The 7th Voyage of Sinbad
Ray Harryhausen's 1958 masterpiece showcases not only his technical skills, but also the boundless imagination that inspired 1,000 careers—including those of James Cameron, George Lucas, and Tim Burton. For more info, see "Handmade Monsters," July 3. H. PERRY HORTON Hollywood Theatre.
Animals, Whores & Dialogue
A screening of a documentary containing "intimate scenes of Dr. Hunter S. Thompson at work writing, editing, and recounting the creation of classics like Hell's Angels and Fear and Loathing in Las Vegas," screening to celebrate Thompson's birthday. Screening preceded and followed by trivia, "birthday presents," and more. Clinton Street Theater.
It's 19th-century France and Augustine is a kitchen maid whose "fits" land her in a hospital where a doctor becomes entranced by the eroticism of said fits. He displays her to audiences. Power positions get all mixed up. There is a "sensual" scene involving a monkey. Living Room Theaters.
A Band Called Death
In the mid-'70s, a trio of African American brothers from Detroit inadvertently invented punk rock. A Band Called Death does an expert job of telling their remarkable story. NED LANNAMANN Hollywood Theatre.
When they were in their 20s, Celine (Julie Delpy) and Jesse (Ethan Hawke) had a whirlwind, one-night romance in Vienna (Before Sunrise); nine years later, bruised and a little wiser, they reunited in Paris, rekindling the spark of their first meeting (Before Sunset). Before Midnight leaps nine more years into the future, finding the couple in a troubled long-term relationship that's facing some major life changes. Thanks to our nearly two decades of history with these characters, when Jesse and Celine really dig down into their true feelings, it resonates stronger than ever. ALISON HALLETT Hollywood Theatre.
A doc about Tim DeChristopher, who bid $1.7 million during an oil and gas lease auction to win 22,000 acres of Utah land—without intending to (A) drill, or (B) pay. Sounds like Tim DeChristopher got you there, Bureau of Land Management! Clinton Street Theater.
De Palma! Travolta! DENNIS FRANZ! Part of the Hollywood's "Deja Vertigo" Brian De Palma series, which continues through July. Hollywood Theatre.
See review this issue. Whitsell Auditorium.
A series of "three highly acclaimed, new independent films," including The Lesser Breed, Between Us, and This Is Martin Bonner. Clinton Street Theater.
Cult Movie Trivia
Screenings preceded by trivia. This week: Smokey and the Bandit and Dazed and Confused. Mission Theater.
Despicable Me 2
I don't know... it's probably fine? You probably hoped that your children would have more discerning tastes than fart jokes and merciless cartoon violence by now, but kids are dumb and the worst, and it's literally going to make $500,000,000 regardless of what anybody says, so whatevs? ZAC PENNINGTON Various Theaters.
Dressed to Kill
In Brian De Palma's 1980 reworking of Psycho, Angie Dickinson plays a sexually frustrated housewife; Michael Caine is her therapist. There's a murder, and a crossdresser, and a very famous shower scene at the beginning (don't be late!). De Palma's sexual obsessions make for violent sleaze, but this is great cinematic storytelling, and pretty fun, too. Part of the Hollywood's "Deja Vertigo" Brian De Palma series, which continues through July. NED LANNAMANN Hollywood Theatre.
Whichever way you turn the movie, it catches some light: This way, the plight of millennials; that way, the stylistic nods to French New Wave. There's a whole trend piece to be written about the young female writers (star Greta Gerwig co-wrote the script) who are changing the way women are depicted in popular entertainment, and then there's parsing how this generous, optimistic film fits into the context of writer/director Noah Baumbach's previous work. What a tremendous relief it is to find a movie that acknowledges that women are interesting—that a woman can be the protagonist in a story that doesn't end in romance or a makeover, and that all the vitality and confusion and excitement of being young can be refracted just as well through a woman as a man. ALISON HALLETT Laurelhurst Theater, Living Room Theaters.
"First you gotta do the truffle shuffle." Academy Theater.
