Friday, May 27, 2022

Next Week in Tickets: Films playing Boston 27 May 2022 - 2 June 2022

Rejoice, Bostonians - for the first time in 2+ years, you will once again be able to watch movies in a furniture store! It's only on the weekends at this point, and I've got no idea how much harder it's gotten to get to Reading or Natick on the T, but remember, those are genuine Imax screens an the one in Reading is the spiffy laser projection.
  • Most of the big screens will be going to Top Gun: Maverick, the long-inevitable sequel with Tom Cruise returning to one of his best-known characters assigned to train the next generation of hotshot pilots for an apparently very generic mission. It's at the Somerville, The Capitol, Fresh Pond, Jordan's (Imax), the Lexington Venue, West Newton, CinemaSalem, Boston Common (including Imax Xenon & Dolby Cinema), Fenway, Kendall Square, South Bay (including Imax Xenon & Dolby Cinema), Assembly Row (including Imax Xenon & Dolby Cinema), Arsenal Yards (including CWX), the Embassy, and Chestnut Hill.

    There's also The Bob's Burgers Movie, because that's the sort of long-running animated somewhere-between-mainstream-and-cult series where you do that. It's at the Somerville, Fresh Pond, West Newton, Boston Common, Fenway, South Bay, Assembly Row, Arsenal Yards, and the Embassy.

    Fenway and South Bay have 45th Anniversary screenings of Smokey and the Bandit on Sunday, Wednesday, and Thursday. Boston Common and Arsenal Yards have The Adventures of Priscilla, Queen of the Desert on Thursday.
  • New Indian films include Hindi action thriller Anek and Telugu comedy F3: Fun and Frustration, both of which play Apple Fresh Pond and Boston Common and appear to be holdovers from last year. Hindi-language horror-comedy Bhool Bhulaiyaa 2 sticks around at both places. The local "#EncoRRRe" screenings of Rise! Roar! Revolt (aka RRR) on Wednesday are at the Coolidge and Boston Common.

    Anime Fortune Favors Lady Nikuko, which I wanted to catch as part of Fantasia last summer but couldn't, has a "fan event" on Thursday at Boston Common, Fenway, South Bay, and Assembly Row. It's a comedy about a family on a fishing boat from the director of Children of the Sea.
  • The Somerville Theatre has Gaspar Noé's Vortex, a sharply-made but tough-to-watch chronicle of an couple succumbing to age and dementia, in their micro-cinema evenings from Friday to Sunday, with We're All Going to the World's Fair playing a matinee there Saturday.

    They also have voice actor Eugene Mirman on-hand to introduce the 8pm show of Bob's Burgers on Friday night, with a special after-party upstairs in the Crystal Ballroom afterward. There's even more burger-related cinema with a 35mm print of Good Burger playing at midnight on Saturday. Wednesday's "Crime Pays Double" feature is Kiss Kiss Bang Bang & The Ice Harvest, both on 35mm film.
  • The Brattle Theatre continues "Reunion Week" of mostly-35mm anniversary screenings with The Bitter Tears of Petra von Kant on Friday; Good Burger on Friday and Wednesday; Princess Mononoke (digital/subtitled) on Saturday and Thursday; Frenzy and Monsieur Verdoux on Saturday; the original versions of The Secret Life of Walter Mitty and Solaris (digital) on Sunday; The Ghost and Mrs. Muir (digital) and Selena on Monday; Super Fly on Wednesday; and The Lady from Shanghai on Thursday.

    Music documentary Freakscene: The Story of Dinosaur Jr. plays Tuesday.
  • The Coolidge Corner Theatre for the most part streamlines their lineup down to Everything Everywhere All At Once, Downton Abbey (including a Saturday masked matinee), and Men, but they've got full rep schedule, starting with midnight shows of Thinner and Drag Me to Hell on Friday and Saturday respectively, both on 35mm. There's also a 35mm print of Raiders of the Lost Ark for the Monday Big Screen Classic, with Carrie on 35mm for the last "Mom!!!" show of May on Tuesday. Wednesday has them hosting the local "#EncoRRRe" screening of RRR (aka RRR) on screen one and local documentary Hello, Bookstore with filmmaker A.B. Zax and subject Matt Tannenbaum there to answer questions. Thursday has another big screen "classic" with The Valley of the Dolls
  • Landmark Theatres Kendall Square is mostly keeping things around or bumping them for Top Gun, but they do squeak one last "May Is for Mothers" selection in on Tuesday, with John Waters's Serial Mom.
  • The Harvard Film Archive has another few weeks of "Forgotten Filmmakers of the French New Wave". This weekend's offerings are Snobs! (35mm) and Sentimental Education on Friday, The Long Absence on Saturday, and a shorts program of "Machorka-Muff", "Les enfants désaccordés", and "The Crimson Curtain" on Sunday.
  • The Museum of Science continues to run Doctor Strange on Friday and Saturday nights through next weekend, and will switch up to Jurassic World: Dominion after that, with a special dinosaur pre-party on opening night. Tickets are available for "Third Thursday" film screenings presented by the Woods Hole Film Festival on June 16th, July 21st, and August 18th.
  • The Lexington Venue has Downton Abbey: A New Era and Top Gun: Maverick from Friday to Sunday.

    The West Newton Cinema opens The Bob's Burger Movie and Top Gun: Maverick, keeping Downton Abbey: A New Era, The Automat (no show Monday), Doctor Strange, The Duke (Saturday-Monday), The Bad Guys, and Sonic the Hedgehog 2 (Saturday-Monday).

    The Luna Theater has Petite Maman on Friday and Saturday evenings, Stanleyville on Saturday afternoon, Everything Everywhere All at Once on Saturday and Thursday, The NeverEnding Story on Sunday, and the Weirdo Wednesday show.

    Cinema Salem has Top Gun: Maverick, Downton Abbey, and Men from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. The film program at the MFA is still in limbo.
Heading home on Sunday, I'll probably try and catch Top Gun on a big/loud screen, the last show of Montana Story I can make on Monday, RRR on Wednesday (but I hate missing the 35mm crime), and Lady Nukiko on Thursday.

Sunday, May 22, 2022

Hong Kong Saturdays: Revolution of Our Times, Angel, Blood Ritual, Hard Boiled, Nobody's Hero, The Magic Crane, Devil Hunters, and Man on the Edge

One doesn't really plan for things to wind up this way, but it's kind of cool when it does: Three Saturdays, three different sorts of Hong Kong movies, in different locations and with different perspectives.

First up, I was mildly surprised to see just how packed Revolution of Our Times was at the Capitol, seemingly with a lot of expats and otherwise interested parties, which is interesting because there aren't usually big crowds for HK movies when they play near Chinatown, compared to Mandarin-language ones, and it makes me curious just how the Chinese-American community is spread out in the area - is it a different group in the suburbs?

At any rate, it's a pretty strong doc - someone who has been following the story even a little closer than me probably won't learn a lot new, but it's got a focus on specific procedural elements that's nonetheless immersive. There's some irony to that as a Hong Kong film fan - apparently even independent young documentarians know how to shoot and present action better than anyone else in the world - but it's valuable. The protests in the SAR don't really need an explainer at this point, but something to bring the emotion of it home. The movie does that, right down to the unlikely manner in which many talked about the possibility of an independent Hong Kong. It seems unlikely to me - even if they could get recognized, the Mainland could easily dam up the supply of fresh water - but shoot big, right?

The next weekend was a road trip to New York City for a marathon that had originally been scheduled for January but got pushed out for Covid reasons (though I'm not sure April was any better or whether the perception had just changed). As is traditional, I cut things too close and the Red Line did not do me any favors getting to the bus terminal, but at least this time the bus I was meant to take was canceled and the lot of us were placed on the next one. There was some hustling involved in getting to the Anthology Film Archives on time , but I got a decent seat, said hello to Fantasia buddy Paul Kazee, and watched six Hong Kong flicks, some of which apparently never even made it to LaserDisc back in the day, although one (The Magic Crane) got a Hong Kong BD release right around the time they were booking this and sits on my shelf.

Sadly, there is apparently no 1:30am train or bus to get back home after these things any more (or maybe I've usually taken them Sunday night/Monday morning rather than 24 hours earlier), so there was a lot of trying to find a comfortable place to hang around Madison Square Garden before catching a bus home at 4:30am. There really aren't any such spots.

Then the next week, there was a Hong Kong movie playing Boston Common, and contrary to what I say is typical above, it wasn't a bad crowd at all. What did have me curious was how the HKMovie app still on my phone from a trip there a few years back didn't mention Man on the Edge at all, even though theaters were re-opening there after a long Covid-induced shutdown. It was easy to supposed that this was seen as a Mainland movie that HK wasn't particularly interested in, but the posters I saw on another site indicated it's an iQIYI original, though it doesn't seem to be on the American version of the service. It explains the line the film was trying to walk in terms of trying to be a Hong Kong film palatable to Mainland tastes/requirements, although it's kind of amusing that it would apparently get a theatrical release here, but not in its home territory.

The streak would break the next week, but will be picked back up soon enough, as there is a ton of HK material on my shelf, enough to rearrange the game board a little.

Si Doi Gaak Ming (Revolution of Our Times)

* * * ¼ (out of four)
Seen 2 April 2022 in the Arlington Capitol Theater #1 (special engagement, DCP)

As with a lot of current-affairs documentaries, I wonder a bit to what extent this is going to be watched by folks who need the primer versus those who know the broad strokes of the material and maybe want some more details, or just to make a statement of support (and maybe raise some money given that this appeared to be that sort of special event). Given how this is the sort of documentary that's broken into chapters, it's probably got a good future (in the near-term) as something that can be broken into three 50-minute chunks by a streaming service.

