mann
A timeless story in ways both good and bad. Also Wednesday. $12.12. 7 p.m. More info here.
Madman (1981)
Emagine Willow Creek
Has a legendary psycho been summoned to a summer camp? $9. 7:30 p.m. More info here.
Tuesday, June 9
Chime (2024)/Serpent’s Path (1998)
Alamo Drafthouse
Two films from the Japanese master of dread Kiyoshi Kurosawa. $10.99. 8 p.m. More info here.
Sacred Heart: His Reign Has No End (2026)
AMC Rosedale 14/AMC Southdale 16/Marcus West EndJesus. Through Thursday. Showtimes and more info here.
Wednesday, June 10
Cave of Forgotten Dreams (2010)
Alamo Drafthouse
Werner Herzog investigates the Chauvet caves. $13.99. 7:15 p.m. More info here.
The Fifth Element (1997)
The Commons
Hey, this movie isn’t about rap. Free. 9 p.m. More info here.
Secret Movie Night
Emagine Willow Creek
A surprise film chosen by a local notable. $12. 7 p.m. More info here.
WTO/99 (2025)
Main Cinema
Excellent look at the Seattle protests of 1999. Presented by Smitten Kitten, with 50% of sales going to mutual aid. (Yes, Anne will be there.) $20. 7 p.m. More info here.
Summer Tour (2023)
Trylon
Deadheads face the final tour. Presented by Sound Unseen. $13. 7 p.m. More info here.
Killer of Sheep (1977)
Walker Art Center
I like to sing this title to the tune of GBV’s “Kicker of Elves.” $12/$15. 7 p.m. More info here.
Thursday, June 11
Showgirls (1995)
Alamo Drafthouse
Elizabeth Berkley puts the “hoe” in Verhoeven. $20. 6:45 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 indie 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. 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.
Opening
Follow the links for showtimes.
The Amazing Digital Circus: The Last Act
The conclusion of the online series, in theaters.
Everyone Is Lying to You For Money
I love that Ben McKenzie has become an anti-crypto crusader.
Masters of the Universe
I'll stick with the Christmas special, thanks.
Power Ballad
Paul Rudd is an aging wedding singer; Nick Jonas is an aging boy-band member. They unexpectedly bond one evening, but then one betrays the other.
Scary Movie
The trailer leads off with a joke about pronouns.
Trainspotting
Hey, this movie isn't about trains.
Ongoing in Local Theaters
Follow the links for showtimes.
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
