"I think we might be fuckups," Verona (Maya Rudolph) admits to Burt (John Krasinski). At 34 and 33, Verona and Burt are unsure of where to go or what to do—so they travel from Arizona to Wisconsin to Montreal to Miami, reconnecting with family members, college friends, and employers to try and figure out where (and how) to grow up. There are a bunch of really excellent things about Away We Go, from Dave Eggers and Vendela Vida's script to Krasinski and Rudolph's performances, but director Sam Mendes can't quite stick the landing: About 500 times during the film, the emo strumming of singer/songwriter Alexi Murdoch swells on the soundtrack, making Away We Go briefly feel like (A) an episode of The O.C., and (B) way too precious. ERIK HENRIKSEN Fox Tower 10.
Bike Porn 3.0
Pornographic bike shorts. Clinton Street Theater.
A "multi-media document of Björk's visually dazzling Volta tour" through Paris and Reykjavik. Hollywood Theatre.
Describing a movie as "quirky" more or less amounts to a critical bitch-slap these days, right up there with calling something "precious" or "twee." But it wasn't always so, and with the fantastic The Brothers Bloom, writer/director Rian Johnson (who previously helmed 2005's creepily original noir Brick) revisits an earlier cinematic era—one in which eccentricity is interesting and quirkiness has yet to become synonymous with Natalie Portman in a helmet. ALISON HALLETT Fox Tower 10.
The Clash: London Calling
Concert footage from the London Calling tour in 1980. Clinton Street Theater.
See review. Northwest Film Center's Whitsell Auditorium.
See art listing. Clinton Street Theater.
You can sing along at this screening of Mercury News Editor Matt Davis' very favorite movie. Mission Theater.
See review. City Center 12, Fox Tower 10.
Floating World Animation Festival
Over three hours of "mind-melting, soul-loving psychedelicanimation" curated by Floating World Comics, with a bonus program, Videocation, curated by Los Angeles' Show Cave Gallery. Featuring live music by Flaspar and Deelay Ceelay. More info: floatingworldcomics.com. Holocene.
See review. Cinema 21.
A documentary focusing on the disputed ownership of a Latino community garden in South Central, this film shows real-life corruption in the City of Angels to be just as mind boggling as its portrayal in film noir. It's enough to make a reporter want to move to Los Angeles. Or run screaming in the opposite direction. I still can't decide. MATT DAVIS Hollywood Theatre.
Good, the Bad, and the Ugly
"In this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig." Mission Theater.
If one good thing comes out of The Hangover, it'll be turning comedians Zach Galifianakis and Ed Helms into viable movie stars. They're both very funny guys, and here they do their best with a not-particularly-good script from the screenwriters of Ghosts of Girlfriends Past and Four Christmases. The problem with The Hangover is that it peaks too soon; early on, it succumbs to over-the-top ridiculousness, then keeps trying to top itself. About halfway through, it becomes repetitive, and then it just slides into monotony. NED LANNAMANN Various Theaters.
Eddie Murphy's latest kiddie flick. GOD HE'S SO DEPRESSING NOW. Various Theaters.
Is There Anybody There?
If I were an old person, I think I would sort of resent having my demographic constantly used as a cinematic foil for young people to learn Important Lessons about mortality. Is There Anybody There? is a particularly egregious example: A young boy whose parents run a retirement home develops an unhealthy interest in the occult, and at least three or four old people have to kick it before he learns there's no such thing as life after death after all. ALISON HALLETT Laurelhurst Theater.
Kabei: Our Mother
The latest from director Yôji Yamada (The Twilight Samurai), Kabei is set in Tokyo in 1940, and focuses on "the strong bond between a mother and her family during WWII." Living Room Theaters.
The Limits of Control
Director Jim Jarmusch has never been one to pay too much heed to plot, preferring to focus his intense talents on deliberate pacing, kooky characters, and overall mood. But where past endeavors have succeeded with this formula, The Limits of Control lacks a payoff after all its glacial pacing. It's an existential, '60s-style caper flick—without any sort of closure, or moment of release, or even any idea of what, exactly, the caper involves. COURTNEY FERGUSON Academy Theater, Laurelhurst Theater.
with a Movie Camera
Dziga Vertov's groundbreaking 1929 avant-garde film, accompanied by a live score from Boston's three-man ensemble Alloy Orchestra. Northwest Film Center's Whitell Auditorium.
The Merry Gentleman
See review. Fox Tower 10.
See review. Fox Tower 10.
See review. Various Theaters.
"A semi-documentary, part character study, part rockumentary" about the Clash. Clinton Street Theater.
The Taking of Pelham 1 2 3
A gang of hijackers take over a New York subway car and give authorities one hour to deliver the ransom before they begin plugging hostages. Denzel Washington plays regular Joe/transit dispatcher Walter Garber, who finds himself in the uncomfortable position of having to bargain for passengers' lives with hijacker Ryder (John Travolta, dressed like a bear at any leather bar you'd care to imagine). Naturally, Travolta is laughably unbelievable, Washington gamely attempts to mine every ounce of humanity from his character, and director Tony Scott is kept busy trotting out every heavy-handed cinematic trick in the book, including stutter edits, manipulative music, and the always vomit-inducing "circling camera." WM. STEVEN HUMPHREY Various Theaters.
Tattoos: A Scarred History
A British doc in which sociologists, historians, and celebrities (including David Carradine!) discuss "the stigma of the tattoo and its contemporary evolution." (And yes, we were mature enough not to make a David-Carradine-killed-himself-while-masturbating joke. Thank you for noticing.) Northwest Film Center's Whitsell Auditorium.
Transformers: Revenge of the Fallen
Michael Bay's latest robo-splosion fest opens Wednesday, June 24; hit portlandmercury.com then, or pick up next week's Mercury for our review. Various Theaters.
Two Korean girls get dumped on their crazy bitch aunt when their mother goes searching for their estranged father. Treeless Mountain tells its story with a subtle mastery—the sound, acting, and camera work are all gentle and uncannily natural. WILL "THE INTERN" RADIK Hollywood Theatre.
Todd Haynes' 1998 glam rock flick, preceded by a costume contest. Bagdad Theater.
VH1 Storytellers: Green Day
Green Day's 2005 appearance on VH1 Storytellers. Clinton Street Theater.
"There are two types of people in this world: Those who like Neil Diamond, and those who don't." Edgefield.
The Wolf Choir Film Festival
Four grindhouse-y films screening at the Artistery—for free! Friday boasts 1972's Death Walks at Midnight and Lee Van Cleef in 1975's Escape from Death Row; Saturday has 1982's Night Beast and 1986's The Stabilizer. The Artistery.
Michael Cera and Jack Black star in Harold Ramis' latest comedy. Not screened in time for press; hit portlandmercury.com for our review. Various Theaters.
Only Live Twice
Yes. Roald Dahl wrote a James Bond movie. Obviously this gets a star. Laurelhurst Theater.