22 Jump Street
See review this issue. Various Theaters.

Ai Weiwei: The Fake Case
A documentary that picks up after the arrest and imprisonment of Chinese artist Ai Weiwei. Living Room Theaters.

Before You Know It
This documentary will break your heart. Filmmaker PJ Raval documents the lives of three elderly gay men in the U.S. In Harlem, Ty talks about the number of friends lost to the AIDS epidemic; it's a devastating list. In Portland, Dennis, in his late 70s, talks about his wife dying, his depression, and his family's indifference. Many of the men's biological family members either ignore them or merely tolerate them. In light of this, they've created their own circles—in Texas, Robert runs a bar where his patrons are like close family. It's not without happy moments, but Before You Know It is a tearjerker that leaves you feeling a little hopeless. JENNA LECHNER Clinton Street Theater.

Big Trouble in Little China
See My, What a Busy Week! Hollywood Theatre.

Dr. No
"The successful criminal brain is always superior. It has to be!" Laurelhurst Theater.

Edge of Tomorrow
A fun, funny action movie with science-fiction smarts, deft satire, a nail-biter of a plot, and lots of cool explosions. If you see a better popcorn movie this summer, it's going to be a very good summer indeed. NED LANNAMANN Various Theaters.

Fashion in Film
For the Hollywood's clothes-obsessed Fashion in Film series, the Mercury's Marjorie Skinner presents a screening of 1995's clothes-obsessed Clueless. Hollywood Theatre.

The Fault in Our Stars
John Green's The Fault in Our Stars is one of the most popular young adult novels of the last several years, and one of the rare YA titles to make serious headway with adults as well. Through the lens of two love-struck teenagers—both of whom happen to have cancer—the novel addresses mortality and illness with clarity, humor, and depth. So it's understandable that in adapting Green's novel for the screen, director Josh Boone and screenwriters Scott Neustadter and Michael H. Weber hewed closely to it. In some regards, their respect for the novel pays off; other elements of the book probably should've stayed on the page. ALISON HALLETT Various Theaters.

How to Train Your Dragon 2
How do you train your dragon? With love. That was the message of a certain unexpectedly magnificent cartoon from 2010, and the let's-all-try-to-get-along vibe is continued in How to Train Your Dragon 2, a worthy follow-up with all the heart and humor of its predecessor. Set five years after gawky teen Hiccup (voiced by Jay Baruchel) helped his Viking village turn dragons from enemies into friends, the sequel has him and his proud father (Gerard Butler) disagreeing on how to handle Drago Bloodfist (!), a fearsome warrior who's assembling a dragon army. Thematically, it's "people can change" vs. "no they can't" as writer/director Dean DeBlois expands the story's mythology and ups the emotional stakes by reuniting Hiccup with his long-lost mother (Cate Blanchett). One more rousing success like this and How to Train Your Dragon will be the second-best animated trilogy in history. (Nothing's gonna touch Toy Story, sorry.) ERIC D. SNIDER Various Theaters.

Internet Cat Video Festival
See My, What a Busy Week! Hollywood Theatre.

New Czech Cinema
See Film, this issue. Whitsell Auditorium.

Night Moves
Kelly Reichardt isn't a traditional storyteller. Her films, written in collaboration with Portland writer Jonathan Raymond (Old Joy, Wendy and Lucy, Meek's Cutoff), are like enlarged fragments of longer narratives: We meet characters with little context, and when we part ways with them, it's most often without a clear sense of resolution. But in Night Moves, Reichardt engages more than ever with... well, plot. Genre, even. Night Moves is her most easily classifiable work to date; thankfully, Reichardt keeps herself at enough of a remove from traditions that she retains her identity as a purveyor of the unanswered. MARJORIE SKINNER Hollywood Theatre.

Portland Jewish Film Festival
See Film, this issue. Whitsell Auditorium.

Portland Stew
A monthly "open screening potluck" that combines food and experimental film. More at cstpdx.com. Clinton Street Theater.

Repressed Cinema
A monthly series at the Hollywood Theatre, "showing vintage and contemporary films that are obscure, neglected, and from the fringe." This month: Hollywood After Dark, a noir about a scrapyard owner who turns to crime to save his girlfriend, played by The Golden Girls' Rue McClanahan. Hollywood Theatre.

Rough Cuts
A new series where local filmmakers can screen in-progress works to get public feedback. First up: Johnnie Mazzocco's Found Objects. More at cstpdx.com. Clinton Street Theater.

The Sacrament
See review this issue. Hollywood Theatre, On Demand.

Superman
A miracle of filmmaking containing both the single best live-action performance in the history of superhero movies (Christopher Reeve) and the single dumbest sequence in the history of superhero movies (spinning the Earth backwards reverses time itself). Academy Theater.

Under the Skin
Filmmakers—male filmmakers, especially—have a tendency to exploit Scarlett Johansson as a kind of blank, beautiful object—a weird kind of emotional prop favored by long silences and longing glances. She's implemented as this beautiful, otherworldly thing—a vague, cipher-like canvas whose surface vividly reflects whatever meaning other people project upon it. It's an unseemly kind of mishandling that Jonathan Glazer upends to marvelous effect in the sensually stunning Under the Skin. ZAC PENNINGTON Academy Theater, Laurelhurst Theater.

We Are the Best!
See review this issue.

Young & Beautiful
See review this issue. Cinema 21.