If it seems like there's a new film festival at the Main every week... well, there kinda is. This week it's the German Film Festival, with selections you can scan below. And if you scroll down to the "Opening" section, you'll find a review of Nuremberg, exactly the sort of movie that comes out this time of year.
Special Screenings
Thursday, November 6
Assembly (2025)
Capri Theater
Artist Rashaad Newsome transforms an armory into a space for Black queer creativity. $5. 7 p.m. More info here.
The Taking of Pelham One Two Three (1974)
Grandview 1&2
Hands down the most entertaining "gritty New York City" movie of the '70s, and that's sayin' a lot. $14.14. 9:15 p.m. More info here.
Greetings From Mars (2024)
Main Cinema
A 10-year-old imagines a stay with his grandparents as a mission to Mars. Part of the Twin Cities German Film Festival. Free. 10:30 a.m. More info here.
Bonjour Switzerland (2023)
Main Cinema
A hit when it screened at MSPIFF. Part of the Twin Cities German Film Festival. $12. 7:30 p.m. More info here.
A Winter Love (2023)
Mia
Part of November’s “Meet at Mia,” followed by a Q&A with local director Rhiana Yazzie. Free. 6:30 p.m. More info here.
Preserved (2025)
Riverview Theater
A documentary about the animal preservation work done at Ted Turner's Vermejo Park Reserve in New Mexico. $7. 7 p.m. More info here.
Friday, November 7
Don’t Look Now (1973)
Alamo Drafthouse
Featuring one of the most awkward, realistic sex scenes on film. $13.99. 8:45 p.m. More info here.
Excavator Drama (2024)
Main Cinema
A family that owns an excavator business loses a daughter. Part of the Twin Cities German Film Festival. $12. 7:30 p.m. More info here.
Scream It Off Screen
Parkway Theater
Election’s over, time to scream! Sold out. 8 p.m. More info here.
Night of the Juggler (1980)
Trylon
Josh Brolin’s daughter is kidnapped! $8. Friday-Saturday 7 & 9:15 p.m. Sunday 3 & 5:15 p.m. More info here.
The Searchers (1956)
Walker Art Center
The John Ford classic, screening as part of a series that questions the film’s legacy. $12/$15. 7 p.m. More info here.
Saturday, November 8
Choose Me (1984)
Alamo Drafthouse
Like most Alan Rudolph movies, underrated. And can you name a more early ’80s cast than Geneviève Bujold, Keith Carradine, Lesley Ann Warren, and Rae Dawn Chong? $10.99. 4 p.m. More info here.
Live From the Met: La Bohème
AMC Rosedale 14/AMC Southdale 16/Emagine Willow Creek/Lagoon Cinema/Marcus West End
The title is French for “the bohème.” Also Wednesday. $27.22. Noon. More info here.
Sentimental Value (2025)
Main Cinema
An advance screening of the latest from Norwegian director Joachim Trier. Free for MSP Film Society members. 11 a.m. More info here.
Everything's Fifty Fifty (2024)
Main Cinema
Divorced co-parents run into trouble. Part of the Twin Cities German Film Festival. $12. 4 p.m. More info here.
Elbow (2024)
Main Cinema
A Berlin teen must flee to Istanbul. Part of the Twin Cities German Film Fest. $12. 7:30 p.m. More info here.
Mary J. Blige: For My Fans (2025)
Marcus West End
A concert film for, as she says, her fans. $15.50. 3:20 p.m. More info here.
Return to Oz (1985)
Parkway Theater
Terrify your children with the weirdest filmed take on Dorothy’s exploits. $5-$10. 1 p.m. More info here.
Ten Five in the Grass (2011)
Walker Art Center
A poetic documentary about the Black rodeo circuit. Preceded by Charles Burnett's The Horse (1973). $12/$15. 7 p.m. More info here.
Sunday, November 9
Desperately Seeking Susan (1985)
Alamo Drafthouse
Where is she??? $10.99. 12:45 p.m. More info here.
To Live and Die in L.A. (1985)
Alamo Drafthouse
Willem Dafoe is a master counterfeiter. $10.99. 4 p.m. More info here.
Rocky IV: Rocky vs Drago – The Ultimate Director’s Cut (1985)
AMC Rosedale 14/AMC Southdale 16/B&B Bloomington/Emagine Willow Creek/Marcus West End
Not sure that the edit was the only problem with this movie. Prices, showtimes, and more info here.
Chicken Run (2000)
AMC Southdale 16
A 25th anniversary rerelease. $13.99. 2 & 7 p.m. More info here.
How to Lose a Guy in 10 Days (2003)
Emagine Willow Creek
Revisit the peak Kate Hudson era. $10.60. 2 p.m. Wednesday 6:45 p.m. More info here.
