ā MEANS WE RECOMMEND IT. Theater locations are accurate Friday-Thursday, unless otherwise noted. Movie times are updated daily and are available here.
ALPHA
One half of the Hughes Brothers (Albert) directs this adventure about a boy in the Ice Age who makes friends with an injured wolf, and in the process, invents dog ownership. Thanks, kid! Various Theaters.
BLACKKKLANSMAN
Itās difficult to know what to make of Spike Leeās latest jointāa fact that positions BlacKkKlansman almost perfectly within the filmmakerās larger oeuvre. Few directors with as many films to their name as Lee have such an incredible body of work that is both brilliant and eye-rollingly annoying, often in the same movie. And while BlacKkKlansman never hits the rocky depths of Leeās more troubled or narratively uneven films, it also falls short of the inspired artistry that defines the directorās best work. DAVID F. WALKER Various Theaters.
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CRAZY RICH ASIANS
See review this issue. Various Theaters.
CHITTY CHITTY BANG BANG
Four years after unleashing upon the world what has come to be (rightfully) considered the worst British accent in the history of film, Dick Van Dyke was placed in yet another UK-originated childrenās story. But there are quite a few differences between 1964ās Mary Poppins and 1968ās Chitty Chitty Bang Bang, andāaside from both films containing catchy songs filled with nonsense syllablesānot a lot of similarities. Firstly, this isnāt Disney. Secondly, itās based on a book by Ian Fleming (the creepy guy behind the relentlessly ugly-as-fuck James Bond novels) and adapted by Roald Dahl (the silly guy behind James and the Giant Peach). Thirdly, Van Dyke gets to keep his American accent, which is a great call because this film already has way too much going on for you to be distracted by Dickās glottal manglings. Seriously, Chitty Chitty Bang Bang is a lot; a lot of song, a lot of plot, a lot of crazy inventions and dead-eyed kid actors... Itās like a cinematic Clif Bar of kid-film clichĆ©s. Chew carefully. BOBBY ROBERTS Hollywood Theatre.
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GODZILLA (1954)
When asked what the platonic ideal of a Godzilla movie should be, people tend to describe something like a backyard wrestling bout with rubber-suited men clumsily powerbombing each other through cardboard cityscapes. While some Godzilla movies do fit that description, Godzilla was born more than 60 years ago as extremely effective allegorical sci-fi/horror in IshirĆ“ Hondaās 1954 film. Watching the original on the big-screen is a must, no matter if youāre new to the series or a veteran kaiju-lover. But if you are a newcomer? Welcome to the fold, and apologies for how harshly your visions of cornball monster fights will be replaced by the black-and-white terror of a peopleāless than 10 years removed from real-life nuclear holocaustāwrestling with that physical, mental, and spiritual fallout. BOBBY ROBERTS Academy Theater.
THE LAST MOVIE
Dennis Hopperās re-acceptance into popular culture is generally credited to his performance as a barely-dried-out drunk riding the bench next to Gene Hackman in 1986ās blindingly white basketball drama Hoosiers. But what did he have to come back from? Well, aside from his reputation as a never-dried-out pain in the ass to everyone heād ever worked with, the large-scale failure of 1971ās The Last Movie is a pretty big reason why Hopper disappeared. Itās essentially a metatextual musing on Hopperās creative impulses, with key assists from his friends Sam Fuller, Rebel Without a Cause screenwriter Stewart Stern, and Kris Kristofferson. Itās also, as Roger Ebert famously put it, āA wasteland of cinematic wreckage.ā The Last Movie is kind of a tough sit, but the trip into Hopperās (obnoxious, self-indulgent) young mind does reap its own odd rewards. BOBBY ROBERTS NW Film Centerās Whitsell Auditorium.
THE MEG
The problem with The Meg isnāt that itās dumb, itās that it isnāt dumb enough. This is a movie about Jason Statham fighting a giant prehistoric shark that eats submarines, which isnāt the sort of material that demands the My Dinner with Andre treatment (although I would watch that). All a super-shark chomp-āem-up like this needs is a series of increasingly improbable chompings and a cast willing to gnaw more scenery than their ravenous, doll-eyed counterparts. Deep Blue Sea got this formula pretty close to right 19 years ago, but The Meg hasnāt learned much from history. BEN COLEMAN Various Theaters.
MILE 22
See review this issue. Various Theaters.
THE MISEDUCATION OF CAMERON POST
See review this issue. Various Theaters.
PUZZLE
An R-rated drama starring acclaimed Scottish thespian Kelly MacDonald as a neglected woman whose life is irrevocably altered when she plunges headfirst into the mysteriously alluring world of (checks notes) ...competitive jigsaw puzzle-solving. Various Theaters.
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QUEER HORROR: THE FINAL GIRLS
Carla Rossiās bimonthly celebration of a genre known for its predilections towards transgressive shock returns to the Hollywood Theatre with yet another postmodern deconstruction of horror-movie mechanics, 2015ās The Final Girls, a film that riffs on the (botched) premise of Last Action Hero while also poking at the myriad clichĆ©s that classic slasher films have historically made of their female leads, somehow combining the tones of both Scream and Shaun of the Dead into a single film about resilient women enduring way more bullshit than anyone deserves. The Final Girls is preceded by Rossiās tribute to the genreās greatest āFinal Girls.ā BOBBY ROBERTS Hollywood Theatre.
REPRESSED CINEMA: 16MM INTERNATIONAL PSYCHOTRONIC SHORTS
Ian Sundahl reaches into his vault full of 16mm fascinations and presents a carefully curated collection of really fucking weird shit from all over the world, including psychedelic travelogues, silent film-era sci-fi shorts, amateur home movies, and even a Godard spoof. BOBBY ROBERTS Hollywood Theatre.
SKATE KITCHEN
The director of bizarro-documentary The Wolfpack returns to theaters with the all-girl skateboarding crew the Skate Kitchen in Skate Kitchen, a sorta-pseudo-documentary (but with Jaden Smith) about New Yorkās skateboard subculture. Hollywood Theatre.
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UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES
Apichatpong Weerasethakulās story of a dying man in Thailand takes place in a rarefied state where folk tales and ghost stories mingle with everyday life. Meditative and mysterious, full of long takes and dreamy ideasāincluding hairy ape men with glowing eyes and randy fish who take out their sexual frustration on human womenāUncle Boonmee is as unpredictable as it is enthralling. JAMIE S. RICH NW Film Centerās Whitsell Auditorium.