★ BILL & TED’S EXCELLENT ADVENTURE
“This is a dude who, 700 years ago, totally ravaged China—and who, we were told, two hours ago, totally ravaged Oshman’s Sporting Goods.” Academy Theater.

THE DEVIL AND DANIEL JOHNSTON
Thanks in large part to this excellent 2005 documentary, we know a lot about Daniel Johnston. Maybe too much. To encounter his sweet, shy voice amplified by this biographical knowledge is to experience an overwhelming intimacy. CHRIS STAMM Hollywood Theatre.

★ GRINDHOUSE FILM FESTIVAL: ALOHA, BOBBY AND ROSE
The Hollywood Theatre’s monthly celebration of the down-and-dirty side of ’70s cinema presents a very rare 35mm print of Aloha, Bobby and Rose, the closest thing to a romantic comedy this series has screened in quite a while. I mean, it’s not that close, of course—this lost slice of seedy life is notable mostly for having been one of Quentin Tarantino’s inspirations for True Romance. Normally a night at the grindhouse involves large servings of blood, guts, and grime, but tonight, you get to hang out with Paul Le Mat and Dianne Hull as they fall in love while running from the cops. Enjoy this slight change of pace with a side of pre-show ’70s exploitation trailers. BOBBY ROBERTS Hollywood Theatre.

HEARTS BEAT LOUD
An unnecessary marriage of High Fidelity and that John Mayer song “Daughters.” It’s not bad, but it’s definitely bland. CIARA DOLAN Fox Tower 10.

★ HEREDITARY
If you’re not comfortable with the very real possibility that you’ll be drenched in sweat and cowering in the fetal position by the end of Hereditary, perhaps this is one cinematic experience you should skip. But you’d be missing out—writer/director Ari Aster’s feature debut might be one of the most beautiful and nauseating horror movies ever made. CIARA DOLAN Various Theaters.

★ HIS GIRL FRIDAY
This 1940 comedy written by Ben Hecht and Charles MacArthur is still the gold standard for dialogue, with less than a handful of its thousand-plus imitators managing to achieve the sort of electrified-yet-effortless back-and-forth essayed by Cary Grant and Rosalind Russell, as directed by Howard Hawks. BOBBY ROBERTS Clinton Street Theater.

★ INCREDIBLES 2
What Incredibles 2 sacrifices in cohesion and heart it makes up for with action and comedy, enhanced by Brad Bird using animation to do things that live action just can’t. He opens Incredibles 2 with back-to-back set pieces that quickly put the previous film’s finale in the rearview; he closes the film with a team-based triumph that any three X-Men flicks combined couldn’t compete with; and when he goes for the gag (which is often), it feels like Chuck Jones-era Looney Tunes via classic-era Simpsons. Incredibles 2 isn’t as good or affecting as the original, but it is prettier, louder, faster, and funnier. BOBBY ROBERTS Various Theaters.

INGMAR BERGMAN: A CENTENARY CELEBRATION
For all of June and most of July, NW Film Center pays tribute to an absolute legend of cinema, Ingmar Bergman, including the biggest hits in his filmography (The Seventh Seal, Wild Strawberries, Fanny and Alexander, and Persona) as well as many lesser-seen triumphs, all digitally restored by Janus Films and the Swedish Film Institute. NW Film Center’s Whitsell Auditorium.

JURASSIC WORLD: FALLEN KINGDOM
This is a movie bursting with bugfuck shitbird INSANE ideas, but to its credit, it commits to all of them. Here is a list of things in Jurassic World: Fallen Kingdom that you will think I am making up to fuck with you, but I assure you, I am not: A Scooby Doo mansion full of seeeeecrets! Multiple baby dinosaurs engaging in multiple cuddling scenarios! Evil Russians buying weaponized dinosaurs! (Timely!) Elder abuse! A jailbreak that relies on a head-butting Pachycephalosaurus?? Murrrrderrrrrr. A Trump-quoting mercenary who collects dinosaur teeth... so he can make himself a pretty necklace! A CLONE?!?!?! ERIK HENRIKSEN Various Theaters.

