I've got six new reviews for you below, ranked in order of my enjoyment: The History of Concrete, If I Go Will They Miss Me, Primetime, Resident Evil, Hope, and Verity.
Over in the rep world, the Heights presents some classics in honor of its centennial and the Trylon starts a whole month of witch movies.
Special Screenings
Thursday, October 1
Terminator 2: Judgment Day (1991)
Alamo Drafthouse
This time, he’s our unstoppable killing machine from a dystopian future. $13.99. 6:15 p.m. More info here.
Spirited Away—Live on Stage
AMC Rosedale 14/AMC Southdale 16/Emagine Willow Creek/Marcus West End
The Miyazaki classic, spectacularly adapted for the stage. Also Thursday, October 8. Prices, showtimes, and more info here.
Nickel Boys (2024)
Capri Theater
Brilliant adaptation of the Colson Whitehead novel. $5-$20. 7 p.m. More info here.
Videodrome (1983)
Grandview 1&2
James Woods is so unfortunately good in everything he’s in. $13.19. 9:15 p.m. More info here.
Sunset Boulevard (1950)
Heights Theater
The classic “life upended by an aging star” film, referenced by not one but two new movies this summer. $16. 7 p.m. More info here.
She’s the He (2026)
Main Cinema
The Flip the Script Queer Film Festival opens with this trans coming-of-age comedy. 7 p.m. Saturday 2:30 p.m. More info here.
The Naked Spur (1953)
Trylon
Jimmy Stewart is hot on Robert Ryan’s trail in this morally complex Western. $8. 7 p.m. More info here.
D’Est (From the East) (1993)
Walker Art Center
Chantal Akerman’s document of life in Eastern Europe after the fall of the Soviet Union. $6/$8. 7 p.m. More info here.
Friday, October 2
Donnie Darko (2001)
AMC Rosedale 14/AMC Southdale 16/Emagine Willow Creek/Marcus West End
Not as deep as teen-you thought, but still pretty entertaining. Through Sunday. Ticket prices, showtimes, and more info here.
Hostel (2006)
AMC Rosedale 14/AMC Southdale 16
Oh hey, it’s a pun. Also Tuesday. $7. 8 p.m. More info here.
The Nightmare Before Christmas (1993)
AMC Southdale 16
The eternal question: Is this a Halloween movie or a Christmas movie? $10. 1:30 & 3:45 p.m. More info here.
Corey Feldman vs. the World (2025)
Emagine Willow Creek
The former child star mounts a world tour. It does not go well. $13. 7:30 p.m. More info here.
The Shining (1980)
Heights Theater
Never marry a writer. $16. 6 & 9:30 p.m. More info here.
My Sunnyside (2025)
Main Cinema
A trans couple builds a life together in Queens. Part of Flip the Script Queer Film Festival. $12. 7 p.m. More info here.
Shorts 1: Thrills and Chills
Main Cinema
A selection of short films. Part of Flip the Script Queer Film Festival. $12. 9:15 p.m. More info here.
Scream It Off Screen
Parkway
Time to yell at some movies. $18/$25. 8 p.m. More info here.
Black Zombie (2026)
TriLingua Cinema
A look at the Haitian origins of the zombie myth. $5. 5:45 p.m. More info here.
Train to Busan (2016)
TriLingua Cinema
I have had it with these motherfucking zombies on this motherfucking train. $5. 8 p.m. More info here.
Day of Wrath (1943)
Trylon
A witch hunt feels curiously Nazi-like in this Dreyer masterpiece. $8. 7 p.m. Saturday 9 p.m. Sunday 1 p.m. More info here.
The VVitch (2015)
Trylon
Remember when you weren’t yet sick of Robert Eggers and Anya Taylor Joy? Or is that just me. $8. 9 p.m. Saturday 5 & 7 p.m. Sunday 3 p.m. More info here.
When There Is No More Music to Write, and Other Roman Stories (2022)
Walker Art Center
Éric Baudelaire’s tribute to composer Alvin Curran. $12/$15. 7 p.m. More info here.
Saturday, October 3
Blue Velvet (1986)
Alamo Drafthouse
Did you know there’s a dark underside to American life? $10.99. 4 p.m. More info here.
