Stranger Things 3 Netflix

Back to the Future
Once upon the 1980s, a young Republican in a life-vest, with the help of his science friend, traveled back in time, where he had to prevent his mother’s sexual advances and instead steer her toward Crispin Glover’s dick. (Fri July 5-Thurs July 11, Academy Theater) BOBBY ROBERTS

Be Natural: The Untold Story of Alice Guy-Blaché
Documentarian Pamela B. Green's attempt to tell "the untold story of Alice Guy-Blaché," the world's first woman filmmaker. Those looking for a history lesson will get one, along with an impassioned indoctrination about why this history is important—to the point where Be Natural takes on the unfortunate rhythm of propaganda. (Fri July 12-Sun July 14, Northwest Film Center's Whitsell Auditorium) SUZETTE SMITH

Canopy Stories
A multi-night program showcasing 12 short documentaries about some of Portland’s most notable trees. Created by filmmakers working with NW Documentary, and screened in conjunction with Oregon Film and the #OregonMade Creative Foundation. More at canopystoriesfilm.com. (Mon July 8, Hollywood Theatre; Tues July 9, Clinton Street Theater; Wed July 10, Cinema 21; Thurs July 11, Northwest Film Center’s Whitsell Auditorium)

Crawl
What Alexandre Aja’s new film dares to ask is, “What if a massive hurricane decimated a Florida town, and people didn’t evacuate... and then KILLER ALLIGATORS SWAM IN?” Finally, a film that dares to examine the real threats of climate change. (Opens Thurs July 11, various theaters)

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, and now, his 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.” (Now playing, various theaters) ERIK HENRIKSEN

Demons
The Northwest Film Center’s “Head Cleaner” presents Lamberto Bava and Dario Argento’s 1985 sleaze-wallow Demons, about a gaggle of Italian hardbodies trapped in a haunted theater with a cursed film, a possessed mask, and a demonic plague. And then a helicopter crashes through the roof! (Mon July 8, Northwest Film Center’s Whitsell Auditorium) BOBBY ROBERTS

Gorillas in the Mist
The Portland EcoFilm Festival presents a screening of 1988’s Gorillas in the Mist, the film adaptation of Dian Fossey’s autobiography. A post-film discussion on animal rights is led by NonHuman Rights Project President Steven Wise. (Thurs July 11, Hollywood Theatre)

Inglorious Basterds
Quentin Tarantino’s rambunctious take on World War II—featuring Brad Pitt, Diane Kruger, Mélanie Laurent, and Michael Fassbender, all of whom get everything stolen out from under them by Christoph Waltz—gets a 35mm screening in advance of the filmmaker’s upcoming Once Upon a Time in Hollywood. Basterds isn’t Tarantino’s best film, but it isn’t his worst, either—it’s kind of been forgotten, actually, in the wake of the bigger hit of Django Unchained and the more recent The Hateful Eight. More than anything, Basterds might be notable for being Tarantino’s first go at radically revising real-world history in order to make something like WWII fit into the mold of a wacky, pulpy Tarantino movie; it’s something he did again in Django, and looks to be flirting with again in Hollywood. Which makes the question kind of impossible to ignore: Is Tarantino—brilliant director, phenomenal writer, patron saint of movie bros, and a filmmaker who’s been justifiably criticized for his films’ gleeful and constant uses of racial slurs—really the right guy to be revising history? (Sun July 7, Hollywood Theatre) ERIK HENRIKSEN

Kiss Me Deadly
In 1955, the Kefauver Commission claimed Robert Aldrich’s adaptation of Mickey Spillane’s Kiss Me Deadly was “designed to ruin young viewers,” what with all its super-tame violence and chaste suggestions of people going to bed without pajamas on. Hey, it’s a pretty good film noir, kinda nasty for its time maybe, but kids were apparently pretty soft in the ’50s. (Mon July 15, Northwest Film Center’s Whitsell Auditorium)