The filmmakers - some credited, some understandably anonymous - are necessarily bounded by time, from the point where the Hong Kong protests started in earnest in mind-2019 to when Covid-19 started to hit and street protest became even more fraught, if not impossible. It's not good for the activists, since even if they were never going to make progress, that gave Carrie Lam and the Mainland-dominated government another means to push the opposition out of sight. The bounds do help them solidify Revolution as a narrative, though; movements ebb and flow, and even by the end of this documentary you see people taking on new roles or even fleeing to Taiwan. The bounds keep the filmmakers from losing the plot.

And that they maintain it is a bit of a miracle, as so many of the subjects are committed to anonymity and thus either obscured or portrayed by actors, with details occasionally withheld so that participants are harder to identify that it takes a little extra effort to give the audience personal connections. They're canny in how they do it, digging deep where they can with less-anonymous subjects and keeping regular tabs on others so that they stay familiar even though they're not exactly recognizable. It's important, because it's a way to forge connections with the Hong Kongers even if you can't see their faces.

What's perhaps most fascinating, and which has been since the protests started, is the impressively organized way in which the protestors have gone about their business. Protesters have traditionally been at a disadvantage compared to their entrenched targets, but the folks here are impressively organized and specialized, treating the pro-democracy movement as a campaign rather than just an in-the-moment reaction, and putting together footage that feels like war photography, especially in later segments depicting the occupation and siege of two college campuses in the later segments.

As much as the filmmakers are clearly in the corner of the protestors to the extent where they're occasionally talking about independence for the region, which doesn't really seem practical - they are also mindful of what the locals are up against. It's interesting that both the police and Lam aren't portrayed as sadistically evil, but the bland front of a steamroller. There's talk about Xi in Beijing as having an "Emperor's mentality", but he's kind of far-off and abstract. This film doesn't exactly present and snatch hope away, but one does get the dynamic: Hong Kong's got spirit and righteousness but China is just big enough not to care.

Tian shi xing dong (Angel, or at least that's what the print said)

* * ¾ (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

Angel is kind of a dopey girls-with-guns movie, but stick around for a marathon and you can see how this sort of thing could be much dopier. As with a lot of Hong Kong movies, it is almost all about the action, to the point where every piece of the story tying those sequences together is something they told the actors but didn't really write into the script much. So they hit that hard - the script really does nothing to establish a connection between Saijo and Moon, but that's what happens in these movies, so Moon Lee is going to make sure the audience gets it. That sort of "what the movie needs right now" also means that even the good guys will go from stealth to massacre in fifteen seconds, and the whiplash can be intense.

But with the right folks, bits can work out fairly well, and Moon Lee is a charming heroine who throws herself into action with abandon, while Yukari Oshima is ready to chew all the scenery as the villainess on her way to going toe-to-toe with Lee and the other "Angels". It's not exactly top-tier Hong Kong insanity - you can sort of see where the Golden Harvest films of the same period are just a little slicker and thus get all the jaw-dropping and less of the snickering - but it's good enough that you can see why Angel was repackaged under various names like "Iron Angels" and "Fighting Madam" to try and get it to hit.

Xie luo ji (Blood Ritual)

* * ¾ (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

The makers of Blood Ritual sometimes don't seem to know how best to deploy their mean streak. There's a great giallo-esque opening that mines a bunch of atmosphere by mostly focusing on the cute red shoes of its fleeing cult victim versus the dark multiple pairs following her (making the nudity that the filmmakers eventually cut to a little more tackily exploitative), a genuine sense of unease when one of the investigating cops turns out to be compromised by "evil religion", and a darkly funny bit where the rich target of a PI's investigation sheds clothes as she walks upstairs the her jacuzzi, the maids quickly cleaning up after her, as good a depiction of the impunity of the powerful as anything a classier movie has done. At the other end, the final fight is punishingly violent: See it in a theater, and you can just sense the folks in the auditorium who came for some sleaze squirming in their seats.

And then, in between, there's a lot that wants to be a romantic comedy with Norman Tsui Siu-Keung as a good-natured ex-con who makes a bad first impression on Gina Lam Choh-Kei's nightclub singer but winds up renting her parents' spare room (those parents, by the way, are played by Ng Man-Tat and Susan Yum-Yum Shaw!), leading to a lot of next-level "he/she treats you like shit because he/she likes you!" stuff. It seems like something obligatory and awkwardly coexisting with all the murder, especially since the main pair are, until enough of the cast is killed off to dump things in their laps, on the periphery of the crime story.

It's a mess with a few folks in the cast who could do and/or have done better, to the extent that I wonder if Gina Lam was some sort of Cantopop star (she gets a showcase number and has the charisma to suggest bigger things, but had a very short film career). Mostly, there's some impressively gnarly violence to make it memorable. It eventually starts to feel like this is a script that could have used a few more drafts, but it was done for a studio trying to make more movies a year than is really wise. It could have been not just nasty little thriller but a genuinely creepy one with a little more polish, but Category III movies from minor studios don't get that.

Lat sau san taam (Hard Boiled)

* * * ¾ (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

See, this is why you don't privatize medicine - when you focus on profit, it attracts shady investors, and then the mob is using the new hospital they funded to store illegal goods like black-market weapons, and that eventually leads to Chow Yun-Fat, Tony Leung Chiu-Wai, Phillip Kwok Chung-Fung, and Anthony Wong Chau-Sang shooting off millions of rounds of ammunition around people who are already sick and injured, and whose health improves in that situation? Nobody's, except whoever owns the competing hospitals with trauma centers.

Anyway - John Woo's last Hong Kong movie before coming to Hollywood is a bloody masterpiece of macho melodrama and over-the-top violence, a ringer in the middle of a day of less-known Hong Kong cinema. Which is pretty much what I thought fifteen years ago.

Qing yi wo xin zhi (Nobody's Hero)

* * ¼ (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

It's oddly reassuring to know that it's not just Hollywood that has weird standards of personal attractiveness, as this film's Liu Wai-Hung is a generally decent-looking guy who nevertheless gets mocked for his appearance despite the fact that there's plenty of reason to avoid his character for being a weirdo. He wants to be a cop, to the extent that he'll act the vigilante while giving someone a ride in his cab or being an overzealous mall security guard, and also has no idea that the woman he's "seeing" is transparently exploiting him for what tiny amount he has, before finally winding up alongside a blind girl who he doesn't realize is the sister of one of the gangsters that basically run the shopping center. The man's oblivious but awfully self-righteous, and it makes this one of those movies that lives right in the peculiar spot between farce and a sort of psychological horror.

In part, that may be because the folks involved are just a bit off from where they might be best used. Director Kuk Kok-Leung would eventually do solid behind-the-scenes work as a line producer for Johnnie To and writer Tsang Kan-Cheong would become one of Stephen Chow's main collaborators, but they sometimes don't know what to do with their semi-delusional anti-hero here, twisting the story from him being kind of unnerving because he's pathetic to just acting as an everyday hero in over his head, which I guess is another sort of "wanting to say he's ugly and off-putting but not really making him that way". Kathy Chow is pretty and likable as Jane, despite this being the sort of movie where the male screenwriters don't leave a lot of gray area between her childlike innocence and the nasty bitch who uses Leung Gun, plus she plays the part more as someone who has just lost her sight as opposed to someone who has been blind all her life and knows how to live like that.

Leung's misadventures eventually grow stranger and more perilously misguided, but there is at least an odd sort of danger to them that's both self-inflicted and not entirely his fault. That sometimes means that there's an exploding car that comes across as impressively random, both in how that maybe should have been a small fire at most and the way everyone seems to shrug off that two people must have died like it was nothing. It's a weird little movie that never exactly makes sense, though it never exactly seems impossible, either.

Xin xian he shen zhen (The Magic Crane)

* * * (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

This movie feels like a three-season TV series crammed into one 100-minute movie, by turns transforming itself from a comedy about guys from a tiny martial-arts school finding themselves in the middle of a messy situation to a zany wuxia fantasy to a whole different kind of melodrama, and for as much as it can give a viewer whiplash, there's something fun to that. All these modes are different facets of the same genre, and you'll see bits of one in another, as comic relief or explanatory backstory, but writer-producer Tsui Hark and director Benny Chan instead opt to just twist the whole thing from one shape to another, bringing the same characters along. There is just So Damn Much in here that it's almost no big deal that the crew can't really create a version of Pak Wan-Fai's Crane that's good enough to show the audience all of at once.

It's a ton of fun, though, with a great cast - I'd already been looking to grab more ANita Mui movies on disc, so getting this sprung on me was a treat, with Tony Leung Chiu Wai and Rosamund Kwan to boot. It's the sort of absurd mythical-martial world where mountains float and people fight in mid-air, but the filmmakers are good at making one bit complex and another easy to hand-wave without the clash being a problem. Plus, it's got the best production values that a circa-1993 Hong Kong fantasy can give you - slick as heck in spots if straining in others, but the latter never feel inept as opposed to just not having the money they do in California.

it's weird and never slows down to let you stop and question whether any of this makes any damn sense at all - and, honestly, what more does one want from this sort of action fantasy?

Lie mo qun ying (Devil Hunters)

* * ¾ (out of four)
Seen 9 April 2022 in the Anthology Film Archives Courthouse Theater (Hong-Kong-a-Thon Part III, 35mm)

Devil Hunters is infamous for damn near killing its stars in its big action finale, and I can't help but wonder if that's part of the reason why so much of the rest is so frantic in how it barrels forward and skips a fair amount of explanation: How much of the script did they have to do without because Moon Lee was in the hospital and couldn't shoot? Probably not that much - it's not like this sort of girls-with-guns movie necessarily made a whole lot of effort to be coherent in the first place - but the churn is sure something, especially considering that I saw this at the end of a marathon and am thus worn down enough to not be sure if Lee was just playing one sister or both, or if an actress showed up again after her character was killed.

it's entertainingly chaotic, though, pushing forward like crazy and having just enough tying things together to get to the next bit before the action goes way over the top (if these movies are to believed, the HKPD of the 1980s and 1990s used hand grenades way more than I can ever imagine is justified for police work). Moon Lee is someone I didn't really know before this event and now I'm trying to see how much of her kind of B-level career I can scrape up on disc; she energizes the movie on her first appearance tussling with Sibelle Hun in an amusement park and the movie never really slows down after that, You may be thrown a bit watching this one, but it's unlikely you'll be bored.