Grown Ups 2
Adam Sandler's first sequel is even lazier, dumber, and less funny than his usual fare. It's worse than Grown Ups, for heaven's sake. Without even the semblance of a plot, this pointless dreck provides Sandler and his buddies with a day's worth of mundane mini-adventures, mostly in the form of comedy setups without payoffs. Gags arise out of nowhere, add nothing, then disappear. Gaping logical flaws that could be fixed with a line of dialogue are ignored. Boobs are ogled. There is no recognizable human behavior. If I didn't know better, I'd swear the filmmakers hate comedy. ERIC D. SNIDER Various Theaters.
The Hangover Part III
This is a trilogy whose thesis is that there are zero consequences when privileged white men make horrible decisions on cocaine. ELINOR JONES Academy Theater, Avalon, Kennedy School.
Everyone wants it to happen again: When Paul Feig directed 2011's Bridesmaids it was an almost-perfect storm. Intelligent female-driven comedy in a package that wisely chose not to overreach, it humbly set new precedents of quality in the mainstream romantic comedy genre, owing much of its success to a stellar cast of hilarious women like Melissa McCarthy. With rapid-fire delivery and a knack for the slightly unhinged, there's little not to love about McCarthy—but the wait for her next worthy vehicle continues to stretch on. MARJORIE SKINNER Various Theaters.
A tense Danish drama in which a cargo ship is overtaken by Somali pirates. Will Portland's fanciful pirate costuming group arrive in time to save them??? Living Room Theaters.
Gasper Noé's zany comedy of errors, back on the big screen! Free popcorn for children 10 and under. Fifth Avenue Cinema.
A dark comedy about a wannabe serial killer shot in Eugene, Salem, and Portland. Director in attendance. Whitsell Auditorium.
King Kong vs. Godzilla
Ishirô Honda's 1962 film monster mash-up. For more info, see "Handmade Monsters," July 3. Hollywood Theatre.
Five men (and an accident-prone parrot) take to the sea on a handmade raft in this almost ridiculously gorgeous retelling of Thor Heyerdahl's 1947 expedition, in which he attempted to prove that ancient settlers sailed between Peru and Polynesia. The most expensive film in Norway's history, this Oscar nominee has beauty to spare, with no shortage of sights aimed at making the viewer's jaw rebound off of the theater floor. Unfortunately, the lack of any real character development causes the narrative to sputter out quickly, leaving a repetitive cycle of shark sightings and sweet beards. Which isn't all that bad of a thing, really. ANDREW WRIGHT Laurelhurst Theater.
Life Kills Me
A "gray-toned homage to melancholy and rebirth," following a drifter and a cinematographer. Whitsell Auditorium.
The Lone Ranger
A lumbering, nonsensical, crazed slab of big-budget lunacy. Audiences and critics will unite in their contempt for it. NED LANNAMANN Various Theaters.
Loud! Fast! Philly!
A presentation of Philadelphia's hardcore punk underground—featuring rare footage of bands playing throughout the city—presented by Joseph A. Gervasi. Hollywood Theatre.
The 1976 thriller with Dustin Hoffman. Laurelhurst Theater.
More Than Honey
A documentary about "the vexing issue of why bees are facing extinction." Thanks for nothing, Wilsonville Target. Hollywood Theatre.
Much Ado About Nothing
Much Ado is a snappy, clever play, and quipmaster Whedon is the perfect director to take on the courtship of sharp-tongued Beatrice and equally acerbic Benedick. Whedon's contemporized Much Ado is full of sexual tension, misunderstandings, and only-in-Shakespeare scheming—the verbal sparring that Shakespeare thought of as "foreplay" hasn't been this much fun since Julia Stiles and Heath Ledger (RIP) went at it in 10 Things I Hate About You. The whole thing is high-spirited, silly, and supremely easy to watch. ALISON HALLETT Cinema 21.
The latest from writer/director Jeff Nichols (Take Shelter) is a sad, sweet story about growing up and discovering that adults don't hold all the answers. If that sounds like a cliché, Mud offers a worthwhile variation that contains real feeling. NED LANNAMANN Academy Theater, Laurelhurst Theater, Valley Theater.
