An Autumn Afternoon & Grave of the Fireflies
Are you sad right now? Do you want to be more sad, but inside a theater? Boy howdy, do we have a double feature for you! (Fri Nov 8-Sun Nov 10, Fifth Avenue Cinema)

Charlie’s Angels
See review. (Opens Wed Nov 13, various theaters)

The Crown
I don’t know how they did it, but somehow The Crown—a slow, fusty, grandma-friendly show about a bunch of super-rich inbred British people sitting in armchairs and fiddling with silverware—ended up being one of the best TV shows I’ve ever seen. It got me through those awful days after the 2016 election. It introduced me to Vanessa Kirby, which was life-changing. And it’s the only thing my family can talk about at holidays that we all agree on. For The Crown’s long-awaited third season, the world’s only perfect person, Olivia Colman, has joined the cast. We don’t deserve a thing this good. (Streams Sun Nov 17, Netflix) NED LANNAMANN

Dammed to Extinction
With its tinkling piano score, it’s hard to shake the feel-good hippie bullshit vibe, but Dammed to Extinction provides a unique, wide-angle take on the eternal debate over dams in the Pacific Northwest: As dams lead to the deaths of salmon, the deaths of salmon lead to shrinking orca populations. Screening followed by a Q&A with filmmakers and Columbia Riverkeeper’s Brett VandenHeuvel. (Tues Nov 12, OMSI’s Empirical Theater) ERIK HENRIKSEN

Doctor Sleep
See review. (Opens Thurs Nov 7, Overlook Hotel)

Ford v Ferrari
See review. (Opens Thurs Nov 14, various theaters)

See review. (Opens Fri Nov 15, Regal Fox Tower 10)

The Good Liar
See review. (Opens Fri Nov 15, various theaters) SUZETTE SMITH

A live-action reimagining of Harriet Tubman’s journey to self-liberation. Harriet doesn’t subject the sensitive viewer to excessive gore or violence (though there is one particularly unsettling scene), because for once, this is a story in the “slave movie” genre about triumph, leadership, and Tubman’s unwavering faith. (Now playing, various theaters) JENNI MOORE

The Irishman
See review (Opens Fri Nov 15, Hollywood Theatre; streams Wed Nov 27, Netflix)

Jimmy Reardon: Director's Cut
A rare screening of director William Richert's cut of 1988's A Night in the Life of Jimmy Reardon, starring River Phoenix. ("A Night in the Life of Jimmy Reardon is hardly the first film about the sexual exploits of a very busy adolescent boy, and it won't be the last," wrote Janet Maslin of the studio's cut of the film. "But since it's the work of William Richert, director of the unforgettably nutty little masterpiece Winter Kills, it's anything but standard issue.") Richert's preferred cut has only been publicly screened once before, and this event will feature a Q&A between the director and Hollywood Theatre programmer Dan Halsted. (Sat Nov 16, Hollywood Theatre)

Jojo Rabbit
There’s more to the complicated Jojo Rabbit—set in the waning days of WWII, it focuses on fanatical young Nazi Jojo (Roman Griffin Davis) and his imaginary BFF, Adolph Hitler (Taika Waititi)—than first appears, and only a director as committed, inventive, and life-affirmingly good-hearted as Waititi would even have a chance of pulling it off. He does, to unforgettable effect. (Opens Fri Nov 1, various theaters) ERIK HENRIKSEN

Director Godfrey Reggio and composer Philip Glass’ experimental examination of humankind’s relationship with what remains of the natural world. (Fri Nov 15-Thurs Nov 21, Academy Theater; Sun Nov 17, Northwest Film Center’s Whitsell Auditorium)

Kung Fu Theater: Snake in the Eagle’s Shadow
When action master Yuen Woo-ping decided to cast some kid calling himself “Jackie Chan” in this 1978 kung fu flick, Earth became a better place. Screens on 35mm. (Tues Nov 12, Hollywood Theatre)

Last Christmas
See review. (Opens Thurs Nov 7, various theaters)

Les Blank Celebration
Six short films from Les Blank, spanning from 1960 to 1985 and "covering everything from Dizzy Gillespie to the humorous horrors of modern chicken farming." Hosted by film curator Greg Hamilton, and featuring jambalaya and cornbread, as, frankly, all film events should. (Wed Nov 20, Hollywood Theatre)

The Lighthouse
The second film from Robert Eggers, the director of the excellent, wildly disconcerting The Witch, is... funnier than expected? Sure, it’s also fucked-up and intense and distressing, but there are significantly more fart jokes than one might expect. (Now playing, various theaters) ERIK HENRIKSEN

Jingoistic disaster porn from Roland Emmerich. (Opens Thurs Nov 7, various theaters)

Motherless Brooklyn
Director/star Edward Norton’s decision to turn Jonathan Lethem’s postmodern neo-noir novel into a literal 1950s-set noir is both an asset and a liability. Motherless Brooklyn is easy on the eyes, but the movie’s overlong and unfocused. (Now playing, various theaters) NED LANNAMANN

