Late Night AMAZON studios

70mm Screenings
The Hollywood’s doing another weekend-long series of 70mm screenings. This time: West Side Story, The Untouchables, and Lifeforce. Hey, two of those are good! (Hollywood Theatre, Sat June 15-Sun June 16) ERIK HENRIKSEN

Big Little Lies
Originally designed as a one-and-done, the huge success of Big Little Lies means we’re getting more—more Reese, more Nicole, more windswept shots of the California coast, and LOTS more Laura Dern. We’re also getting Meryl Streep in the mix this time, and she’s doing something truly peculiar. (Expect Meryl memes.) The first episode’s kind of a disaster, but the season finds its footing in episodes two and three, as new director Andrea Arnold locates the proper balance between camp and melodrama. (Starts Sun June 9, HBO) NED LANNAMANN

Booksmart is about Molly and Amy (Beanie Feldstein and Kaitlyn Dever), two accomplished girls who are currently enjoying their final day of high school—and realizing that they’ve alienated all of their peers by focusing only on school and each other. When Molly decides the pair needs a party experience before graduation, it kicks off an epic night of social awkwardness, attempted hook-ups, and inescapable theatre kids. (Now playing, various theaters) ELINOR JONES

Dark Phoenix
Unlike a lot of X-movies, the dour Dark Phoenix carries a heavy, ominous feeling throughout, which actually isn't a bad look for the X-Men. (The stories people remember best from the comics—including the “Dark Phoenix Saga”—have all been pretty emo.) After all was said and done, I realized that, despite my gripes, I liked Dark Phoenix. But I liked it without the confidence of someone who knows that the thing they are describing is good. I like Dark Phoenix with my fan heart, but not my critic mind. Read our interview with Dark Phoenix's "Proud, Feminist Dad," Chris Claremont. (Opens Thurs June 6, various theaters) SUZETTE SMITH

The Dead Don’t Die
Jim Jarmusch has been on a streak lately. 2013’s Only Lovers Left Alive was one of the best films in the 66-year-old writer/director’s astonishingly rich oeuvre. Three years later, Paterson was just as good. And after that, he headed into documentary territory, sharply profiling Iggy Pop and the Stooges for Gimme Danger. Iggy is back in Jarmusch’s latest, The Dead Don’t Die, as is Paterson star Adam Driver—but aside from that, Jarmusch’s zombie comedy comes hard out of left field. It’s goofy, gory, and great, and it’s exactly the kind of rambling, light-hearted movie that should never be discussed using obnoxious phrases like “astonishingly rich oeuvre.” (Opens Thurs June 13, various theaters) ERIK HENRIKSEN

Godzilla: King of the Monsters
This isn’t the incoherent mess that 2017’s Kong: Skull Island was, but it never elicits the fear-filled wonder that 2014’s Godzilla did, either. (Now playing, various theaters) BOBBY ROBERTS

Halston, the new documentary from Frédéric Tcheng about the career of fashion designer Roy Halston Frowick, begins and ends exactly as you’d expect—first, with the former milliner becoming a sensation in the fashion world, and then, with his hubris and the evils of commerce upending his reign. But the way this tale is recounted is where the film gets interesting: Intercut among the talking-head interviews are scenes featuring former Rookie editor Tavi Gevinson playing an unnamed character who’s attempting to take stock of Halston’s precipitous rise and Icarus-like plummet as she marvels at the beauty of his flowing frocks. (Opens Fri June 7, Regal Fox Tower 10) ROBERT HAM

Late Night
Something great has been happening in comedies the last few years: Women who grew up watching the Nora Ephron comedies of the ’80s and ’90s realized Hollywood studios aren’t making movies like that anymore—comedies by and about women, where women are real characters and not just plot devices to advance a man’s growth—and they said fuck it, let’s make some! Look, Late Night is super predictable. But Mindy Kaling and Emma Thompson are magnetic in everything they’re in, and they turn this otherwise light film to something not unlike the smart comedies Kaling and I grew up on. (Opens Thurs June 6, various theaters) ELINOR JONES