Ninja Scroll (1993)
Alamo Drafthouse/AMC Southdale/Marcus West End
A classic anime has been restored. Alamo: $13.99. 7:15 p.m. Tuesday-Wednesday 7:30 p.m. More info here. AMC: $13.99. 4 p.m. Monday & Wednesday 7 p.m. More info here. Marcus: $15.50. 4:30 & 6:50. Monday & Wednesday 7:10 p.m. More info here.
Cosi Fan Tutte: Live at the Met
AMC Rosedale 14/AMC Southdale 16/Emagine Willow Creek/Lagoon Cinema/Marcus West End
The Met’s staging of the Mozart farce. Noon. Wednesday 1 & 6:30 p.m. Ticket prices and more info here.
Linkin Park: Unshatter (2026)
AMC Southdale 16/B&B Bloomington/Emagine Willow Creek/Marcus West End
Catching up with the band today. 2 p.m. Prices and more info here.
Master of the Flying Guillotine (1976)
Emagine Willow Creek
An assassin is coming for the One-Armed Boxer! Also Thursday. $9. 7:30 p.m. More info here.
Pinocchio (1940)
Heights Theater
OK, but why is the goldfish so sexy? $6-$13. 11 a.m. More info here.
Ueck (2026)
Heights Theater
A new doc about legendary Miller Lite pitchman/Mr. Belvedere star Bob Uecker. $10/$13. 1:30 p.m. More info here.
Monty Python & the Holy Grail (1975)
Heights Theater
The movie that made it impossible to take so many other movies seriously. $10/$13. 4:15 p.m. Monday 4:30 p.m. More info here.
The Matrix (1999)
Heights Theater
The Wachowskis’s very own 35mm print. $16. 6:30 & 9:30 p.m. More info here.
Dracula (1931)
Lagoon Cinema
An immigrant beginning a new life in England is hunted down by his neighbors. $13. 12:15 p.m. More info here.
Shorts 2: Comedy
Main Cinema
A selection of short comic films. Part of Flip the Script Queer Film Festival. $12. Noon. More info here.
Shorts 3: Documentary
Main Cinema
A selection of short docs. Part of Flip the Script Queer Film Festival. $12. 4:30 p.m. More info here.
Hunky Jesus (2026)
Main Cinema
A doc about the queer “nuns” who call themselves the Sisters of Perpetual Indulgence. Part of Flip the Script Queer Film Festival. $12. 6:30 p.m. More info here.
Shorts 4: Altered Realities
Main Cinema
A selection of short films. Part of Flip the Script Queer Film Festival. $12. 8:30 p.m. More info here.
Killer Klowns From Outer Space (1988)
Main Cinema
Now that’s a late-night movie. Presented by Midnight Mayhem. $13. 10 p.m. More info here.
Psycho (1960)
Picturegoer Club
A secretary steals $40,000 from her boss. $10. 6 p.m. More info here.
CatVideoFest 2026
Riverview Theater
The cats are still here! Also Sunday. $5. 10:45 a.m. More info here.
Vanishing Point (2025)
Walker Art Center
Iranian artist Bani Khoshnoudi looks into her cousin’s disappearance. $12/$15. 7 p.m. More info here.
Sunday, October 4
Casino Royale (2006)
Alamo Drafthouse
The Daniel Craig era begins. $13.99. 7:15 p.m. More info here.
The Shining (1980)
Emagine Willow Creek
If you’d rather see it in Plymouth. Also Wednesday. $11. 3:15 & 6:45 p.m. More info here.
The Exorcist (1973)
Grandview 1&2
Kids these days! Also Thursday. $13.19. 9:15 p.m. More info here.
The Good, the Bad, and the Ugly (1966)
Heights Theater
RIP Arch Stanton. $10/$13. 1 p.m. Tuesday 7 p.m. More info here.
It Happened One Night (1934)
Heights Theater
This movie is still fun as hell. $10/$13. 4:45 p.m. More info here.
Safety Last! (1923)
Heights Theater
The one where Harold Lloyd hangs from the clock. $20. 7:15 p.m. More info here.
Shorts 5: When Sparks Fly
Main Cinema
A selection of short films. Part of Flip the Script Queer Film Festival. $12. 1 p.m. More info here.
Shorts 6: Everything Changes
Main Cinema
A selection of short films. Part of Flip the Script Queer Film Festival. $12. 3 p.m. More info here.