New Jack City (1991)
Grandview 1&2
Remember how cool Wesley Snipes used to be? $14.14. 9:15 p.m. More info here.
7th Heaven (1927)
Heights Theater
A couple’s happiness is interrupted by the Great War. With music from the Poor Nobodys. $20. 7:30 p.m. More info here.
Circusboy (2025)
Main Cinema
A tween raised by a circus family bonds with his grandfather. Part of the Twin Cities Film Fest. $12. 4 p.m. More info here.
Matter of Time (2025)
Marcus West End
Eddie Vedder organizes a benefit concert to fight the genetic disease Epidermolysis Bullosa. $12.50. 4 p.m. More info here.
Death Becomes Her (1992)
Roxy’s Cabaret
The original The Substance? Free. 7 p.m. More info here.
The Girl Who Leapt Through Time (1983)
Trylon
She’s in a time trap, just like in that Built to Spill song. $8. 7:30 p.m. Monday-Tuesday 7 & 9 p.m. More info here.
Monday, November 10
Saturday Night Fever (1977)
Edina Mann
Possibly grittier than you think. Also Wednesday. $12.15. 7 p.m. More info here.
The Lift (1983)
Emagine Willow Creek
A killer elevator! $8.60. 7:30 p.m. More info here.
Marriage in the Shadows (1947)
Heights Theater
A German actor and his Jewish wife face oppression from the Nazis. $15. 7:30 p.m. More info here.
Secret Movie
Lagoon Cinema
Hint: It's 130 minutes long. $5. 7 p.m. More info here.
Marcus Mystery Movie
Marcus West End
Hint: It's 125 minutes long. $6. 7 p.m. More info here.
Caddyshack (1980)
Parkway Theater
Welcome to the raunchier side of golf. $9/$12. Trivia at 7:30 p.m. Movie at 8 p.m. More info here.
Tuesday, November 11
Virgin Punk: Clockwork Girl (2025)
AMC Rosedale 14/Marcus West End
The first episode of the anime series. AMC: $16.33. 7 p.m. More info here. Marcus: $16.65. 7:30 p.m. More info here.
Singin' in the Rain (1952)
Heights Theater
Never heard of it. $13. 7:30 p.m. More info here.
Wednesday, November 12
The Descent (2006)
Alamo Drafthouse
This movie doesn’t scare me because I wouldn’t go down in a damn cave like that to begin with. $10.99. 8 p.m. More info here.
Secret Movie Night
Emagine Willow Creek
A local notable chooses what you watch. $11.60. 7 p.m. More info here.
Venus of Mars (2003)
Trylon
A documentary about Minnesota’s pioneering trans rocker Venus de Mars. Presented by Sound Unseen. $13. 7 p.m. More info here.
Opening This Week
Follow the links for showtimes.
Christy
Sydney Sweeney is in yet another movie.
Die My Love
Jennifer Lawrence has postpartum depression in the latest from Lynne Ramsay.
The Girlfriend
A young woman explores love and relationships in college.
Grand Prix of Europe
A mouse sneaks her way into auto racing.
I Wish You All the Best
A nonbinary teen is kicked out by their parents and moves in with their estranged sister.
Karen Kingsbury’s The Christmas Ring
Can a military widow and an antiques dealer find love?
Langlang Shan Xiao Yao Guai
A Chinese animated film, aka Nobody.
Little Amelie or the Character of Rain
The life of a Belgian girl in Japan changes on her third birthday in this animated film.
Lost and Found in Cleveland
An Antiques Roadshow-like program changes the lives of several Cleveland residents.
Nuremberg
Nuremberg promises us both a stirring old-school courtroom drama and a keen psychological battle of wits, and on both counts it only half delivers. After WWII, Supreme Court Justice Robert Jackson (Michael Shannon) is determined to take down imprisoned Nazi second-in-command Hermann Göring (Russell Crowe) in a fair trial. The film practically plays up the devious Göring as a Hannibal Lecter figure, and his would-be Will Graham is psychiatrist Douglas Kelley (Rami Malek), sent to find out what makes the runner-up Führer tick. As Jackson, Shannon has the needed gravitas and pride, and the skills to nuance the thunderous Oscarish moments. The supporting cast is good as well: Colin Hanks always makes a good pinhead, John Slattery would have regular work if they still made war pictures like they used to, and Richard E. Grant is quietly effective as the Brit who saves Jackson’s ass. Malek is fine, but he really needs to learn not to constantly smirk. Anyway, I was there to see Russell Crowe as Hermann Göring, and he delivered the same precise hamminess he brings to the title role as The Pope’s Exorcist or Zeus in Thor: Love and Thunder. He doesn’t render Göring human—that would be silly. But he does create a well-rounded film character, and that’s all Nuremberg requires. B
Predator: Badlands
The movie that inspired Springsteen to write “Nebraska.”