Bin yun haang ze (Man on the Edge)

* * ½ (out of four)
Seen 16 April 2022 in AMC Boston Common #4 (first-run, DCP)

Man on the Edge has all the markings of a classic Hong Kong gangster movie - it's in Cantonese, is loaded chock-a-block with brotherhood and betrayal, and can get impressively violent when writer-director Sam Wong Ming-Sing feels like it, plus a cast that features Richie Ren Xian-Qi, Simon Yam Tat-Wah, and cameos by the likes of Sammo Hung Kam-Bo and Karena Lam Ka-Yan. And yet, it never quite feels like one of those films. It's chaotic where it should be precise while Wong seems to be looking over his shoulder in all the places where he should let 'er rip.

The core of it is pretty good, though, with Ren as Lok Chi-Ming, a veteran of the street just released from prison because he took the fall for Yam's Boss Cheong. Cheong is looking to retire, and he's got three underlings who would like to take his place with the Triads, the sort who are brothers like Lok and Cheong on the surface but keenly aware there's only one space opening up. What few realize is that Lok has agreed to go undercover for Inspector Lam (Kevin Chu Kam-Yin), but soon finds he's in contact with Inspector Ching (Alex Fong Chung-Sun) instead, while Ching's investigation is being hampered by thact that HKPD Chief Superintendent Richard Harrison (Gregory Charles Rivers) is corrupt as hell and looking to continue controlling the colony's heroin trade even after the handover.

Like a lot of attempts to do old-school Hong Kong crime these days, this film is set in the years before the 1997 handover in part because it just wouldn't do to say that there is still crime and corruption in the Hong Kong Special Administrative Region now that Beijing is in charge, and one gets the impression that Wong, a former member of Jackie Chan's stunt team, is acutely aware of the lines that one doesn't cross if one doesn't just want to have this movie show in front of the billion-person audience to the north but maybe get a chance to direct one of the blockbusters they make up there. The film doesn't exactly stop dead and is kind of mild as far as tacked-on "crime does not pay" scenes go, but there's effort to pin crime and other issues on the British and Thai suppliers, and a fair amount of talk of not leaving HK or eventually coming back.

On the flip side, the action can sometimes feel surprisingly messy for being directed by someone with a stunt background, closer in and cut up more than a movie actually made in 1994 would be. It's not bad, compared to an American or Mainland flick, and Wong can get some good results when he's got some room to work; this movie has a nice example of one of my favorite hyper-specific types of action sequences, the chase across multiple boats in a marina. It certainly doesn't hurt that there are enough extra characters hanging around that an action beat will often end with a coup de grace that leaves at least one fewer, reshuffling things a bit.

If nothing else, the main cast is an enjoyable group to watch, different flavors of world-weariness, with Ren's Lok more resigned than the typical crook trapped between two loyalties while Simon Yam often seems just on the border of letting one forget that Cheong is a gangster through his charm but having something else just underneath. I confess to not necessarily getting the meaning behind Sammo Hung's Master Kam reciting divinations from some sort of Chinese tarot, but he and the other guest stars of a similar age give off the right vibe of being so powerful and entrenched that they seem almost like lovable institutions but also stuffy and in the way of the angry young guns.

All in all, Man on the Edge isn't really a bad movie, but by its nature it seems to highlight a style and genre of film that more genuinely can't be made again than many which are given that tag. You can get all the ingredients, but the environment is too different.

Friday, May 20, 2022

Next Week in Tickets: Films playing Boston 20 May 2021 - 26 May 2022

There's a part of me that wants more things like this weekend's big opening to get all the blockbuster accouterments it does - the multiple screens, the special previews, etc. - but I kind of also wonder if the big hit for grownups could be something less nostalgic for the British aristocracy-y.
  • That would be Downton Abbey: A New Era, in which the gentry and servants on the one hand rent the mansion out to the producers of a film and on the other. It's at the Coolidge (including a Sunday "masked matinee), the Capitol Fresh Pond, the Kendall, Lexington, West Newton, CinemaSalem, Boston Common (including Dolby Cinema), Fenway, South Bay, Assembly Row (including Dolby Cinema), Arsenal Yards, the Embassy, and Chestnut Hill.

    Also opening is Men, in which a young woman goes on her first vacation since being widowed, only to be menaced by various men, all of whom seem to have the same face. It's at the Coolidge, CinemaSalem, Kendall Square, Boston Common, Fenway, South Bay, Assembly Row, and the Embassy.

    The newly-restored "Director's Edition" of Star Trek: The Motion Picture plays on Sunday, Monday, and Wednesday at Boston Common, Fenway, South Bay, and Arsenal Yards (Sunday only). Twenty One Pilots: Cinema Experience has an encore Saturday afternoon at Boston Common. Arsenal Yards has Snakes on a Plane on Monday. Baseball doc Facing Nolan plays Fenway, South Bay, and Assembly Row on Tuesday, looking at Nolan Ryan through the eyes of the hitters who have batted against him (no idea if that includes Robin Ventura). There are "early access" shows for Top Gun: Maverick on Tuesday at Boston Common (Dolby Cinema), South Bay (Dolby Cinema), Assembly Row (Dolby Cinema), and Arsenal Yards (CWX), with "AMC Investor Connect" shows at Boston Common, and Assembly Row on Wednesday.
  • Also opening at The Coolidge Corner Theatre is Emergency, in which three college students of color find themselves in potentially deep trouble when they find a white girl passed out in their room, because they know they aren't getting the benefit of the doubt. It also plays Kendall Square. Lux Æterna, One of the two new-ish Gaspar Noé films which played Boston Underground this year plays upstairs for midnights on Friday and Saturday, with Béatrice Dalle and Charlotte Gainsbourg on a film set telling stories of witches and movies they've made about them as the situation grows more chaotic. It's 52 minutes (with, fair warning, a lot of strobes), so odds of catching the T back home are pretty good if that's an issue. Feature-length midnights are RoboCop on Friday and Dredd on Saturday. Monday's Big-Screen Classic is a 35mm print of A New Leaf, with Elaine May writing, directing, and co-starring as a wealthy botany professor wooed by Walter Matthau's wastrel who has spent his inheritance. The "Mom!!!" shows are The Graduate on Tuesday and Mildred Pierce on Wednesday, while the "Rewind!" show on Thursday is a 35mm print of Josie and the Pussycats, with an afterparty at Parlour.
  • IFFBoston entry Montana Story opens at Landmark Theatres Kendall Square and Boston Common, featuring Haley Lu Richardson as a woman returning home to meet her brother and dying father, a tense situation given their father's past abuse. The Kendall also opens Pleasure, in which director Ninja Thyberg follows a would-be porn star played by Sofia Kappel through her attempts to break into the industry in Los Angeles. The Kendall also has the last of their "May Is For Mothers" flicks, Mommie Dearest, on Tuesday.
  • The Brattle Theatre opens Il Buco for a limited run from Friday to Monday, in which Michelangelo Frammartino contrasts the building of Europe's tallest building in the North of Italy with the descent into the continent's deepest cave in the South. It splits a screen with a restoration of Rude Boy, which blends a roc-doc about The Clash with the life of a (fictional) fan. The theater is closed Tuesday, but after that they start the annual "Reunion Week" of anniversary screenings tied to the Harvard Alumni returning to the square. Wednesday features a 35mm print of Out of the Past (75 years) as well as Romy and Michele's High School Reunion (25 years), while Thursday includes The Hot Rock (50 years) and Office Killer (25 years). It continues through Thursday the 2nd, and this is not the year where they start having 100th anniversary screenings (sure, there won't be any actual alumni from the class of 1922, but are there a lot of 97-year-olds in the audience, really?).
  • Hindi-language horror-comedy Bhool Bhulaiyaa 2 opens at Boston Common, as does Dhaakad, starring Kangana Ranaut as a super-spy tasked with eliminating an arms dealer played by Arjun Rampal; that one also opens at Apple Fresh Pond. Fresh Pond also picks up Jungle Cry, with Abhay Deol and Emily Shah as the inspirational coaches for a high-school rugby team, and Tamil-language crime flick Nenjuku Needhi, featuring Udhayanidhi Stalin as a renegade cop fighting caste-based discrimination. Fresh Pond also holds over Jayeshbhai Jordaar, Sarkaru Vaari Paata, and Don, and has Banladeshi family film Rickshaw Girl on Saturday and Sunday.

    Egyptian comedy Another One continues to plays Fenway, while Vietnamese horror film The Ancestral sticks around at South Bay.
  • The Capitol is back to being open seven days a week, and the offerings include IFFBoston selection Hold Your Fire, an impressively tense documentary about an extended hostage situation in 1972 Brooklyn which is in many ways where modern hostage negotiation started. Director Stefan Forbes will be on-hand for the 7:30pm shows on Sunday and Monday.

