THE WEEKEND WARRIOR 4/11/25
KING OF KINGS, THE AMATEUR, DROP, WARFARE, SACRAMENTO, ONE TO ONE: JOHN AND YOKO, ZERO
Another weekend and another absolute mess with five new wide releases, none of them really looking certain of opening over $10 million. Therefore, all of them will be vying for positions in the top 5… beneath A Minecraft Movie, that might have a large second-weekend drop but shouldn’t have much problem maintaining the top spot a second time. That’s just the world of movie distribution that we live in now, where studios are throwing out whatever they can to keep things playing on movie theater screens… even when the seats in those theaters are not nearly as full.
I have watched four of the new wide releases, and I’ve already reviewed three of them in separate reviews (all linked underneath each entry), so you can read my reviews of Drop and One to One: John and Yoko below. I will have even less to say about the latest and final chapter in The Chosen: Last Supper, as I have the last few weeks, but at least we have another faith-based film, this one a biblical animated movie for family audiences, to discuss.
KING OF KINGS (Angel Studios)
Angel Studios is back with their very first animated feature, this one the biblical story of Jesus Christ, as told by (okay, I should check my notes on this one) Charles Dickens? Co-written and directed by first-time director Seong-ho Jang, who comes from the visual effects field, working with Park Chan-wook on some of his earlier films, this is a general retelling of the New Testament story of Jesus, which oddly, Dickens adapted into a book called “The Life of Our Lord.”
The animated movie has a hugely talented cast of actors including Kenneth Branagh, Pierce Brosnan, Oscar Isaac, Uma Thurman, Mark Hamill, Ben Kingsley, Forrest Whitaker and more, although we haven’t seen many animation houses outside of Pixar, Disney, DreamWorks and Illumination making any sort of impact at the box office. Angel Studios has a pretty good system in place, and though this probably won’t do as well as 2023’s Sound of Freedom, this seems like a much more marketable release than some of their past two or three theatrical releases.
King of Kings has a number of things going for it, the first of them being that Good Friday and Easter are coming up just next week, so the story of Jesus is on many minds, especially younger kids going to Sunday school. Angel Studios regular does church outreaches, and this will be no exception, going by the early presales for the movie. One might question whether a PG movie meant for kids and families can fare well on the 2nd weekend of A Minecraft Movie, which is currently the biggest movie of the year so far. Even though that movie will continue dominating, this is a very different type of family film and despite its PG-rating, it actually could still bring in older adults, since they will know that there won’t be lots of swearing and sex. (I could make a joke here about how the Virgin Mary and her immaculate conception is never mentioned or shown, but I won’t.) This also feels like one of the more positive movies of the weekend, and many people in this country are looking for more positive theatrical experiences, which one can’t say about this week’s other movies… except maybe The Chosen: Last Supper, which gets its third installment this week, and that will definitely be hurt by this movie’s release.
Not many critics tend to bother reviewing Angel Studos’ movies sadly, but so far, there are a handful of positive reviews, though it feels like a movie that’s fairly review-proof. Apparently, presales for the movie have been strong so far, maybe because we’re edging even close to the Easter holiday weekend and religious parents with kids might want to take them to see the movie. Because of those presales and presumably church group sales, this could end up being quite a surprise, opening in the $11 to $13 million range, which gives it a slight edge to take second place behind A Minecraft Movie.
THE AMATEUR (20th Century/Disney)
If you were to ask me which of the four movies this weekend was the strongest, I would not have picked this one, just because this seems like a fairly straight-forward action revenge thriller, starring Oscar winner Rami Malek from Bohemian Rhapsody. On the other hand, it’s being released by Disney’s 20th Century branch, and that’s a company with a lot of clout that can get a movie like this into 3,200 theaters. On top of that, it’s PG-13, which means that younger guys who might not be interested in A Minecraft Movie but wouldn’t be able to get into an R-rated movie might pick this. (Older guys might instead go with Warfare, see below.)
This is fairly high concept movie, actually a remake of a 1981 movie based on a novel by Robert Littell (which I didn’t realize before writing my review), with Malek playing CIA decoder Charlie Heller whose wife Sarah (Rachel Brosnahan) is killed in a London terrorist attack, forcing him to seek revenge against those responsible.
This version of the story is directed by James Dawes, who directed a few episodes of Apple TV+’s “Slow Horses” and the Anthony Hopkins biopic, One Life. He has surrounded Malke with a great cast that includes Laurence Fishburne, Julianne Nicholson, Michael Stuhlbarg, Jon Bernthal, Holt McCallany, Adrian Martinez and more, and it’s clearly going for a Jason Bourne vibe with this unlikely action hero in Malek’s character.
Fortunately, Disney probably has the strongest marketing in the biz, and they managed to get this into 3,200 theaters. Because there’s a simplicity and familiarity to the story, this might be an easier sell for movieogers, especially older males, this weekend.
The Amateur had well-attended previews this past Saturday, which will help get word-of-mouth going, and reviews have generally been mixed to positive, currently at 68% on Rotten Tomatoes, which could help drum up more interest for a movie that I didn’t particularly care for. (My review is linked below.) Those reviews (so far) are better than the ones for Jason Statham’s A Working Man, which still opened with over $15 million (beating Disney’s Snow White that weekend). Because of stronger reviews and general interest, I can see The Amateur opening with between $10 and $12 million or even slightly more, though it does have a lot more direct competition this weekend, as well.