Beginning While Ending: A Life Like Most Others (2026)
Main Cinema
The closing film of Flip the Script Queer Film Festival. $12. 5:15 p.m. More info here.
Saint Laurent (2014)
Mia
The museum celebrates its new "Paris Couture" exhibit with this doc about the French designer. Free. 2 p.m. More info here.
Suspiria (1977)
Trylon
*Phil Collins voice* $8. 5 & 7 p.m. Monday-Tuesday 7 & 9 p.m. Thursday 7 p.m. More info here.
Monday, October 5
The North (2026)
AMC Rosedale 14/AMC Southdale 16
Two friends walk 600 km through the Scottish Highlands. An advance screening. $19.99. 7 p.m. More info here.
Psycho (1960)
Edina Mann
If you’d rather watch it in Edina. Also Wednesday. $10.90. 7 p.m. More info here.
Error_MovieTitle_Unknown (2026)
Emagine Willow Creek
A secret new movie. $7. 7 p.m. More info here.
Opera (1987)
Emagine Willow Creek
A stylish (as ever) Argento slasher. $9. 7:30 p.m. More info here.
Chicago (2002)
Heights Theater
Adequate screen version of an OK musical. $10/$13. 7 p.m. Tuesday 4:15 p.m. More info here.
Secret Movie
Lagoon Cinema
Another secret new movie. $5. 7 p.m. More info here.
Marcus Mystery Movie (2026)
Marcus West End
And yet another secret new movie. $7. 7 p.m. More info here.
Tuesday, October 6
Der Fan (1982)
Alamo Drafthouse
The controversial German thriller. $10.99. 8 p.m. More info here.
The Lost Boys (1987)
Lagoon Cinema
They never use their lunch money. $13. 7:15 p.m. More info here.
Shaun of the Dead (2004)
Parkway Theater
You're laughing? The zombies are eating brains and you're laughing? $10/$15. Burlesque from Queenie von Curves at 7:30 p.m. Movie at 8 p.m. More info here.
Wednesday, October 7
Parasite (2019)
Heights Theater
Bong Joon Hoo's Oscar winner. $10/$13. 7 p.m. More info here.
Halloween (1978)
Lagoon Cinema
Tis the season. $13. 7:15 p.m. More info here.
Queen Budapest (2026)
AMC Rosedale 14/AMC Southdale 16/Marcus West End
Queen’s 1986 Népstadion show. Prices, showtimes, and more info here.
Programme 4: In Colour!
Parkway Theater
Trace Beaulieu & Frank Conniff of Mystery Science Theater 3000 concoct an elaborate parody of/tribute to old TV. $25/$30. 7:30 p.m. More info here.
They’re Here (2026)
Riverview Theater
A new doc about the ICE occupation of Minnesota from Laura Poitras and local filmmaker Rachel Lauren Mueller. $5. 5:45 p.m. More info here.
Tape Freaks
Trylon
There is exactly one ticket left as I write this. $5. 7 & 9 p.m. More info here.
Thursday, October 8
Beetlejuice (1988)
Alamo Drafthouse
In the ’80s, small town America lived in fear of pretentious yuppies fleeing the city. $13.99. 7:15 p.m. More info here.
Rooted: Stories From Minnesota’s Farming Future (2026)
Animales
Dinner plus a film about Minnesota farmers. $25. 7 p.m. More info here.
Babylon (2022)
Heights Theater
This movie should be about the Long Island town celebrated by the New York Dolls. $16/$19. 7 p.m. More info here.
Return of the Jedi (1983)
Orchestra Hall
Never heard of it. $68-$140. 7 p.m. More info here.
Le chant des oubliés (The Song of the Forgotten) (2022)
Walker Art Center
French workers struggle to keep a factory open. $12/$15. 8 p.m. More info here.
Opening
Follow the links for showtimes.
Adore Him: He Is Here
Don’t tell me what to do.
Beware Boiuna
Doctors in the Amazon rainforest disturb a vicious predator.
Don’t Trouble the Trouble
A magician accidentally makes a girl disappear. But the girl is really a genie! (Hey, don’t ask me. I’m just repeating what I read.)
Digger
For his next stunt, Tom Cruise will pretend to be old. Oh, wait…
Drishyam—The Conclusion
The Indian crime-drama trilogy wraps up.
Ghost in the Cell
An Indonesian comedy-horror movie about a haunted prison.