    The Somerville Theatre has We're All Going to the World's Fair down in the micro-cinema from Friday to Saturday and a full brace of repertory material: There's a Michael Mann twin-bill of Heat & Manhunter, both on 35mm, on Friday; westerns The Wild Bunch (70mm) & Vera Cruz (35mm) on Sunday; local productions from the 48-Hour Film Project on Monday & Tuesday; a 35mm "Crime Pays Double" feature of Kubrick's The Killing & John Huston's The Asphalt Jungle on Wednesday.
  • The Harvard Film Archive has more "Forgotten Filmmakers of the French New Wave": The Unvanquished (aka Have I the Right to Kill?) and a 35mm print of A King Without Distraction on Friday; Adieu Philippine on Saturday; Jean-Daniel Pollet shorts "Mediterranean", "As Long as You Get Drunk…", and "Gala" on Sunday; and The Last Vacation on 35mm Monday.
  • Belmont World Film has finished their main series, but they'll be running encore streams for the next few days, with Bootlegger available to purchase/start through 7pm on Friday, with Tom Medina available for the next 24 hours, Zero Fucks Given for 24 hours starting at 7pm Saturday, The Man in the Basement from 7pm Sunday, and Vera Dreams of the Sea starting at 7pm Monday.
  • ArtsEmerson continues their two streaming programs through the weekend, with 50-minute dance presentation "Within These Walls" and "Pandemic Communities" both available through Monday.
  • The Regent Theatre welcomes Bill Plympton to present several of his shorts and the feature Demi's Panic on Sunday evening; I contributed to the Kickstarter and wish I could make it. They also have their annual "A-Town Teen Film Festival" on Wednesday, featuring movies made by Arlington high-schoolers and an awards presentation.
  • The Museum of Science continues to run Doctor Strange on Friday and Saturday nights; with tickets available for "Third Thursday" film screenings presented by the Woods Hole Film Festival on June 16th, July 21st, and August 18th.
  • The Lexington Venue has Downton Abbey: A New Era, Petite Maman and The Duke from Friday to Sunday.

    The West Newton Cinema opens Downton Abbey: A New Era and The Automat, joining Doctor Strange, The Duke (Saturday/Sunday/Wednesday/Thursday), The Bad Guys, Sonic the Hedgehog 2, The Rose Maker (Saturday/Sunday), Sing 2 (Saturday), and Encanto (Saturday). No shows Monday is apparently just the new schedule.

    The Luna Theater has Everything Everywhere All At Once on Friday and Saturday evenings, Stanleyville on Saturday afternoon, The Goonies on Sunday (though they don't list EEAAO co-star Ke Huy Quan in the featured cast), and the Weirdo Wednesday show.

    Cinema Salem has Doctor Strange, Downton Abbey, and Men from Friday to Monday (Monday's matinees captioned). They've also got their first special presentation in a while, with Miz Diamond Wigfall hosting a viewing party of Mean Girls on Friday
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. The film program at the MFA is still in limbo, but Jordan's will be re-opening the Imax screens at their Natick and Reading stores on weekends starting this Friday with Top Gun: Maverick.
I am heading out to Chicago to visit my brother & sister-in-law, see the sights, and watch some baseball, so who knows if I'll see any movies this week (although there's an evening or two where I'll check out the Music Box)

Friday, May 13, 2022

Next Week in Tickets: Films playing Boston 13 May 2021 - 19 May 2022

It's the week after a Marvel behemoth, so folks are going to mostly stay out of the way, but that makes what does come out just a little more interestingly random.
  • The Coolidge Corner Theatre gets to run their 35mm print of Doctor Strange in the Multiverse of Madness for another weekend, but they also get two new releases: Happening is a possibly-too-timely drama in which a struggling student tries to obtain an abortion, a procedure that was illegal in 1963 France. It also screens at the Kendall, Boston Common, and the Embassy. The Coolidge also has documentary The Automat, which looks at the cafeteria-style restaurants where one purchased items from individual coin-operated cupboards and boasts a new song written and performed by Mel Brooks. Director Lisa Hurwitz will be on-hand for the 2pm show on Sunday.

    The After Midnite crew makes its first trips to the Rocky Woods of the summer season, with Friday the 13th Parts II & III on Friday the 13th (yes, the back of the double feature is in 3D!) and a campout double feature of The Burning and Cabin Fever on Saturday. If you can't get out there, they have two of Takashi Miike's more noteworthy bits of madness: Dark musical comedy The Happiness of the Katakuris on Friday and a 35mm print of the one that really put him on the map internationally, Audition, on Saturday.

    In addition to the Automat event, Sunday also has Gothe-Institut selection Chess Story, about a lawyer who becomes obsessed with the game after he's thrown in jail for not assisting the Nazis in 1938. Monday's Big Screen Classic is La Dolce Vita, Tuesday's mother-from-hell is John Waters's Serial Mom, with a 35mm print of Bong Joon-Ho's Mother on Wednesday, while Thursday features a "Shakespeare Reimagined" presentation of Kenneth Branagh's Much Ado About Nothing on 35mm film.
  • I never saw the first take on Steven King's Firestarter, but it's telling that this new version's trailers reference superhero stories as much as anything when it seems like a comparison one would have avoided making 40 years ago. Zac Efrom, Ryan Kiera Armstrong, and Sydney Lemmon star, Keith Thomas directs, and there are some interesting folks behind the scenes - music by John Carpenter (among others) and cinematography by Karim Hussain. It's at Fresh Pond, Boston Common, Fenway, South Bay, Assembly Row, Arsenal Yards, and on Peacock.

    Family Camp, in which two rival fathers over-compete during summer vacation, looks like an Adam Sandler thing but it's actually from internet sketch guys; it plays Boston Common.

    There's another Abba: The Movie Fan Event at Boston Common and Fenway on Saturday afternoon. Arsenal Yards has Mission Impossible: Rogue Nation on Tuesday. In addition to the usual Thursday sneaks, there is a Downton Abbey: A New Era "Early Access" show at the Kendall, West Newton, Boston Common, Fenway, South Bay, Assembly Row, Arsenal Yards, and Chestnut Hill on Wednesday. Twenty One Pilots Cinema Experience (an extended cut of last year's "Livestream Experience", I think) plays Boston Common andFenway on Thursday.
  • Landmark Theatres Kendall Square opens Sundance hit On the Count of Three, whose description says it follows two best friends played by director Jerrod Carmichael and Christopher Abbot on the last day of their lives.

    They, too, continue a "May Is for Mothers" series, with Rosemary's Baby on Tuesday. Take Me to the River: New Orleans plays on Wednesday, with Martin Shore following up his 2014 documentary on Memphis with one that looks at the legendary music scene in NOLA.
  • The Brattle Theatre has the new restoration of Dennis Hopper's Out of The Blue, a spiritual sequel to Easy Rider which he rejiggered to feature teenage co-star Linda Manz. Manz also co-stars in Terrence Malick's Days of Heaven, which plays in 35mm on Saturday and Sunday afternoons, while Hopper's Easy Rider plays Wednesday and Thursday.

    The DocYard has their final show of the season on Monday (and the year, as there will not be a fall session), with Nuclear Family, which looks at how the same land has hosted nuclear missiles and native lands Directors Erin and Travis Wilkerson will dial in to discuss afterward.
  • Hindi-language comedy Jayeshbhai Jordaar opens at Apple Fresh Pond and Boston Common, featuring Bollywood action star Ranveer Singh cast against type as a bullied man trying to look out for his wife and daughter. Action movie Sarkaru Vaari Paata is in the Telugu language and features Manesh Badu in the middle of a banking scheme; it opens in the same places. Fresh Pond also picks up Gujarati-language comedy Kehvatlal Parivar (through Sunday), Tamil-language action-comedy Don and Kannada-language mystery-comedy Avatar Purusha (through Sunday). CBI 5 returns starting Sunday.

    Egyptian comedy Another One plays Fenway, featuring Ahmed Helmy as a social worker who feels he is getting lazy, while Vietnamese horror film The Ancestral is at South Bay.

    CGI sports anime Ryoma! The Prince of Tennis (Decide) plays subtitled matinees at Kendall Square from Friday to Sunday, while Ponyo is this month's Studio Ghibli Fest entry at Boston Common, Fenway, South Bay, Assembly Row, and Arsenal Yards on Sunday (dubbed), Monday (subtitled), and Wednesday (dubbed). Eureka: Eureka Seven Hi Evolution (which is apparently different from the Eureka Seven: Hi Evolution production from a few years back) plays Boston Common on Tuesday (dubbed) and Wednesday (subtitled).
  • The Somerville Theatre brings back the Slaughterhouse Movie Club on Friday, with a drag & burlesque pre-show before they run a 35mm print of Gore Verbinski's The Ring. On Saturday and Sunday, they pull out their 70mm print of 2001: A Space Odyssey, then play Takashi Miike's 13 Assassins on 35mm film on Monday and Tuesday for those who didn't get enough (or couldn't stay up late) at the Coolidge over the weekend. Wednesday's Crime Pays Double selection is a Walter Matthau double feature of The Taking of Pelham One Two Three and Charley Varrick, both on film.
  • The Harvard Film Archive continues "Forgotten Filmmakers of the French New Wave" with America as Seen by a Frenchman (Friday), Witness in the City (Friday), The Doll (35mm Saturday), Moranbong (35mm Saturday), A Game for Six Lovers (Sunday), and Enclosure (Monday).
  • Belmont World Film has their final show of this year's series on Monday with Agnieszka Woszczynska's Silent Land, in which a Polish couple on vacation in Italy witness an accident that shakes them to the core. This one screens at Arsenal Yards on Monday with a post-film discussion and discounts at a Mediterranean restaurant beforehand.
  • ArtsEmerson streams two programs this week, with "Within These Walls" a 50-minute dance piece inspired by U.S. Immigration Station, Angel Island State Park in San Francisco Bay and the Chinese Exclusion Act, while "Pandemic Communities" examines how marginalized people often bear an excess burden from these events, whether today or one hundred years ago. "Walls" is available from Friday evening, "Communities" from Saturday evening.
  • The Regent Theatre screens shorts made by local teens in a "Documentary Bootcamp" on Wednesday afternoon. Looking ahead to next week, animation legend Bill Plympton will visit with a program of shorts and the feature Demi's Panic on the 22nd, and I'm kicking myself because I contributed to the crowdfunding campaign but will be out of town.
  • The Museum of Science continues to run Doctor Strange on Friday and Saturday nights; they've also booked the summer's three "Third Thursday" film screenings presented by the Woods Hole Film Festival.
  • The Lexington Venue has Petite Maman and The Duke from Friday to Sunday.