The Last Black Man in San Francisco
Inspired by a true story, The Last Black Man in San Francisco is about the city’s rapid gentrification and those crazy looks white folks give Black and brown people for daring to feel at home in their own neighborhoods. While there are lots of subtle clues about San Francisco’s vile history of gentrification, Last Black Man still comes off as empathetic toward gentrifiers. “These aren’t bad people,” the movie seems to say. “They’re just complicit.” (Now playing, various theaters)

Mary Janes: The Women of Weed
Windy Borman presents her documentary about the rapidly-expanding legal cannabis industry and the women "breaking the grass ceiling." Screening preceded by a reception with the director and special guests Leah Maurer of Moms for YES, Sara Batterby of HiFi Farms, Madeline Martinez of Oregon NORML, and Trista Okel of BodyCare. (Wed July 17, Northwest Film Center’s Whitsell Auditorium)

Midsommar
See review. (Now playing, various theaters)

Mondo Trasho: Beavis and Butt-Head Do America
Before Idiocracy and Silicon Valley, Mike Judge blessed us with a different fable about our fine nation: Beavis and Butt-Head Do America, in which the titular (heh heh) duo embark upon a noble quest to find their stolen TV. This brilliant film features (1) Cornholio crashing a plane, (2) Butt-Head facing off against the ATF, and (3) Bill Clinton. Until the end of time, this motion picture shall be heralded as an undisputed classic. (Fri July 12, Hollywood Theatre) BOBBY ROBERTS

Muriel’s Wedding
For those of you who only just recently became aware of Toni Collette through her blistering, gut-churning performance in 2018’s feel-bad-hit-of-the-summer, Hereditary, you are in for a goddamned treat if you travel way back in time to Toni’s breakout role in this painfully-awkward-yet-charming-as-fuck Australian comedy from 1994, about a woman who thinks the ticket out of her provincial small town is a large-scale glitzy ball of a storybook wedding, and is willing to do some pretty questionable shit to get it. (Wed July 10, Hollywood Theatre) BOBBY ROBERTS

North by Northwest
A 35mm screening of what might be Hitchcock’s best movie? It’s 100 percent for sure his most fun movie. Cary Grant and that airplane! Eva Marie Saint on Mount Rushmore! MICROFILM!!! (Fri July 12-Thurs July 18, Academy Theater) ERIK HENRIKSEN

Once Upon a Time In the West
1968’s Once Upon a Time in the West isn’t Sergio Leone’s most famous film, most likely ’cause it doesn’t star Clint Eastwood, but it’s a hell of a picture, with all of the tough, melodramatic hallmarks of Leone’s great spaghetti westerns. (Sat July 6, Hollywood Theatre) ERIK HENRIKSEN

Ophelia
See review. (Now available on demand)

Phantom of the Paradise
It seems weird to say that, aside from 1987’s The Untouchables, this is probably the most normal movie Brian DePalma ever directed. But it is. That’s not to say 1974’s Phantom of the Paradise isn’t a freaky, funky, ridiculicious hank of inch-thick camp cooked over the unique heat only ’70s-era Paul Williams could provide, because it’s definitely that. But underneath the glittery plasticene wonder pinballing all over the frame is a traditional, heartstring-pulling musical. DePalma never made anything like it ever again. (Sun July 14, Northwest Film Center’s Whitsell Auditorium) BOBBY ROBERTS

Princess Mononoke
The word “genius” gets batted around with regard to filmmakers with a numbing, reductive frequency. But if Hayao Miyazaki doesn’t qualify for that title, who does? (Fri July 5-Thurs July 11, Academy Theater) ANDREW WRIGHT

Snowfall
FX’s drama about the rise of crack cocaine launches its third season, the first since co-creator John Singleton’s untimely death in April. While Snowfall is generally left out of the prestige TV conversation, it’s a consistently thrilling show; like the best of David Simon’s TV work, it maintains a sociological overview of its themes while juggling plotlines and recreating the South Central of the mid-’80s. It’s a fittingly excellent legacy for Singleton’s pioneering career. (Season premieres Wed July 10, FX) NED LANNAMANN

Spider-Man: Far from Home
See review. (Now playing, various theaters)