Sarah’s Oil
A Black girl in early 20th century Oklahoma stakes her claim.
Train Dreams
The latest from director Clint Bentley (Sing Sing, Jockey) follows a man working on the railroad who misses his family.
Unexpected Christmas
It does sneak up on ya.
Ongoing in Local Theaters
Follow the links for showtimes.
Chainsaw Man - The Movie: Reze Arc
Downton Abbey: The Grand Finale
Frankenstein
That’s Guillermo del Toro’s Frankenstein, if you must. As opposed to “Mary Shelley’s,” I suppose, though to be fair del Toro approximates the original novel more faithfully than most adaptations. In spirit, at least—he takes liberties with the story, most cleverly in making it so the Creature (Jacob Elordi) can never die. But he also ladles on an excess of motivational cues. F’rinstance, Victor Frankenstein’s father, the old Baron (Charles Dance), beats his son, which is why the doctor rejects the Creature so violently, you see, Frankenstein also juices up the conflict between Victor and Creature with several layers of jealousy: Mia Goth’s Elizabeth, Victor’s fiance in the book, is here engaged to his brother William, and, as del Toro heroines will, she falls for the Creature. And while the addition of Christoph Waltz as VIctor’s angel investor Heinrich Harlander is, I suppose, meant to highlight that our latter day mad scientists are funded by even madder financiers, his is one subplot too many. While Frankenstein has a vivid pop goth sheen, it lacks any real poetry or madness; humanist softie that he is, Del Toro even arranges a final reconciliation between the maker and his creation. And though it’s fun as hell to watch the Creature wreck shit, flinging people about with Hulk-like ferocity, his look is kinda wanting: He’s just a big, stitched together guy, kind of a jacked, overgrown Gollum. B
Grow—ends Friday
If I Had Legs I’d Kick You
If I wanted to be cute I’d call Mary Bronstein’s frenzied If I Had Legs I’d Kick You the Uncut Gems of motherhood. But where Adam Sandler’s Howard Ratner thrives on chaos, Rose Byrne plays a woman here who, unable to control the tumult of her life, strives desperately to escape it. With her husband (Christian Slater) away at work for two months, Byrne’s Linda, a therapist, is left to care for her child (Delaney Quinn) who has an eating disorder, a feeding tube, and typical childly needs. A colossal hole floods Linda’s apartment, sending her and the kid to a nearby motel as she juggles some sort of transference issues with her therapist (Conan O’Brien), the demands of a needy patient (Danielle Macdonald) with a newborn child, and the unwanted friendly gestures of a motel neighbor (A$AP Rocky). Bronstein presents the impossible demands of motherhood as a Matryoshka doll of failure, with Linda feeling guilty for feeling guilty about feeling guilty about her guilt, and Byrne bravely burrows into the harrowing, hilarious core of her role. (It’s not easy to make Byrne look unattractive, but the extreme closeups and garish lighting do their best.) This is anxiety as it’s actually lived, where every input is re-interpreted as a threat and every inconvenience is a catastrophe and objecting that “It isn’t supposed to be like this” doesn’t help a damn bit. A-
Last Days—ends Thursday
The Long Walk—ends Thursday
Nouvelle Vague—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
Paranorman—ends Thursday
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
Springsteen: Deliver Me From Nowhere
Bruce sure knows how to sabotage synergy, don’t he? The Boss released the long craved “Electric Sessions” of his lo-fi acoustic classic Nebraska (as part of a pricey box set) just in time for fans to watch Jeremy Allen White’s onscreen Springsteen complain about how those versions suck. And the artist was right to stand his ground against the big, bad money men at Columbia and insist that they release the haunted tapes he’d four-tracked on a TEAC 144 at his Colts Neck crash pad. Still, watching a guy write in a notebook and sing in his bedroom isn’t particularly cinematic. And you know what’s even harder to dramatize? The depression that Springsteen slipped into during this period, which writer/director Scott Cooper tries to explain via black and white flashbacks to a childhood dominated by an emotionally distant, physically abusive dad (Stephen Graham, doing his best as a psychological bogeyman). Jeremy Allen White, whose alleged charisma remains imperceptible to me, mostly plays Bruce as a sullen non-entity, and though he’s got the hunched shoulders and stretched, stiff neck down pat, half of the white guys in Jersey look more like the Boss than Allen does. But the big problem is that Cooper can’t match the eloquence with which Bruce Springsteen has written, sung, and spoken about his relationship with his father. Springsteen: Deliver Me From Nowhere may be as earnest as its subject, yet it's telling that a movie about a guy demanding that an album cover not even feature his photo lets someone prefix “Springsteen” to its title to make the film more marketable. C+
