2001: A SPACE ODYSSEY “Okay. Wait. So Solo takes place AFTER Revenge of the Sith but BEFORE Rogue One?”

MEANS WE RECOMMEND IT. Theater locations are accurate Friday-Thursday, unless otherwise noted. Movie times are updated daily and are available here.

Every once in a while, the Hollywood Theatre busts out a shockingly pristine 70mm print of 2001: A Space Odyssey—and for cinephiles, seeing Stanley Kubrick’s masterpiece on the big screen, sitting in a sold-out and awed audience, is about as good as moviegoing gets. Now the Hollywood is showing 2001 again, but this time with a brand new print—one that’s been photochemically restored by none other than celluloid fanatic Christopher Nolan, who’ll start pontificating about how much better film is than digital given the slightest provocation. (Seriously. Across the pond, his ears probably just pricked up, somehow knowing we mentioned it.) Rather than discuss the extensive restoration process, Nolan’s using this spruced-up 2001 to remind people how much better movies can look when projected from actual film. “[The restoration discussion] tends to obfuscate the greater truth, which is that photochemical is a much higher-quality image format,” Nolan recently told Variety. “Showing people prints in the cinema is the way you best make that point, and if you could choose one movie to try to show that to people, it would be 2001.” ERIK HENRIKSEN Hollywood Theatre.

See review, this issue. Living Room Theaters.

“S’pose we ain’t got no union cards, and we go in there and start playin’ anyway, now what you gonna do ‘bout that, huh? You gonna stop us, Stein? You gonna look pretty funny tryin’ to eat corn on the cob with no fuckin’ teeth.” Hollywood Theatre.

If you’re not a Deadpool fan, the entire phenomenon probably seems obnoxious. Deadpool’s a self-aware superhero who talks like an overcaffeinated vlogger from 2009—and get this! He says the F-word! Sure, whatever. But with David Leitch in the director’s chair for Deadpool 2, it’s much easier to see the character’s appeal. Just as he did with Atomic Blonde, Leitch shoots Deadpool 2 with kinetic whimsy, choreographing symphonies of R-rated gore with such obvious glee that the feeling is contagious. VINCE MANCINI Various Theaters.

A documentary about Leon Vitali, Stanley Kubrick’s sometime actor (he was the poncy dweeb in Barry Lyndon!) and longtime collaborator and assistant, or, as he prefers to be known, “filmworker.” It’s always worth digging into Kubrick’s weird, complicated filmography and weird, complicated methods; doing so with Vitali as a guide should be nothing less than fascinating. ERIK HENRIKSEN Hollywood Theatre.

A homeschooled boy gets a boner during a museum tour of his house, which is also a monument to the futurist vision of architect R. Buckminster Fuller. Following this awakening in his loins, he meets an angry involuntary bedwetter and decides to become a punk rocker. Based on Peter Bognanni’s novel. Fox Tower 10.

Hunger is set in a Belfast prison where political prisoners were held, and it looks like an Irish Holocaust (albeit one starring Michael Fassbender.) The film details the horrors they suffered at the hands of the guards and inflicted upon themselves in protest of their treatment. If you can handle watching people get beaten, shit being painted on walls, and men starving to death, you’ll find Hunger a sparse, affecting, and beautifully filmed work. COURTNEY FERGUSON Fifth Avenue Cinema.

João Moreira Salles’ documentary looks back at the revolutionary days of 1968 France, when a student uprising led to riots on the streets of Paris as the kids raged against a machine they would eventually help run when they got older. Cinema 21.

A digital restoration of Henri-Georges Clouzot’s classic (and at the time amazingly controversial) 1943 French crime thriller about a doctor trying to solve the mystery of who is trying to ruin his career. NW Film Center’s Whitsell Auditorium.

See review this issue. Fox Tower 10.

A few years ago, the biography Notorious RBG: The Life and Times of Ruth Bader Ginsburg came out, and while the title of Irin Carmon and Shana Knizhnik’s book suggests it’s nothing but printed internet hype, the book provided plenty of insight into this smart lady’s quiet, revolutionary life. We learn that Ruth Bader Ginsburg the Human is not a silly person. She’s fucking smart. Like, I’m-embarrassed-that-this-idiot-brain-is-the-one-I-have-to-use-to-write-about-her smart. She was the second woman confirmed to serve on the Supreme Court. She was the first woman on both the Harvard Law Review and the Columbia Law Review. She can do more push-ups than you. She eats prunes. She’s not a kooky old grandma. In fact, in terms of beloved old beings, she’s more Gandalf than Betty White. Y’all shall not pass shit. ELINOR JONES Cinema 21, Hollywood Theatre.

Every now and again, Re-run Theater takes a break from its classic television necromancy and turns its resurrective powers to the glory days of MTV. This time they’re spotlighting 1988, Reagan’s last year in office and a great excuse to finally stop being so milky-white all the goddamn time, giving even more run to hip-hop and helping announce the birth of New Jack Swing (hello, Bobby Brown) while also shining a necessary spotlight on artists like Living Colour, Terence Trent D’Arby, and Tracy Chapman. But don’t get it twisted—you’re still gonna get more than your fair share of screeching & preening butt-rock sticking its tongue out at you five minutes at a time. But still, MTV was full speed ahead into exciting, uncharted territory, and 30 years later, that excitement still comes through—albeit with a little (lot) more cheese than intended. BOBBY ROBERTS Hollywood Theatre.

See review, this issue. Every Theater.

Georg Kozulinski’s latest documentary focuses on the natives of Haida Gwaii off the coast of British Columbia, and their attempts to hang onto cultural and economic sovereignty in the face of Canada’s forced assimilation. Director in attendance. NW Film Center’s Whitsell Auditorium.