The Incomer
Domhnall Gleeson is a government official who wants to kick a pair of siblings off their Scottish island home.
The Influencer Project
A content creator is stalked!
Moonlight (2016)
Barry Jenkins’s Oscar-winner returns to theaters for its 10th anniversary.
Rolling Loud: The Movie
Owen Wilson takes his kid to a rap festival. Owen!
Verity
“I can’t tell if you’re just very calm or you’re in shock,” Josh Hartnett’s Jeremy Crawford says to Dakota Johnson’s Lowen Ashleigh as she mops blood off her face following a grisly traffic accident, and who among us hasn’t wondered the same about a Dakota Johnson character before? (Lowen later admits, “I have resting bored face.” We get it, girl. You can’t act.) In this eye-roll of a Colleen Hoover adaptation, Lowen, a struggling novelist, has been recruited to finish the work of best-selling author Verity Crawford (Anne Hathaway), who has been rendered mute and immobile by an accident (OR HAS SHE?) Lowen stays with the Crawfords in their fancy Vermont home while working on the book. Lowen discovers a SECRET JOURNAL wherein Verity confesses to CRIMES! (OR DOES SHE?) Lowen masturbates in a tub. Lowen repeatedly says “wow” in that dopey, unphased way we’ve come to expect/dread from Johnson. While I’d blame Hoover for the plot, which would have gotten her laughed out of the 19th century by bona fide Gothic credibility-stretchers, Michael Showalter’s diffident direction, which aspires to no stylistic flair at all, is the real culprit—it’s like he’s trying to keep this dumb thing on the rails, which takes misunderstanding the assignment to all new levels of incomprehension. And now, if you’ll promise to believe me when I say there’s little or nothing more where this comes from, I’ll leave you with the only good line in the movie: “You deserve to rock in your sad little robot bed, you selfish Machiavellian cunt.” C-
Ongoing in Local Theaters
Follow the links for showtimes.
Coyote vs. Acme
When a fed-up Wile E. Coyote belatedly recognizes that defective Acme products are the source of all his woes, he seeks out Kevin Avery (Will Forte), a lawyer who specializes in settling animated clients’ product-liability cases fast and cheap. But the fired-up Coyote, along with Avery’s idealistic niece (Lana Condor), decide to stick it to The Man. Or rather, The Rooster—as Acme’s CEO, Foghorn Leghorn reveals himself as the evil bully we always knew he was, and it’s a hoot to watch him intimidate his lawyer, an obligingly game John Cena. If much of the comedy here leans on nostalgia, the old bits remain good ones. And while there’s a reason classic Looney Tunes didn’t exceed 10 minutes, Bugs and Daffy and Porky and Tweety all turn up at opportune moments. The human/toon interaction is as seamless as it should be, with Forte a serviceable enough straight man that I won’t compare him to Bob Hoskins. Though having avoided mentioning Who Framed Roger Rabbit? as long as I could, I couldn't help but notice that this film flirts with the other’s idea of cartoons as manic chaos agents but never quite plunges in. As for the anti-corporate storyline, it could be a critique of animal testing if it wanted to. (It’s a stretch, I say, I say, a stretch to claim it’s metaphorically calling out Big Tech’s beta-testing.) What stage of capitalism have we reached when a solid piece of entertainment like this becomes a cause célèbre simply because biz pinheads nearly binned it as a tax write off? I’m just glad it gives today’s kids the opportunity to learn who Peter Lorre was the same way that I did. B+
The History of Concrete
A partial list of topics un- or just semi-related to concrete that are covered over the course of John Wilson’s first feature film: the structure of Hallmark movies, preserving corpses’ tattoos, DMX’s criminal record, the difficulty of financing your passion project, the debate over affordable housing, and a monthlong 3,100-mile foot race around a Queens high school. This is very much not where to start with Wilson for newbs: You may well find his affected speech patterns, his reliance on punny street signs or emotionally expressive dogs as punchlines, and his willfully tangential storytelling to be flat-out maddening. But if you already appreciate how Wilson chronicles the absurdity of our jobs and lives and preoccupations with a comedy that rarely stoops to condescension (in part because he’s well aware of the absurdity of his own job and life and preoccupations), then you won’t pass up what’s essentially but not exactly a solid but not transcendent extended episode of How to With John Wilson. And you’ll even learn a little something about concrete, if that’s really what you’re here for. B+