    The West Newton Cinema sticks with Doctor Strange, The Duke, The Bad Guys, Fantastic Beasts (Friday-Wednesday), Sonic the Hedgehog 2, The Rose Maker (Saturday/Sunday), Sing 2 (Saturday/Sunday), and Encanto (Saturday/Sunday). No shows Monday.

    The Luna Theater has Everything Everywhere All At Once on Friday and Saturday, Stanleyville (an interesting if sometimes meandering oddity from last year's Fantasia festival) on Saturday and Thursday, Labyrinth on Sunday, and the Weirdo Wednesday show.

    Cinema Salem has Doctor Strange, Petit Maman, Everything Everywhere All at Once, and The Northman from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. The film program at the MFA is still in limbo, but Jordan's is selling tickets for when they re-open the Imax screen with Top Gun: Maverick.
Can I swing the midnights? Probably not, no. But I'll certainly get back to 13 Assassins, the Matthaus, a Red Sox game, Much Ado About Nothing and maybe The Automat.

Friday, May 06, 2022

Next Week in Tickets: Films playing Boston 6 May 2021 - 12 May 2022

Folks, Sam Raimi's first feature in nearly a decade comes out this week, and it's a big ol' Marvel movie.
  • That would be Doctor Strange in The Multiverse of Madness, in which Benedict Cumberbatch's Strange must deal with the barriers between worlds breaking down, presumably in part because of what happened in Spider-Man: No Way Home, with the assistance of Wong, the Scarlet Witch, and Miss America Chavez. It's pretty much everywhere - the Capitol (including RealD 3D), Fresh Pond (including 3D), the Coolidge (in 35mm), West Newton, CinemaSalem, Boston Common (including Imax Xenon in 2D & 3D/RealD 3D/Dolby Cinema), Fenway (including RealD 3D), Kendall Square (including RealD 3D), South Bay (including Imax Xenon in 2D & 3D/RealD 3D/Dolby Cinema), Assembly Row (including Imax Xenon in 2D & 3D/RealD 3D/Dolby Cinema), Arsenal Yards (including CWX), and Chestnut Hill. It even plays the Omni dome at the The Museum of Science, with shows on Saturday the 7th and on Friday and Saturday for the next four weeks.

    For one-offs, Arsenal Yards shows Air Force One on Monday evening. Boston Common and Fenway have a "Fan Event" of 1977's Abba: The Movie on Thursday.
  • Even the boutique places are mostly keeping things Strange, but Landmark Theatres has a couple other new releases. Out in Waltham, The Embassy gets Operation Mincemeat, with Colin Firth and Matthew Macfadyen as two World War II intelligence officers with a daring plan to distract the Nazis from a forthcoming invasion. It also drops on Netflix.

    In Cambridge, Kendall Square has The Will to See, co-directed by war reporter Bernard-Henri Lévy, follows him as he tours the ongoing centers of conflict in the world today. They also continue the "May Is for Mothers" series with Mildred Pierce on Tuesday.
  • The folks at The Coolidge Corner Theatre got their hands on a 35mm print of Doctor Strange in the Multiverse of Madness, but it will only be running through Sunday. It's a clever booking - uniquely them, get a lot of people in over the weekend, and then free up the off-hours for the repertory shows. This week that includes Tales from the Hood at midnight Friday, Snoop Dogg and Pam Grier in Bones at the same time Saturday, a Big Screen Classics show of In the Heat of the Night on Monday, Mommie Dearest on Tuesday, and a 35mm print of Friday the 13th on Wednesday - with the next two at Rocky Wood on, well, you can figure out the date. The theater appears to be dark on Thursday.
  • Hindi-language comedy Mere Desh Ki Dharti opens at Boston Common, featuring Divyendu Sharma and Anant Vidhaat Sharma as two engineers who have misadventures in rural India. Apple Fresh Pond opens Telugu adventure Bhala Thandanana and drama Ashoka Vanamlo Arjuna Kalyanam on Friday. Indian holdovers include Hindi thriller Runway 34 at Fresh Pond and Boston Common and Tamil romantic comedy Kaathuvaakula Rendu Kaadhal at Fresh Pond.

    Anime Ryoma! The Prince of Tennis (Decide) plays Boston Common (dubbed/subtitled) and Kendall Square (subtitled) on Thursday; it's an adaptation of the popular manga and a relatively rare anime that is primarily CGI, presumably so they can do motion capture of the sports. Boston Common still hangs on to anime Jujutsu Kaisen: 0, with all subtitled shows.
  • The Brattle Theatre has the new digital remaster of David Lynch's Inland Empire through Thursday, which should be interesting, as David Lynch shot this at something like DVD resolution. It says "only in theaters", so you may be waiting a while to see this remastered version at home.

    They als show Psycho for Mother's Day on Sunday (a lot of folks do that now, but they were ahead of the curve). The DocYard presents What We Leave Behind on Monday, with filmmaker Iliana Sosa on hand to discuss the film she made of her 89-year-old grandfather building a house for his children in Mexico after spending decades riding the bus to visit his children and grandchildren in Texas. They also have documentary This Much I Know to Be True, following musicians Nick Cave and Warren Ellis as they create and perform their two most recent albums on Wednesday; it's also at Boston Common and Kendall Square.
  • The Somerville Theatre picks up The Northman and brings back Everything Everywhere All at Once after being given over to IFFBoston for a week, and in addition to live shows, offers a meta-movie double feature of Being John Malkovich (35mm) and JCVD on Monday and Tuesday, with Wednesday's "Crime Pays Double" offering up 52 Pick Up (35mm) and The Way of the Gun, while Thursday has two by Abel Ferrara - Ms. 45 (35mm) and The Addiction In addition to a couple screens of Strange The Capitol also picks up The Duke and Everything Everywhere All at Once, which is the first time in recent memory something has been at both this mini-chain's theaters at the same time.
  • The Harvard Film Archive is going to have a print program available soon, with the first couple months of the summer devoted to "Forgotten Filmmakers of the French New Wave". This weekend's entries are James Blue's The Olive Trees of Justice (Friday), Jean Rouch's Moi, un Noir and The Human Pyramid (both Saturday), Guy Gilles's Love at Sea (Sunday), and Marcel Hanoun's A Simple Story (Monday). Curator Jean-Michel Frodon will introduce the films on Saturday and Sunday.
  • Belmont World Film its last online segment of the year, Vera Dreams of the Sea, through Monday, when director Kaltrina Krasniqi will join an online Q&A to discuss her drama about a woman fighting to retain her home after her husband's suicide.
  • The Regent Theatre has a free screening of The Plastic Bag Store: The Movie, which is apparently a bit more than just pointing a camera that the stage show examining how plastic does not degrade over time with puppetry. It's on Wednesday night, and will also be available to stream.
  • The Lexington Venue has Petite Maman and The Duke from Friday to Sunday.

    The West Newton Cinema adds Doctor Strange to The Duke, The Bad Guys, Fantastic Beasts (Friday-Tuesday), Sonic the Hedgehog 2, The Rose Maker (Sunday/Wednesday), Sing 2 (Saturday/Sunday), and Encanto (Saturday). No shows Monday

    The Luna Theater has Everything Everywhere All At Once from Friday to Sunday, Poly Styrene: I Am a Cliché on Saturday and Thursday, and the Weirdo Wednesday show.

    Cinema Salem has Doctor Strange, Everything Everywhere All at Once, and The Northman from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. The film program at the MFA is still in limbo, but Jordan's is planning to fire the Imax screens back up at the end of the month!
I've already got two tickets to Doctor Strange, because odds are 35mm and Imax 3D shows will be in short supply after the weekend. I'm also looking up to catching up with The Northman and Petite Maman, as well as at least 52 Pick-Up at the Somerville.

Friday, April 29, 2022

Next Week in Tickets: Films playing Boston 29 April 2021 - 5 May 2022

We're all shuffling between IFFBoston venues, right? No? Well, even if you're not (or want to sneak something else in along the edges), there's a bunch of "Fantastic Beasts wasn't the hit we expected but the Marvel movie doesn't open until next week" filler worth checking out.
  • But, as I said, the big local event is Independent Film Festival Boston, which has four screens between the Somerville and the Brattle from Friday to Monday and then narrows choices considerably for its last two days, with The Janes at WBUR CitySpace on Tuesday and Marcel the Shell with Shoes On closing it out at the Coolidge on Wednesday.

    Wicked Queer still has five features and 14 shorts packages streamable through Saturday night.
  • Possibly the most noteworthy non-IFFBoston opening is Petite Maman, Céline Sciamma's follow-up to Portrait of a Lady on Fire in which a young girl visits her mother's childhood home and, while exploring the woods, meets her mother as a child. Folks love it, in part because it's 72 minutes long and therefore doesn't have a chance to overcomplicate things. It's at The Coolidge Corner Theatre (including a Saturday masked matinee), Kendall Square, and Boston Common.

    The Coolidge also wraps up its April kung fu midnights with a 35mm print of The Black Dragon's Revenge on Friday and a digitally-restored Sister Street Fighter on Saturday. Monday's Big Screen Classic is Kinuyo Tanaka's The Moon Has Risen, while there's a special presentation of Happening on Tuesday and a 35mm "Cinema Jukebox" show of Dazed and Confused on Thursday. There's also a "Coolidge Education" series of "Essential Fellini" starting Thursday, with classes running weekly at 10am.
  • Landmark's Kendall Square has another French import as well, with Anaïs in Love a romantic comedy in which the title character finds herself in a state of upheaval, and falling for the partner of her newest lover is probably not going going to make it easier.

    They also offer up The Duke, which stars Jim Broadbent as a taxi driver who steals a work from the National Gallery and holds it hostage; it also features Helen Mirren and also plays at West Newton and Boston Common. There's also Firebird, which tells the tale of two soldiers who fall for each other while serving in the Soviet military, with the penalties for being gay worse than just being discharged; it also plays Boston Common.