Too Old to Die Young AMAZON studios

Men In Black: International
Well, somebody must’ve wanted this. Men in Black: International is the fourth movie in the sci-fi comedy franchise, and yes, I’m counting correctly. There was a third Men in Black movie back in 2012, though our collective memories of that particular installment seem to have been erased by one of those neuralyzer flash thingies. This one’s a soft reboot, with Tessa Thompson and Chris Hemsworth sporting the dark suits, waving the neuralyzers, and going through the motions. Whatever happens in the next Men in Black, I’m pretty sure that by that point, we’ll have forgotten about this one, too. (Opens Thurs June 13, various theaters) NED LANNAMANN

Portland Horror Film Festival
The horror genre is dominated by clichés: abandoned houses, flickering lights, creaking floorboards, jump scares, cell phones with no reception, cars that won’t start, invincible killers, ghost children, and final girls. Many of the movies included in this year’s Portland Horror Film Festival either completely invert these tropes or use them as stepping stones to much darker corners of the human psyche. (Wed June 5-Sat June 8, Hollywood Theatre) CIARA DOLAN

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 Northwest 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. (Sun June 16-Sun June 30, Northwest Film Center’s Whitsell Auditorium) MARJORIE SKINNER

Queer Horror: Resident Evil
The Hollywood’s bimonthly Queer Horror series is a goddamn Portland treasure, featuring scary flicks with an LGBTQ+ bent. For Pride month, host Carla Rossi opens the evening with a pre-show titled “Night of 1000 Millas,” perhaps the only way to pay proper tribute to Ms. Jovovich and her frankly amazing longevity in the role of Alice, the center of the bugshit fucknuts Resident Evil film series. (Thurs June 13, Hollywood Theatre) BOBBY ROBERTS

Rocketman’s Elton John (Taron Egerton) is a coke-addled asshole who’s basically indistinguishable from any other rich guy whose ordinary problems are romanticized by our narrative-obsessed society. (Now playing, various theaters) MORGAN TROPER

Rolling Thunder Revue
Martin Scorsese’s new doc about Bob Dylan’s 1975-76 tour coincides with the release of a box set of recordings from that era, often considered Dylan’s post-’60s peak. (Screens Tues June 11 at Cinema 21; streams Wed June 12 on Netflix) NED LANNAMANN

How terrible is the latest incarnation of Shaft? It’s terrible on a multitude of levels—it’s poorly made, the story is dumb, and the acting is mediocre—but so are a lot of movies, right? However, this one distinguishes itself by relying heavily—and I mean HEAVILY—on homophobia, racism, transphobia, and misogyny for its humor, and then, weirdly enough, getting defensive about it. (Opens Thurs June 13, various theaters) WM. STEVEN HUMPHREY

Three Films by Joan Micklin Silver
It’s unfair that filmmaker Joan Micklin Silver hasn’t accumulated the acclaim peers like James L. Brooks and Barry Levinson have enjoyed over time—her strengths as a writer and director are just as formidable, and the trio of films being screened at the Whitsell (1977’s Between the Lines, 1979’s Chilly Scenes of Winter, and 1988’s Crossing Delancey) are more than enough proof. (Fri June 7-Sun June 9, Northwest Film Center’s Whitsell Auditorium) BOBBY ROBERTS

Too Old to Die Young
You are correct to be apprehensive about director Nicolas Winding Refn’s first foray into episodic television. A moody, neon-lit noir about a cop (Miles Teller) mucking his way through LA’s seedy underbelly, Too Old to Die Young is almost mind-numbingly tedious, offset by occasional blasts of excitement, usually in the form of violence or sex or sexualized violence. Unless something is seriously wrong with you, you won’t feel good about liking those parts of Too Old to Die Young, and the rest of it is simply not likeable to begin with. (Streams Fri June 14, Amazon Prime) NED LANNAMANN