Hope—ends October 1
I had high (sorry) hopes for Na Hong-jin’s “space monster fucks shit up” blockbuster, reportedly the most expensive South Korean production in history. But Hope is such a poorly assembled mess I started to wonder if somehow I was to blame: Had I somehow forgotten how to watch a movie? Which is frustrating because when Hope isn’t tedious it can be thrilling—for exactly two extended action sequences—and Jung Ho-yeon in particular is a strong screen presence. But once cops take down the monster, less than halfway through the film, Na displays an inability to distinguish between suspense and spinning your wheels—what we in the music-crit biz call “filler.” And even Hope’s admirers admit that the CGI is horrific (and not in a good way). So where’d the money go? Let’s just say I hope (that word again) Michael Fassbender and Alicia Vikander got to take a nice vacation. C+
If I Go Will They Miss Me
Walter Thompson-Hernández expanded his prize-winning short about the emotional distance between a father, just released from prison, and his imaginative son into a poetic full-length. The boy (Bodhi Dell) is obsessed with Greek gods (as boys will be); the dad (J. Alphonse Nicholson) shuts down in response to pressure and expectations. Charles Burnett and Barry Jenkins are obvious touchstones here (why shouldn’t they be?), and Thompson-Hernández embraces the humor of everyday life as well as the pain. The film wraps itself up a little too neatly. But Danielle Brooks is excellent as the boy’s mother and Nicholson is such a presence I might actually start watching Lanterns. B+
No Limbs No Limits: The NickV Story—ends October 1
The Odyssey—read full review here
What we tend to forget about The Odyssey is that it’s maybe 10% cool mythological shit like one-eyed giant cannibals and sinister witches and gods punishing impudent mortals and like 90% about exchanging gifts with your hosts and telling very long stories to impress them. What’s remarkable about Christopher Nolan’s The Odyssey is that it honors this aspect of the epic while delivering the supernatural adventure film moviegoers want. Yet as always, Nolan is so transparent in his ideology you can almost believe he’s making an argument, when like any storyteller he’s just using fiction to justify his beliefs. Which, as always, is that we are always one well-told tale away from chaos. Whether the gods are real or not, warns the David Brooks of the cineplex, if we don’t honor them we will undermine the customs that hold our society together. Hey man, I just came here for the Cyclops. B+
Primetime
If you were born too late to experience the ass-end of the Bush era, Lance Oppenheimer presents the grubby sanctimony of 2006 in all its garish, digitally green-tinted horror for you. In this maybe too engaging dark comedy about one of that moment’s most telling cultural artifacts, NBC’s Chris Hansen (Robert Pattinson, rehearsing for Batman or maybe auditioning for Ahab) creates a national phenomenon by luring online creeps in front of the TV camera with the promise of hooking up with minors. Yet this is not really a story best told from within—Hansen’s troubled marriage and professional ambitions are of limited interest, and David Osit’s smart 2025 doc Predator is much better at tracing the legacy of To Catch a Predator. Not only does god write lousy theater, but he inspires screenwriter Ajon Singh to overcompensate for his divine sloppiness with too-tautly structured character arcs, so Merritt Wever’s Nicorette-chomping producer Andie Bender ponders whether she should jump ship to NBC and Skyler Gisondo’s twinky decoy Dan Plum strives to balance his thespian ideals against his tawdry job. And while I appreciate that Primetime assumes we all retrospectively view this once-celebrated bottom-feeder phenomenon as a grotesque relic, its strengths (especially Pattison’s magnetic performance) are more parodic than insightful. Is it really that much less scummy to snicker at these crass vigilantes than it was for TV viewers to cheer for the downfall of the creeps Hansen and his crew entrapped? B
Resident Evil