    The Kendall also switches their Tuesday repertory series up to "May Is for Mothers", kicking things off with Psycho.
  • Memory, meanwhile, is the sort of thing that fills the between-blockbusters hole nicely for theaters - Liam Neeson as an assassin who is beginning to get a bit fuzzy mentally, on the run because there are lines he won't cross, which a cast that include Monica Bellucci, Guy Pearce, and Ray Stevenson. It's at Boston Common, South Bay, and Assembly Row.

    That gap also means Everything Everywhere All at Once gets a bump to the Imax screens at Boston Common, South Bay, and Assembly Row. Boston Common also has a Focus Features anniversary series, with Eternal Sunshine of the Spotless Mind (Friday), the first Downton Abbey feature (Saturday), Brokeback Mountain (Sunday), Burn After Reading (Monday), Atonement (Tuesday), Harriet (Wednesday), and Darkest Hour (Thursday). Arsenal Yards picks up Viva Maestro! for late-afternoon showtimes through Wednesday and also has Planes, Trains and Automobiles on Monday.

    BUFF closing night film Hatching opens at Boston Common; it's a neat little Finnish thing about a girl who finds a mysterious egg and how the creature that emerges causes havoc when it bonds to her Kind of wants to be two horror movies when it might have been better served being one, but the core is good enough to make it work.
  • Fun movie-making anime Pompo the Cinephile had special events last week but has a regular release at Boston Common, and Fenway, with both subtitled and dubbed screenings. Boston Common still hangs on to anime Jujutsu Kaisen: 0, with all subtitled shows.

    Indian openings for Eid include Heropanti 2, a Hindi-language actioner described as more a "spiritual sequel" than direct follow-up to the film where Tiger Shroff first made a big splash; this one has him being sent on covert missions in Russia and plays Fresh Pond and Boston Common. Another Bollywood thriller, Runway 34, opens at Fresh Pond and Boston Common with Ajay Devgn as a pilot whose flight has more going on than it would appear (with Amitabh Bachchan possibly the mastermind). Apple Fresh Pond opens Telugu-language action/adventure Acharya, Malayalam-language drama Makal and Tamil romantic comedy Kaathuvaakula Rendu Kaadhal, with Marathi-language flick Sher Shivraj, a period action piece, opening on Saturday and Malayalm-language thriller CBI 5: The Brain opening Sunday. K.G.F.: Chapter 2 hangs around at Boston Common (Hindi).

    Vietnamese thriller Bay Ngo Ngao (Naked Truth) continues to play South Bay.
  • The Brattle Theatre is busy with IFFBoston through Monday, but fills out the week with a three-day celebration of Star Wars Day - the original (well, the current special edition) on Tuesday, The Empire Strikes Back on Wednesday May the Fourth, and Return of the Jedi on Thursday. They've also got two events in tandem with the Harvard Book Store with obvious movie tie-ins - John Waters will read from and sign his novel Liarmonth on Tuesday and Minnie Driver visits with memoir Managing Expectations on Thursday.
  • The Somerville Theatre returns from its IFFBoston slumber by wrapping "Travolta vs Cage" with a 35mm print of Face/Off on Tuesday before jumping right into the next rep series, "Crime Pays Double", with a double feature of Drive and To Live & Die in L.A., the latter on 35mm, on Wednesday.

    The Capitol is still only open Friday-Sunday, but this weekend that includes Charlotte, an animated drama with Keira Knightley as the voice of Charlotte Salomon, a Jewish painter in Berlin in the 1930s who endeavors to paint her life story before the Nazis come for her.
  • Belmont World Film continues with The Man from the Basement, featuring Bérénice Bejo and Jérémie Renier as a couple who convert their unfinished basement into a condo, only to find their new neighbor (François Cluzet) is more than they bargained for, online through 2 May with a Zoom discussion that night. Vera Dreams of the Sea takes its place starting the next night; that one is an Albanian drama about a woman fighting to retain her home after her husband's suicide.
  • All of the expected places will be showing Doctor Strange in the Multiverse of Madness starting Thursday night, but among the unexpected ones is The Museum of Science, which will be showing it on the Omni dome for about a month of weekend shows, including the Thursday preview. The Coolidge will also be getting their hands on a 35mm print for three nights only from the 6th to the 8th.
  • The Lexington Venue has The Bad Guys and Everything Everywhere All at Once from Friday to Sunday.

    The West Newton Cinema adds The Duke to The Unbearable Weight of Massive Talent, The Bad Guys, Fantastic Beasts, Sonic the Hedgehog 2, The Rose Maker (no show Friday), Sing 2 (Saturday), and Encanto (Saturday). They appear to be closed on Monday

    The Luna Theater has Everything Everywhere All At Once from Friday to Sunday, along with the Weirdo Wednesday show and a UMass Lowell "Philosophy and Film" screening of Her on Thursday.

    Cinema Salem has Everything Everywhere All at Once, The Northman, and The Bad Guys from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. Jordan's Furniture and the film program at the MFA are still in limbo.
My IFFBoston plans include The Pez Outlaw and How to Rob on Friday; Riotsville USA, Every Day in Kaimuki, Descendant, and maybe Piggy on Saturday; The Territory, A Decent Home, Mija, and One Second on Sunday; Hold Your Fire and Good Luck to You, Leo Grande on Monday; The Janes on Tuesday; and Marcel the Shell on Wednesday. That's probably enough, although Tuesday does leave a bit of room where I might catch Morbius before it leaves town or The Northman on a Dolby screen.

Friday, April 22, 2022

Next Week in Tickets: Films playing Boston 22 April 2021 - 28 April 2022

Good golly, this week is going to be nuts if you like movies in Boston.
  • It's been three years since the event has been held in person, but Independent Film Festival Boston will be back in person starting Wednesday. It's a little pared down between the Somerville having two fewer screens and the independent film scene being a bit different from pre-pandemic times, but it kicks off on the Somerville's main screen with Emily the Criminal on Wednesday and expands to four screens Thursday, with We Feed People, A Love Story, Mojo Manifesto, and two shorts programs at the Somerville while Both Sides of the Blade and Flux Gourmet play the Brattle.

    Wicked Queer may be over in terms of in-person events, but has a number of shorts and "virtual encores" available online - some through the weekend (or part of it), and others through the end of the month.
  • Two of the big releases this week are the sort that overlap between the multiplex and the art house, and would even if the Kendall and Coolidge weren't showing more mainstream stuff than usual as the industry tries to get back on its feet post-pandemic. First up is The Northman, a grand Viking saga from the maker of The Witch and The Lighthouse which draws upon the story that inspired Hamlet for the tale of a young prince looking to return home and slay the uncle who murdered his father. It's got a killer cast - Alexander Skarsgaard, Anya Taylor-Joy, Nicole Kidman, Ethan Hawke, Bjork, Claes Bang - and looks both bloody and slick as heck. It's at The Coolidge, Fresh Pond, Kendall Square, Boston Common (including Dolby Cinema), Fenway, South Bay (including Dolby Cinema), Assembly Row (including Dolby Cinema), Arsenal Yards (including CWX late shows), the Embassy, and Chestnut Hill.

    Also playing to a broad audience is The Unbearable Weight of Massive Talent, with Nicolas Cage playing a take on himself as still very much broke and clearly disillusioned, taking a gig appearing at the birthday party of a rich super-fan (Pedro Pascal) only for it to go sideways when the CIA recruits him to spy on his new benefactor. That's at The Coolidge (including a Sunday Masked Matinee), Fresh Pond, West Newton, Boston Common, Fenway, South Bay, Assembly Row, Arsenal Yards, the Embassy, and Chestnut Hill

    For something more straightforward and family-friendly, there's The Bad Guys, the latest from DreamWorks Animation which has a crew of anthropomorphic animal crooks trying to go straight after helping someone out makes Wolf feel unexpectedly good. If nothing else, the animation style looks pretty distinctive, especially because it might be at odds with DreamWorks's usual 3D focus. It's at the Capitol, Fresh Pond, the Lexington Venue, CinemaSalem, West Newton, Boston Common (including 3D), Fenway, South Bay, Assembly Row (including 3D), Arsenal Yards, and Chestnut Hill.

    Arsenal Yards has The Lorax Friday and Sunday for Earth Day. There's also a special "Earth Day Call to Action" show of "The Last Glaciers" at the Imax screen at Assembly Row on Saturday. Saturday also features PJ Masks: We Can All Be Heroes, which I'm guessing my toddler nephew might go for, at Fenway, South Bay, Assembly Row, and Arsenal Yards. K-Pop concert documentary Seventeen: Power of Love plays Saturday at Boston Common and Fenway. Back to the Future plays Arsenal Yards on Monday.
  • Landmark's Kendall Square also offers The Tale of King Crab, with Gabriele Silli as an Italian troublemaker exiled to Tierra del Fuego in Argentina, where he searches for treasure but perhaps finds madness. Their Tuesday musical (the last of that April series) is Grease.
  • In addition to Northman and Massive Talent, The Coolidge Corner Theatre has a one-week run of Memoria, the new film from Thai director Apichatpong Weerasethakul, which stars Tilda Swinton as a woman shaken by a strange sound, possibly to the point of synesthesia, while visiting her sister in Colombia. Weerasethakul's features tend toward the abstract, so this could be something very unusual. It's also worth noting that the distributor has no plans for online or home-video releases, and is moving this from screen to screen as a roadshow, so one might be wise to see it now (there is a return to the area at the Harvard Film Archive planned, but that is later in the summer).