My Summer as a Goth
The John Hughes-inspired My Summer as a Goth, from Portland filmmakers Tara Johnson-Medinger and Brandon Lee Roberts, is a likable film, despite awkward pacing and its teen characters’ extremely... teenagery performances. Screens as part of Oregon Film’s “Portland Circuit” program, which screens locally produced films in theaters across the city. (Mon Nov 18, Hollywood Theatre; Tues Nov 19, Clinton Street Theater; Wed Nov 20, Cinema 21; Thurs Nov 21, Northwest Film Center’s Whitsell Auditorium) SUZETTE SMITH

Pain & Glory
Pedro Almodóvar has long warmed his filmography with flickers of details from his personal life, but Pain & Glory brings us closer to the flame. In it, we look in on Salvador Mallo (Antonio Banderas), a filmmaker in self-imposed exile due to a creative decline and a variety of physical ailments. Banderas stifles his melodramatic tendencies to subtly and powerfully reveal Mallo’s agonies and evolution. (Opens Fri Oct 25, Cinema 21) ROBERT HAM

Parasite is director Bong Joon-ho at his very best, a hilarious and deeply unsettling look at class and survival with a gleeful and terrifying twist. (Now playing, Cinema 21, Hollywood Theatre) JASMYNE KEIMIG

Playing with Fire
Remember that early period of the Rock’s acting career, where he was only allowed to make silly-ass kids’ movies or be the Scorpion King? Well, this is like that, but with John Cena. Who sucks. Co-starring Keegan Michael Key, John Leguizamo, and a big dog wearing a fireman’s hat! (Opens Thurs Nov 7, various theaters)

Portland Book Festival—Film to Page: Drop Dead Gorgeous & Rushmore
Two exceedingly solid screenings presented by the Portland Book Festival: Rushmore, with a post-film discussion between author Morgan Parker and screenwriter Jon Raymond, and Drop Dead Gorgeous, with a post-film discussion between author Kristen Arnett and the Portland Monthly’sFiona McCann. (Fri Nov 8 & Sat Nov 9, Northwest Film Center’s Whitsell Auditorium)

Queer Commons: By Hook or by Crook
The Hollywood’s ongoing mission to make going to the movies a little more queer continues with a buddy comedy about petty criminals. (Wed Nov 13, Hollywood Theatre)

Repo Man
“I don’t want no commies in my car. No Christians either.” (Fri Nov 8-Thurs Nov 14, Academy Theater)

The Report
The Report is short for “The Torture Report,” which is short for “The Committee Study of the Central Intelligence Agency’s Detention and Interrogation Program,” which is short for the 6,700-page account of one of America’s most horrifying and shameful stretches of history. Expertly distilling an infinitely complicated, infinitely disturbing chain of events, writer/director Scott Z. Burns follows the efforts of increasingly troubled Senate staffer Daniel Jones (Adam Driver, excellent as ever), who, under the oversight of Senator Dianne Feinstein (Annette Bening), works to discover and document the CIA’s continued use of barbaric and ineffective “enhanced interrogation techniques” on prisoners captured after 9/11. Burns spends just as much time studying the failed, Republican-led efforts to cover up America’s war crimes as he does examining both the ways they were justified (“You have to make this work. It’s only legal if it works,” says one CIA official, played by Maura Tierney) and rewarded, with a coda that not-so-subtly alludes to the fact that Gina Haspel, the current director of the CIA, oversaw a black site in Thailand where some of the atrocities documented in the report were committed. (Opens Fri Nov 15, various theaters) ERIK HENRIKSEN

Repressed Cinema: The Criminal Element
16mm shorts focusing on crime, including 1903’s The Great Train Robbery and Vandalism: Fun or Dumb?, “a look at vandalism with 1960s youth.” DAMN YOUTHS! (Tues Nov 19, Hollywood Theatre)

Sonic Cinema: Bushwick Bill: Geto Boy
This documentary about the life and exploits of the Geto Boys’ most famous member dares ask the question: But does it feel good to be a gangsta? Really, though? Director in attendance. (Sat Nov 9, Hollywood Theatre)

The Spanish Prisoner
David Mamet’s 1997 neo-noir starring a very sinister... STEVE MARTIN?? Screens on 35mm. (Sun Nov 10, Hollywood Theatre)

Terminator: Dark Fate
The Terminator series’ latest reboot has one thing going for it: Linda Hamilton has returned to play Sarah Connor, which means there’s a Terminator movie worth watching again. Well, it’s worth watching, I guess, if you, like me, have devoted entirely too much of your ever-shrinking lifespan to thinking about terminators. For everyone else, Dark Fate’s appeal—which largely hinges on seeing Hamilton, Arnold, and various bloodthirsty murderbots back in action—might be limited. (Now playing, various theaters) ERIK HENRIKSEN

Underscan: Cult & Genre Reframed: Silent Running
Special effects legend Roger Trumbull’s earnest, silly, eco-conscious sci-fi from 1972 features environmental lecturing, poker-playing robots, and a MarioKart race. (Sun Nov 10, Northwest Film Center’s Whitsell Auditorium)

Watchmen is based on the legendary comics, but it’s not a direct adaptation; rather, the HBO series uses it as background material to tell an entirely new tale set (mostly) in 2019, a story devised by series creator Damon Lindelof, the mastermind behind Lost and The Leftovers. This Watchmen is about racism in America—its history, its evolution, and its implications in daily life. It makes the provocations of Joker look like a bowl of wet noodles. (Sundays, HBO) NED LANNAMANN