THE KID
Charlie Chaplin’s first full-length film is a highly successful blend of comedy and pathos. The familiar Tramp finds an orphaned kid, played by Jackie Coogan in perhaps the only child performance that’s cute without being cloying. Featuring live pipe organ score by Dean Lemire. NED LANNAMANN Hollywood Theatre.

LEAVE NO TRACE
The latest from director Debra Granik (Winter’s Bone), adapted from My Abandonment by Peter Rock and filmed in Oregon. Director in attendance. Cinema 21.

LOVE & TERROR ON THE HOWLING PLAINS OF NOWHERE
Hawthorne Books hosts this screening of Dave Janetta’s 2014 documentary based on Poe Ballantine’s memoir, centered on the mysterious death of a math professor in small-town Nebraska. Hollywood Theatre.

THE MISANDRISTS
The Misandrists—which features stylized lust between radical feminists at a German boarding school—has a more polished feel than Bruce LaBruce’s previous films, which may be contributing to its wider release. But despite playing in more theaters, it’s still the sort of movie you watch with your friends to have in-joke laughs about lesbian feminist culture. While there are some wonderful, ridiculous lines (“Two cocks! And a cop! In the house! This is insupportable!” someone shouts, before fainting dramatically), The Misandrists’ humor is a little dry in places. SUZETTE SMITH Fox Tower 10.

MOUNTAIN “Goddammit. I know my contact lens is around here somewhere.”

★ MOUNTAIN
Clocking in at just over an hour, there’s not a lot of there there in Mountain, but what is there is fantastic: Awe-inspiring, breath-catching, and vertigo-inducing footage of some of the most beautiful and dangerous mountains on the planet—along with footage of climbers, skiers, snowboarders, bikers, wingsuiters, slackliners, and more doing absolutely insane shit on them. With an overly dramatic score performed by the Australian Chamber Orchestra and Willem Dafoe narrating occasionally purple prose, Mountain isn’t perfect, but between its wondrous, humbling aerial cinematography and its clips from battered GoPros, it’s impossible not to be caught up in the majesty and adrenaline. I watched Mountain at home on my crappy TV and I was still inspired and terrified, but don’t make my mistake—see it on the biggest screen you can. ERIK HENRIKSEN Cinema 21.

OCEAN’S 8
There will be people who say that the Ocean’s 11 franchise is ruined now that it stars women. To them I say: What’s it like to be joyless? Because (1) Heist movies are always good, and (2) it’s not like the Ocean’s movies were Citizen fucking Kane. This spin-off builds off of an already-insane universe and incorporates women’s empowerment and beautiful jewelry. What’s not to like?! ELINOR JONES Various Theaters.

PORTLAND JEWISH FILM FESTIVAL
There are infinite ways in which to reshuffle categories of film, and the world puts out so much that the sheer quantity begs for organization. And so we have strange, simultaneous exercises in homogeny and disparity like the NW Film Center’s annual Jewish Film Festival. Come for the compendium of culturally specific accomplishments; stay for a series that covers a massive amount of ground in theme, geography, and style. MARJORIE SKINNER NW Film Center’s Whitsell Auditorium.

★ RBG
Ruth Bader Ginsburg 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.

ROMY AND MICHELLE’S HIGH SCHOOL REUNION
Romy and Michelle’s High School Reunion is a shiny, silly, sweet-hearted curiosity whose reputation has only increased with time. An ’80s teen comedy dressed up in garish ’90s fashions and starring people way too old for the genre they’re in (which is absolutely part of the joke), I find myself thinking of it as part of an unofficial trilogy including Can’t Hardly Wait and 10 Things I Hate About You. Much like Scream revitalized the slasher by simultaneously honoring and subverting formula, 1997’s Romy and Michelle sparked a Hughes-ian teen comedy renaissance by defibrillating the heart of a genre through carefully considered characterization. Lisa Kudrow and Mira Sorvino start the film as semi-shrill caricatures, but by the time they climb into Alan Cumming’s chopper for their happily-ever-after ending, they are two fully fleshed out, lovable, hilarious people. BOBBY ROBERTS Hollywood Theatre.