    Midnights this weekend include The Chinese Connection (aka Fists of Fury) & a 35mm print of Cleopatra Jones on Friday and Saturday, respectively, for your kung fu needs, with The Room upstairs on Friday. There's a "Stand With Ukraine through Film" program featuring The Guide, live music, and speakers on Sunday afternoon, a 35mm print of My Own Private Idaho as the Big Screen Classic Monday night, and a special 35mm 20th anniversary screening of Funny Ha Ha with writer/director Andrew Bujalski on hand for Q&A afterward.
  • Vietnamese thriller Bay Ngo Ngao (Naked Truth) plays South Bay this weekend, the first import they've had in a while. It features four friends coming together for one's anniversary, only for secrets to start to surface.

    Boston Common still hangs on to anime Jujutsu Kaisen: 0, with all subtitled shows, while Pompo the Cinephile - which I dug as part of Fantasia last year - plays Boston Common, Fenway, South Bay, Assembly Row, and Arsenal Yards on Wednesday (subtitled) and Thursday (dubbed).

    Apple Fresh Pond opens Hindi-language sports drama/romance Jersey, starring Shahid Kapoor as a former cricketer who decides to return to the game in his 30s to encourage his son. In holdovers, K.G.F.: Chapter 2 hangs around in multiple languages at Fresh Pond (Telugu/Tamil/Hindi), Boston Common (Kannada/Hindi/Telugu), and South Bay (Telugu). Tamil action flick Beast also continues at Fresh Pond, and Telugu-language action/adventure Acharya hitting the screen there Thursday..
  • The Brattle Theatre uses the week before IFFBoston to showcase a selection from last year's virtual edition, We're All Going to the World's Fair, a horror movie that unfolds via webcam as a teenager sinks deeper and deeper into a creepypasta. A bit of a too-slow burn for me, but it has a lot of fans.

    The run is briefly interrupted on Monday as The DocYard presents After Sherman with director Jon Sesrie Goff onhand to discuss his film that explores the land his ancestors acquired after Emancipation 160 years ago and how it fits with the places around it, including the plantation where his ancestors were slaves.
  • The Somerville Theatre offers a number of special presentations in the lead-up to IFFBoston, with It Happened One Night on Friday, a double feature of Rebel Without a Cause & The Wild One on Saturday, their first official "Silents, Please!" entry in a while with Lillian Gish and John Gilbert in La Boheme on Sunday, and the last "Travolta vs Cage" double feature on Tuesday in Broken Arrow & The Rock, the first in 35mm (although both will be represented in Face/Off next week).

    The Capitol finishes the school vacation matinees with Penguins of Madagascar (Friday) and Wallace & Gromit: Curse of the Were-Rabbit (Saturday/Sunda), and then it looks like they're back to only being open Friday-Sunday.
  • The Harvard Film Archive continues last weeks shows with two 16mm programs from the Yellow Ball Workshop - "Films By and About Kids" on Friday and "Films By Adults" on Monday - and documentary Expedition Content, which is mostly sound with a dark screen encouraging focus, in between on Sunday.
  • Belmont World Film has Zero Fucks Given with Adèle Exarchopoulos as a flight attendant recently laid off from an island-hopping airline, playing virtually from Friday to Sunday with an in-person screening at West Newton on Sunday Night, with an online discussion Monday night. After that, the next entry is The Man from the Basement, with Bérénice Bejo and Jérémie Renier as a couple who convert their unfinished basement into a condo, only to find their new neighbor (François Cluzet) is more than they bargained for. That one is online only through 2 May.
  • The Museum of Science has already sold out one special screening of mountain-climbing documentary The Sanctity of Space on Thursday, but has put a second late show on (though that may be sold out as well).
  • The Lexington Venue has The Bad Guys and Everything Everywhere All at Once from Friday to Sunday, and at least matinees on Thursday (depending what they do for previews that evening).

    The West Newton Cinema adds The Unbearable Weight of Massive Talent and The Bad Guys to a lineup including Fantastic Beasts, Sonic the Hedgehog 2, The Rose Maker, CODA, Sing 2 (Friday/Saturday), and Encanto (Friday-Sunday).

    The Luna Theater has Everything Everywhere All At Once from Friday to Sunday, along with the Weirdo Wednesday show and "Mondo Comedy" on Thursday.

    Cinema Salem has Everything Everywhere All at Once, Fantastic Beasts, and The Bad Guys from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalem, and many of the multiplexes. Jordan's Furniture and the film program at the MFA are still in limbo.
For some reason, I foolishly booked my ticket for Memoria on the same night IFFBoston opened, so I'm crossing my fingers that Emily the Criminal opens theatrically. Ah well; guess I'll try and cram Northman, Unbearable Weight, Travolta/Cage, and Bad Guys in beforehand. Not sure I can catch up with Morbius and The Lost City and maybe head to Dorchester for the Vietnamese movie, but that's kind of on me.

Monday, April 18, 2022

Not Exactly Oneself: Everything Everywhere All At Once and Dual

I've totally been holding onto that review of Everything Everywhere All at Once so that I could pair it with another movie as opposed to being lazy and distractible for the past two weeks.

(Looks back and forth)

Not buying it, huh?

Anyway, it's kind of fun when a theme appears in one's viewing, in this case favorite actresses working with intriguing indie filmmakers to make movies where they get to have multiple takes on the same characters, although Daniels and Riley Stearns go about it in completely different ways: Everything Everywhere is as busy as its name implies, while Dual sands down everything that could really come across as a fun hook. In this case, it's hard to argue with how Daniels wears their hearts on their sleeves, keeping up a frantic pace for a crazy amount of time but giving the audience a lot of time to feel things even though they aren't shaking and demanding they feel this. Stearns makes a movie that begs to be examined and dissected, and while I found more going on than I was feeling while I watched it, I don't know that there is really that much there. It's got a layer or two, but only a layer or two.

It's kind of notable how they're sort of taking opposite release paths. Everything Everywhere is doing the sort of expansion one doesn't necessarily see that much any more - a couple screens in NYC/LA, some larger markets including Boston later - with the directors doing a lot of in-person shows with college kids and film-lovers that will talk it up if they like it - and then medium and wide releases following. Dual, meanwhile, got booked on one screen in the area tightly enough that I suspect it might be a four-wall (it's possible AMC figures there's just no audience for matinees, even on the weekend, but it's kind of odd), and its distributor is probably seeing this as an extremely brief stop before video. I'm mildly surprised RLJE hasn't announced an early-June release yet, but I guess it's gauche to do so before the first week is through, even if the window is down to 45 days.

Anyway - check out Everything Everywhere All at Once on the big screen if it opens nearby, preferably on the biggest one you can with people feeling emotions on every side. You're probably not going to have that for Dual, although you may find it interesting, even if it's not particularly intense.

Everything Everywhere All At Once

* * * ¾ (out of four)
Seen 30 March 2022 in AMC Boston Common #2 (preview, Imax Xenon)

In their most notable previous collaboration, "Daniels" (the team of Dan Kwan and Daniel Scheinert) produced Swiss Army Man, a film with the memorable selling point of "Daniel Radcliffe as a farting corpse" (but with the film also surprisingly affecting), which would seem to be a tough one to top; most would go for something played straighter. They not only do not do this, but they make absurdity a fundamental part of how Everything Everywhere All at Once works, while also giving a great cast much more to do than get the audience from one crazy scene to the next.

It's built around Michelle Yeoh's Evelyn Wang, who owns a laundromat with husband Waymond (Ke Huy Quan). Her father (James Hong) has recently arrived from China, too ill to live alone anymore, and Evelyn Gong Gong that daughter Joy (Stephanie Hsu) is dating a really nice girl (Tallie Medel). First, though, she's got to get through an IRS audit - at least, until things take a strange detour along the way when Waymond is seemingly possessed by his counterpart from another universe, telling Evelyn that she's the only person who can stop "Jobu Tupaki", a threat that has already ravaged other universes and is building something that endangers all of existence. To do that, Evelyn will have to "verse-jump", connecting with versions of herself that went down different paths and as such have different skill sets to access.

One does this, apparently, by doing something improbable, and that gives the Daniels the chance to not just stage kung fu action that is at once whimsical and impressively choreographed, but to make its every appearance feel unpredictable so that it never feels like a set piece that is most impressive for its technical skill. Once this movie hits its stride, it is just maximally weird, including what is one of the most bizarrely funny bits I've seen in a movie theater in some time. The movie keeps building to new ways of being ridiculous even when that seems impossible, though it finds spots to slow down and let the audience catch their collective breath even while another part of the brain is figuring out what this all means.

It works in part because it is also incredibly sincere while still being irreverent enough that this sincerity isn't used as a club (well, maybe it is toward the end) and because it is deft enough to build itself on a foundation of Michelle Yeoh being terrific at anything that might be thrown at her by giving her a heroine who is often a screw-up without making that cheaply endearing. There's some sly use of her movie-star power here, because the audience who knows her being ready to see her claim her due power and be awesome helps build anticipation, but the whole thing would fall apart if being human and fallible both on top of and underneath that gives the movie a target and helps the film with its musings about the scale of everything.

Her star power also lets the rest of the cast kind of sneak up on the viewer, even when they shouldn't. James Hong, for instance, has seemingly been playing cantankerous old Chinese men since he was young, but it's a delight to see him play with those tropes and suddenly take charge of a scene without making it any less Yeoh's. Ke Huy Quan, meanwhile, has not been on screen nearly as much as one might like since a couple memorable roles as a kid, but he also reinvents himself from scene to scene while still finding common ground. Same goes for Stephanie Hsu, who in some ways has the trickiest roll, in that Joy's multiple iterations have to seem incredibly far apart even though the crux of it is that it's the same person underneath.

That's the nut of it, really - that what's pushing all versions of all these characters is kind of the sameI and relatively universal, even if a lot of the details are specific to Chinese families. Small, bizarre details can send them off into wildly different directions but much of it's the same. That said, a big part of what impresses is that the Daniels don't just take their grand sci-fi premise and use it to explode a tight circle's concern to giant-screen size, but allow themselves and the audience to stand in awe of how mindbogglingly incomprehensible and indifferent the universe can be while still finding value in the chaos.