Star Trek II: The Wrath of Khan
Nicholas Meyer’s earnest, exciting film from 1982 essentially defined Star Trek for the next four decades, ditching the boring pseudo-smarts of Star Trek: The Motion Picture and classing up the lo-fi aesthetic of the original TV series. Now it’s screening outdoors, for free, at L.L. Stub Stewart State Park, which means when the entire audience bellows along with Shatner—“KHAAAAANNNN!”—all of Oregon will rumble with Kirk’s rage and sorrow. (Sat July 13, L.L. Stub Stewart State Park) ERIK HENRIKSEN

Stranger Things 3
See review, sort of. (Streams Thurs July 4, Netflix)

Stuber
I didn’t expect much from Stuber, but it did make me laugh. By that measure, the new Kumail Nanjiani/Dave Bautista buddy comedy is a success, even if by all other measures it’s ugly, sloppy, and dumb. (Opens Thurs July 11, various theaters) NED LANNAMANN

The Terminator
At some point, The Terminator stopped being known as “James Cameron’s grimy horror sci-fi flick from 1984” and started being known as “that old movie that started this bizarre cycle where, every few years, one studio or another attempts to jump-start a new Terminator series, and it never, ever works.” Behold: The imminently forgettable Terminator 3: Rise of the Machines in 2003, McG’s Terminator Salvation in 2009, the underrated but short-lived TV show Terminator: The Sarah Connor Chronicles in 2008 (starring Cersei Lannister as Sarah Connor!), and the legitimately unwatchable Terminator Genisys in 2015 (starring Daenerys Targaryen as Sarah Connor!). The cycle begins anew later this year, with Terminator: Dark Fate (starring Linda Hamilton as Sarah Connor!), which supposedly ignores everything after Terminator 2: Judgment Day. Or maybe even the people making it don’t remember anything after Terminator 2? Anyway, Hollywood won’t let the poor old T-800 die already, which is too bad, because that first Terminator? That old one? It’s great. (Fri July 12-Thurs July 18, Academy Theater) ERIK HENRIKSEN

Terrence Malick’s First Films
Even hardcore Terrence Malick fans (“Terry-heads”) have to admit that lately, the singular auteur has wandered just a little off-target. (“I GOT SOME URANIUM!” Val Kilmer shouted in 2017’s unseen Song to Song. “I BOUGHT IT OFF MY MOM!”) But the Northwest Film Center is happy to provide a refresher on why the reclusive weirdo remains so vitally important to cinema, even as he bumbles around doing... whatever he wants to, I guess? Thanks to the Film Center, Badlands (1973), Days of Heaven (1979), and The Thin Red Line (1998) are all getting the big-screen treatment (well, the Whitsell Auditorium’s medium-screen treatment), and you’ll be hard-pressed to find anything better—anything more heartfelt, more strange, more melancholy, more ambitious, more jaw-droppingly, eye-poppingly beautiful—showing anywhere else in town. (Fri July 5-Sun July 7, Northwest Film Center’s Whitsell Auditorium) ERIK HENRIKSEN

Toni Morrison: The Pieces I’m In
Timothy Greenfield-Sanders’ documentary about the beloved writer. (See what we did there? Ha!) (Opens Fri July 12, Living Room Theaters)

Wild Rose
Rose-Lynn (Jessie Buckley) is an aspiring, gifted country singer, but she’s stuck in hard-knuckle Glasgow—half a world away from Nashville. She has other problems, too: She’s just finished a year in prison and is tied down by two kids she’s not particularly equipped to raise. With terrific performances by Julie Walters as Rose-Lynn’s long-suffering mother and Sophie Okonedo as an affluent woman who wants to back the singer’s rise to stardom, Wild Rose is nonetheless a showcase for the talents of Buckley, who singes holes into the screen. (Opens Fri July 5, Living Room Theaters) NED LANNAMANN

Yesterday
Imagine there’s no Beatles. That’s it. That’s the concept behind Yesterday, an intermittently charming fable that’s part musical and part Twilight Zone-type morality tale, but is mostly just a romantic comedy—and a pretty limp one at that. (Now playing, various theaters) NED LANNAMANN