Jem Cohen's drama, in which a Vienna art museum guard bonds with a traveling Canadian woman. Not to be confused with Night at the Museum or Night at the Museum: Battle of the Smithsonian. Whitsell Auditorium.
See review this issue. Various Theaters.
A monthly "open screening potluck" that combines food and experimental film. More info: cstpdx.com. Clinton Street Theater.
A monthly series at the Hollywood Theatre, "showing vintage and contemporary films that are obscure, neglected, and from the fringe." This month: Silver State Sinners, a 16mm "cinematic foray into vice and Vegas." Hollywood Theatre.
The 1976, three-part crossover of The Six Million Dollar Man and The Bionic Woman. Hollywood Theatre.
Saturday Morning Confusion
"The weirdest, wackiest, and wildest children's entertainment," curated by Seattle's Scarecrow Video. Hollywood Theatre.
Star Wars Uncut
A shot-for-shot remake of Star Wars made by over 1,000 different fans, each taking on different scenes. Stormtroopers, Jedi, and wookiees in attendance. Hollywood Theatre.
Stories We Tell
With Stories We Tell, Sarah Polley takes on the art of documentary—and not only makes something human and impactful, but folds the genre in on itself. Ostensibly, Stories is a study of Polley's family, centered on her mother Diane, who died of cancer when Polley was 11. With almost cold calculation, Polley puts virtually everyone in her family—siblings, father, aunts, family friends—into the hot seat and tasks them with telling "the whole story": what Diane was like, what her relationship with her father was like, and far into the plot-thickening beyond. MARJORIE SKINNER Laurelhurst Theater.
A film about the "age-old traditions at risk" in British Columbia's Queen Charlotte islands. Director in attendance. Whitsell Auditorium.
This Is the End
There are many laughs to be had in This Is the End—perhaps the first apocalypse movie centering around a Hollywood brat pack—but the best moment comes when pop star Rihanna slaps the ever-loving shit out of Arrested Development's Michael Cera. It is a slap for the ages, and so very, very gratifying. It's worth the price of admission alone. Lucky for you, a lot more fun follows. WM. STEVEN HUMPHREY Various Theaters.
The "Trance PDX: Ultra Mindblowing Cinema Series," curated by filmmaker Kevin Sean Michaels, will indeed blow your mind with its great lineup of films over its four-day run. Pulp Fiction! The Warriors! Enter the Dragon! Eh... The Crow? What's a little more puzzling, but still fan-fucking-tastic, is the inclusion of the documentary about David Lynch, Meditation, Creativity, Peace, which follows the director on a 16-country tour over two years, where he did speaking engagements about his films and his 40-year love affair with transcendental meditation. The series pairs this doc with the director's classic Blue Velvet, a meditation of another and far more disturbing sort. But maybe it all makes sense... Lynch's quiet centering exercises and his apple-pie wholesomeness butting up against his bloody-eared dementedness is the very heart of the director's appeal. COURTNEY FERGUSON Mission Theater.
"Next week on U62: He's back, and this time he's mad. Ghandi II. No more Mr. Passive Resistance—he's out to kick some butt! This is one bad mother you don't wanna mess with." Hollywood Theatre.
Another crappy horror movie. Hollywood Theatre.
The Way, Way Back
See review this issue. Various Theaters.
World War Z
It's hard to read World War Z by Max Brooks—Chronicler of the Undead, Son of Mel—and not see how a film version could've worked. Subtitled "an oral history of the zombie war," Brooks' post-apocalyptic survey profiles the war-weary survivors of a global zombie infestation, turning out to be less about zombies and more about Middle Eastern politics and America's tectonic class disparities. Relevant and scary and melancholy, Brooks' book pushes all the right buttons; with a few million and a few hours, Ken Burns could've turned it into something remarkable. Instead, we get World War Z, which—as a wannabe action franchise and a multiplex-friendly narrative—ditches nearly everything interesting about Brooks' book. ERIK HENRIKSEN Various Theaters.