It's a special movie for that, able to grasp at the grandiose without making the mundane feel inconsequential. It's sentimental as movies come, but doesn't have to minimize anything to make the pieces one can grasp important.

Dual

* * (out of four)
Seen 14 April 2022 in AMC Boston Common #12 (first-run, DCP)

Considering how much I've enjoyed writer/director Riley Stearns's previous movies and like Karen Gillan, I found Dual tremendously disappointing. This movie takes an intriguing premise and does nothing with it so aggressively that one can't even find it clever any more. The bland numbness of it all is obviously part of the design, but ultimately to no particular end.

In it, a woman named Sarah (Gillan) suddenly finds herself taking ill, and it's not good news - she's got a rare condition that will kill her painlessly relatively soon. Fortunately, she lives in a world where "The Facility" can clone someone in such a situation, and this new copy will be like a sponge, learning all she can and ready to step in without a hitch so that her boyfriend (Beulah Koale) and mother (Maija Paunio) will be able to continue on without their lives being upended. The thing is, Sarah's Copy isn't exact - she's got a different eye color, soon develops different tastes, and over the coming months, becomes so close to boyfriend Peter that they're kind of getting impatient for her to die. But the disease goes into an unlikely remission, and while most clones are blithely deactivated under these circumstances, Sarah's Copy wants to live, and the law gives her the option to challenge Sarah to a fight to the death - which makes Sarah as ready to fight for anything as she's ever been, even if she can only afford an inexpensive instructor (Aaron Paul) to train her.

Stearns and his crew create a world that in some ways evokes Repo Man in its aggressively generic, un-slick aesthetics - nothing has a brand name, and while a lot of the technology is fairly modern - smartphones and DVD players and the like - there's a sort of IBM PC-style design to what we see on the screens, monochrome images with 8x8 character sets. The characters all speak in simple declarative sentences, with anything that may be a witty rejoinder or sly self-knowledge carefully removed from the script, and though there's a stray reference to California early, the characters have a mishmash of flat accents and mismatched ethnicities. It's canny in a certain way; it establishes a world where one seldom exactly questions the idea of people being replaceable so much as whether replacing Sarah is really necessary.

One can sort of see the thinking behind a lot of these choices, but even when one sees what Stearns is going for, that's all they are, choices that don't always land or intrigue. When the whole film is so determinedly flat and the metaphor is so clear, it's natural to want there to be more: Some sort of world-building, a storyline that has Sarah questioning the world around her, some sharper satire or intrigue or a chance for Gillan to really play with how Sarah is seemingly already dead inside before her guts start to rot versus Sarah's Copy being fresh and curious. Stearns seems too locked into playing up the dreary emptiness of the world he's skewering to create that sort of excitement, as if afraid that too many corners where one can see potential will undercut the rest.

So one has to treasure the moments where he does get aggressive - there are a couple of scenes where the decent black comedy pulls out an unexpected knife, like the Facility's recruitment video or a small child telling a horrific story. There are also the scenes where Gillan gets to show a little emotion and one wants more, because she absolutely connects when Sarah is shaken out of her stupor. There's a chemistry between her and Aaron Paul that intrigues in part because it's there despite how stunted they are - it's not entirely unlike the folks in The Art of Self-Defense, in some ways, except that there's deliberately less to this group.

It's a worthy effort, but the deadpan just doesn't work most of the time, whether because there's nothing for it to play off or some other reason, and the end is too carefully but obviously constructed to knock anyone for a loop. Stearns has been making a career out of these stories of people disconnected from the world, and it's for the most part been intriguing stuff, but this particular film is just too detached for its own good.

Friday, April 15, 2022

Next Week in Tickets: Films playing Boston 15 April 2021 - 21 April 2022

Huh, looks like I should have hit that Indian movie earlier. Just left everywhere in a rush to make room for the next big things
  • Landmark's Kendall Square will welcome Viva Maestro! director Ted Braun for the 6:50pm show Friday night to discuss his documentary about conductor Gustavo Dudamel. They also offer up Paris, 13th District, , which is about four young folks in the titular area pairing off - or coming up with more complicated arrangements. There is apparently no giant wall or parkour, though.

    On Tuesday, they have the weekly musical - Mamma Mia! - and a preview of Petite Maman. There's also a special reprise of Robert Eggers's The Witch on Wednesday ahead of his new film The Norseman.
  • Hong Kong movie theaters seem to be just reopening after having been closed for a few months - Omicron is beating the heck out of the SAR - but we get some new Hong Kong action internationally, with Man on the Edge presenting a cast including Richie Jen, Alex Fong, Patrick Tam, and Ron Ng, with Simon Yam, Sammo Hung, Karena Lam apparently there for support. It's at Boston Common. The Common is the last place for anime Jujutsu Kaisen: 0, all subtitled shows.

    K.G.F.: Chapter 2 seems to have absorbed all the screens that RRR was on, playing in multiple languages at Apple Fresh Pond (Kannada/Telugu/Tamil/Hindi), Boston Common (Kannada/Hindi/Telugu), and South Bay (Kannada/Telugu). Tamil action flick Beast also continues at Fresh Pond after opening Wednesday.
  • Riley Stearns's new one, Dual opens at Boston Common. It stars Karen Gillan as a woman who orders a clone to replace her after being diagnosed with a terminal disease, but must prepare for a duel to the death when she goes into remission and the clone opts not to go quietly.

    There's also Fantastic Beasts: The Secrets of Dumbledore, and it was all well and good when these Harry Potter follow-ups were keeping Eddie Redmayne and Johnny Depp out of other movies, but now it's got Jude Law and Mads Mikkelson. It's at the Capitol, Fresh Pond, West Newton, Boston Common (including Imax Xenon & Dolby Cinema), Fenway, Kendall Square, South Bay (including Imax Xenon & Dolby Cinema), Assembly Row (including Imax Xenon & Dolby Cinema), Arsenal Yards (including CWX), the Embassy, and Chestnut Hill. Father Stu opened on Wednesday and plays the Capitol, Fresh Pond, Boston Common, Fenway, South Bay, and Assembly Row.

    Arsenal Yards has The Lorax for their Monday afternoon show. "Inspirational drama" The Mulligan plays Fenway, South Bay, and Assembly Row Monday and Tuesday. Korean music doc/concert movie Seventeen Power of Love: The Movie plays Boston Common and Fenway on Wednesday.
  • Wicked Queer continues through Sunday at the Brattle and the Bright Screening Room at ArtsEmerson's Paramount Center from Friday to Sunday, with online presentations available through the end of the month.

    After that, The Brattle Theatre offers 35mm Muppet Madness during school vacation, with The Muppet Movie on Monday (digitally-projected sing-along) and Wednesday, The Dark Crystal (Monday/Tuesday), and Labyrinth (Monday/Tuesday/Thursday).
  • The Coolidge Corner Theatre shuffles three movies among four screens, because some of them are long-ish and that lets them overlap. Meanwhile, they've got 35mm prints of Blade II (Friday) and Big Trouble in Little China (Saturday) for the midnight martial arts movies, masked matinees of CODA (Saturday) and Everything Everywhere All at Once (Sunday), a Big Screen Classic show of The Godfather on Monday, Alphaville as the French New Wave selection Tuesday, and a 35mm print of Cabaret on Thursday.
  • The Somerville Theatre picks up Aline and continues their slate of 35mm special presentations: The Deer Hunter on Friday, Casablanca on Saturday, a Travola-vs-Cage double feature of Get Shorty & Leaving Las Vegas on Tuesday, Fear and Loathing in Las Vegas on Wednesday. They also have a special presentation of independent film Walk with Me on Thursday, with writer/director/editor Isobel de Rosal on hand for a Q&A afterward.

    The Capitol has school vacation screenings of Boss Baby (Sunday/Monday), Trolls (Tuesday/Wednesday), and Penguins of Madagascar (Thursday)
  • The Harvard Film Archive has two programs playing for the next couple of weeks, with the mostly-audio documentary Expedition Content playing Friday and Monday, while Saturday offers up a selection of 16mm "Films By Kids" from the Yellow Ball Workshop.
  • Belmont World Film has Tom Medina streaming through Monday, featuring David Murga as a man on probation looking to start a new life in rural France; a live discussion will take place Monday night.
  • Bright Lights has Flee on Thursday, which had the interesting hat-trick of being nominated for the Documentary, Animated, and Foreign-Language features at the recent Oscars. As always, the show is free at the Paramount Center in the Bright Screening Room, tickets available day-of, with post-film discussion.
  • The Lexington Venue offers The Rose Maker and Everything Everywhere All at Once from Friday to Sunday.

    The West Newton Cinema is closed for Patriot's Day on Monday, but adds Fantastic Beasts Sonic the Hedgehog 2, The Rose Maker, CODA, Cyrano, Parallel Mothers (no show Thursday), Sing 2 (no show Friday), West Side Story (no show Tuesday), Licorice Pizza, and Encanto (Friday-Sunday).

    The Luna Theater keeps going with X Friday and Saturday nights, with Poly Styrene: I Am A Cliché and All My Friends Hate Me earlier on Saturday. Sunday is the "Halfway to Halloween" Monster Movie Marathon with four tightly-packed showtimes, so I'm guessing it's classic Universal stuff, but who knows? Then later in the week, it's Weirdo Wednesday, with The Witch playing Thursday.

    Cinema Salem has Everything Everywhere All at Once, Fantastic Beasts, and Sonic 2 from Friday to Monday (Monday's matinees captioned).
  • For those still not ready to join random people in a room for two hours, theater rentals are available at Kendall Square, The Embassy, West Newton, the Capitol and Somerville, The Venue, CinemaSalemand many of the multiplexes. Jordan's Furniture and the film program at the MFA are still in limbo.
I hit Dual last night (eh), so I'll probably look at Man on the Edge and do some catching-up this week. Plus - baseball! It's going to be nice to get back to Fenway.