SOLO: A STAR WARS STORY
Ever since Disney gave George Lucas a $4 billion check in exchange for all things Star Wars, the squallingest sections of fandom have repeated the same whining complaints whenever a new Star War happens: “It’s pandering fan service!” “They’re milking our nostalgia!” “They’re turning Star Wars into Marvel!” This cynical cacophony usually comes from pissbabies who don’t remotely know what the fuck they’re talking about, but get this: All of those things are 100 percent true for Solo: A Star Wars Story. And yet: It’s fitting that Solo, a film about a charming dipshit who succeeds despite his dumbassery, is still a very entertaining movie! Much like its plot, Solo shouldn’t work. It doesn’t work. It wins anyway. BOBBY ROBERTS Various Theaters.

SONIC CINEMA: HERE TO BE HEARD: THE STORY OF THE SLITS
The many female voices that were given a platform with the rise of punk and post-punk in the ’70s and ’80s have been finding further amplification in the 21st century. Recent memoirs by musicians Vivien Goldman and Viv Albertine (as well as Jenn Pelly’s brilliant entry into the 33 ⅓ book series focusing on the debut album by the Raincoats) have helped re-examine the work of these artists—and add fuel to the fires of young women looking to make their own noise. The hope was that Here to Be Heard: The Story of the Slits would fan those flames even higher. While that’s certainly possible, the Slits themselves aren’t well-served by this frustratingly shallow look into the band’s history and impact. ROBERT HAM Hollywood Theatre.

TAG
Tag is a sloppy joe of a movie. It’s artistically unambitious, structurally unsound, and of questionable nutritional value. It’ll fill you up, though, and sometimes that’s all you really want out of a comedy. Tag’s not too long, and you don’t have to pay close attention to follow the plot, plus there are a few dumb laughs along the way. Who cares if it’s basically a fistful of chum-meat, spongy gluten, and some sort of indescribable sauce that came out of a packet? NED LANNAMANN Various Theaters.

THE TEXTURE OF FALLING
At the risk of making it sound more interesting than it is, The Texture of Falling is a lurid, Portland-set meta-drama about a timid filmmaker named Louisa (Julie Webb) who starts dating a dull married pianist, Luke (Patrick D. Green), while trying to make a movie based on her dull life, for which she resorts to stripping, dully (at Mary’s!), to raise funds. Meanwhile, also in Portland but possibly in a separate movie, an architect named Michael (Benjamin Farmer) begins a Dom/sub relationship with artist Sylvia (Maria Allred, Texture of Falling’s writer/director). How are these people connected? What’s real and what’s fantasy? But again, I run the risk of giving the impression that The Texture of Falling is compelling, which it is not. ERIC D. SNIDER OMSI Empirical Theater.

WON’T YOU BE MY NEIGHBOR?
Was Fred Rogers—the writer, producer, and star of Mister Rogers’ Neighborhood—really a soft-spoken, sweet-tempered man? Spoiler alert: Yes, he was! Finally, one single thing has escaped your childhood without scandal! SUZETTE SMITH Cinema 21, Hollywood Theatre.

★ YOU WERE NEVER REALLY HERE
A tormented veteran (Joaquin Phoenix) uses his particular set of skills to locate kidnapped girls, and then go absolutely primal on their captors. (He favors hammers.) During an especially high-profile case, his strictly maintained veil of anonymity slips. Director Lynne Ramsay’s first feature since We Need to Talk About Kevin strips the righteous vigilante genre down to the bare fixtures, then brilliantly tweaks whatever remains, with gritty and occasionally surreal results. (An early action sequence viewed entirely through security cameras is a sterling example of almost giving the viewers what they want.) As for Phoenix, an actor who can occasionally seem like a collection of overdetermined tics, he’s magnificent here—somehow maintaining a thousand-yard stare even while blinking away tears. A fierce, brief, and thoroughly hypnotic movie, with a score by Jonny Greenwood that aims directly for the spine. ANDREW WRIGHT Academy Theater.