If video game movies we must have (not like we get to decide) better this gory schlock slapstick than the klutz existentialism of the tedious Exit 8. (Both share a plot point—pregnant girlfriend—if that means anything.) Zach Cregger keeps it simpler here than in Barbarian or Weapons, which means Resident Evil is a little dumber than those (derogatory) but also means Resident Evil is a little dumber than those (complimentary). Austin Abrams (the addict from Weapons) is our dumbass hero, a driver dispatched with a high-priority delivery to the hospital in snowy Racoon City. His cargo, I sincerely hope you won’t be astounded to learn, is the crucial ingredient needed to synthesize an antidote to a man-made contagion sweeping the land. Symptoms typically include zombie catatonia, grasping tentacles, and blob-like absorption of other humans, but there are also acid-puking ghoulies and one tubby fella with an exploding, critter-infested gut. The script could occasionally try a tiny bit harder (how much Abrams muttering “fuck” do we need?) but in a world of forced MCU quippery that’s a venial sin. And in keeping with the source material, the stakes are both enormous (the end of the world!) and virtually negligible (game over). B
Shaun the Sheep: The Beast of Mossy Bottom
Spanglish (2024)—ends October 1
Spider-Man: Brand New Day
Look, we all know what’s wrong with the MCU. Too long, too constructed to promote future installments, just plain too familiar. But I’m not here to relitigate all that. I’m here to tell people who might be in the mood for a Spider-Man movie whether they should see this Spider-Man movie, and my answer is a resounding “Uh, sure.” It is the one currently in theaters, after all, and it’s downright sleek compared to the Spider-Man: No Way Home, which was overstuffed with Spiders-Men, supervillains, and multiverse nonsense. Peter Parker’s existence (Tom Holland) has been magicked away from everyone’s memory, and as he watches his once-gf MJ (Zendaya) and once-bff Ned (Jacob Batalon) live blissful Peter-free lives at MIT, he throws himself into his work. He debates attempting to reintroduce himself while tracking a mysterious entity that leaps from body to body in search of some government secret and dealing with some freakily increasing spidery tendencies. Along the way, he encounters Florence Pugh’s Black Widow (says “potatoes” amusingly), Mark Ruffalo’s Hulk (bigger than ever), (a little too much of) Jon Berenthal’s Punisher, and, of course, Sadie Sink, who plays Jean Grey with an intense school-shooter vibe. Because this is Spider-Man, the fights are less monotonous than the MCU norm, though I was a bit fatigued by the time we got to the climatic battle with the evil ninjas. And as for future installments, I’m sure the device Peter invents that inhibits superpowers won’t be used against the good guys in future films. B
The Stunt Driver—ends October 1
Teenage Sex and Death at Camp Miasma—ends October 1
Jane Schoenbrun’s latest had me hooked before the end of the opening credits sequence, which guides us through the cultural impact of an imaginary slasher series, right down to a fake New Yorker cartoon. Trash connoisseurs tend to be polemicists for their own niche fetishes—boys with toys and a rulebook for playing with them—but Schoenbrun is more intrigued with how pop culture psychologically embeds itself within our identities. They’re also, refreshingly, less respectful of their source material, and happy to indulge in fountains of blood, incongruous needle drops, and a willingness to cringe at the film’s tendency to wink at us. Here Hannah Einbinder is Kris, an indie director fluent in gender-ese and the theoretics of desire who has a shot to resurrect the played-out Camp Miasma series, centered on the unkillable, lake-dwelling trans serial murderer Little Death (Jack Haven). During a trip to recruit the reclusive star of the original installment, Billy Pressley (Gillian Anderson), for the new film, Kris must confront her own trashy sexual fantasies, and I gotta say, it gets pretty hot. Where Shoenburn’s moody, neon-saturated I Saw the TV Glow floated the idea of pop obsession as a fraught portal to self-awareness, this gloriously garish meta-slasher more simply encourages us to learn to revel in the tawdriness of our own unchosen, mass culturally imprinted desires. The leads are perfectly chosen, with a resonance for certain audiences beyond these roles, and the supporting cast balances avatars of contemporary cool like Eva Victor and Sarah Sherman with recognizable character actors like Dylan Baker and the unmistakably Lynchian Patrick Fischler. We’re offered plenty to ponder about the gaze (and, I suppose, the gays), and Teenage Sex may wax a little too therapeutic and, well, polemical in the homestretch. But it’ll take a second viewing for me to care about all that, ‘cause I was preoccupied laughing as hard as the theater of delighted 20-somethings around me. That’s the thing: This works first as entertainment, and also as a tale of sexual bonding that doesn't quite reduce to a love story. Lowering its stakes even as it ratchets up the tension, Teenage Sex is surprisingly tender for a movie that ends with its stars bloodier than Sissy Spacek at the prom. A-
The Weight—ends Thursday, October 1