DROP (Universal)
Offering The Amateur the most direct competition is this equally high-concept PG-13 suspense thriller, this one from filmmaker Christopher Landon, who has had decent success as a screenwriter with movies like the Paranormal Activity sequels, which he eventually came on to direct 2014’s Paranormal Activity: The Marked Ones, which didn’t do as well as previous installments. After the barely-released Scouts Guide to the Zombie Apocalypse, Landon reunited with Blumhouse for the high-concept 2017 horror hit, Happy Death Day, which was a huge hit worldwide, grossing $125 million with just a $5 million budget, which was followed by a sequel that did about half that amount. Landon’s next high-concept horror, Freaky, a body-switching slasher starring Vince Vaughn, had the misfortune of being released in November 2020, amid the pandemic, though it was still profitable since it only cost $6 million. Landon reunites with Blumhouse, this time with Platinum Dunes (Michael Bay’s production company, to tackle more of a thriller than horror.
All of Landon’s last three movies were Rated-R as was the recent Heart-Eyes, which he wrote and produced, although that only made $30 million, basically getting a nice bump due to Valentine’s Day, after an $8.3 million opening weekend. For this one, Landon has cast Meghan Fahey, who appeared in an earlier season of HBO’s “The White Lotus” as well as starring in the recent The Unbreakable Boy. She plays a single widowed mother who goes on a first date only to have someone text her threatening messages, while she tries to enjoy her time with her date, played by Brandon Sklenar (from “1923,” a show I’ve never seen). (Oh, and David Poland reminded me that Sklenar was one of the romantic leads in It Ends With Us.)
The ubiquitous trailers have been running for months, and they give a pretty clear idea of what to expect from the plot. Drop premiered to rave reviews at this year’s SXSW Film Festival and has had previews earlier in the week, but there’s something a little worrying about a wide-release studio movie that doesn’t have any well-known stars, even if like The Amateur, this should benefit from being PG-13. Presumably, this will be more of a draw towards younger women and couples than guys.
We’ve already seen high-concept movies like Companion and Novocaine, both starring Jack Quaid oddly, not do nearly as well as many (including me) expected, essentially opening under $10 million. Although Universal has done a great job getting this out there – I mean, you couldn’t go to the movies in the last three months without seeing the trailer – that might also backfire since many people may already feel like they’ve seen the movie. I still think Drop can open with $8 million and possibly even push its way to $10 million, as it battles with The Amateur to take third place, but this really would have done better opening last weekend as counter-programming to A Minecraft Movie.
Mini-Review: I’ve been seeing this trailer in front of every movie for months ow, and the only reason that didn’t annoy me so much was that I knew this was directed by Christopher Landon, who has been on quite a roll, especially if you include this year’s Heart Eyes, which he wrote. Landon didn’t write this high concept suspense thriller and is just directing, but you still see his touch as a filmmaker quite clearly.
In the film, Meghan Fahey plays Violet, a survivor of domestic abuse who is now a single mom with a 5-year-old son, Toby. She finally has gotten a date and plans to spend a night at a fancy restaurant called Palate, high above Chicago with her handsome date, Henry (Brandon Sklenar). No sooner has Henry arrived when Violet starts getting “digidrops” from an unknown person, who begins messaging Violet that her son is in mortal danger if she doesn’t comply with the orders given to her. One of those orders is to kill her date.
Of course, you will already know that if you’ve seen the trailer, and you may be wondering whether the film offers anything beyond the trailer and if it delivers on that premise. I do feel like there’s a lot more to this movie than just the bullet points from the trailer. For instance, Fahey is very relatable and believable as a single mother in jeopardy, and that goes a long to making Drop a viewing experience that keeps you invested. I’m not as sold on Sklenar, who seems like just a few notches above just being a typical Hollywood pretty boy. Women might feel differently about him, but it’s not hard to be fully rooting for Violet throughout the film, as she tries to figure things out.
Although Landon didn’t write this, his skills as a director are quite apparent, even if it’s just with things like keeping a movie involving a lot of texting more than any other movie to remain interesting via the graphics. That’s something that might normally take someone out of a movie, but the camerawork, editing and other aspects of the production (like the production design used to create the restaurant where most of the film takes place) are all top-notch. The movie is certainly slow at times, but fortunately, the tension continues to escalate until the last act that’s quite exciting and satisfying
Ultimately, Drop is a relatively simple and straight-forward psychological thriller that pays homage to films like Hitchcock’s Rear Window. Similarly, it is able to keep the viewer on the edge of their seat and ends up paying off in a big way – you can’t really do much better than that.
Rating: 7/10
WARFARE (A24)
There haven’t been that many straight-up war movies in theaters lately, as even Alex Garland’s 2024 movie, Civil War, while it had elements of war movies, it was more of a bit of conjecture on how bad the country can get due to the divisive politics in play. And boy, that seems to be getting closer to reality this year. Garland is back, this time teaming with ex-Navy SEAL Ray Mendoza to tell a much grounded real world war story based on one of Mendoza’s military missions in Iraq in 2006.
As with most war movies, this one is pretty much all dudes, including Joseph Quinn from last year’s A Quiet Place: Day One and the upcoming Fantastic Four movie; Noah Centineo from To All The Boys I’ve Loved Before (following Lana Condor who appeared in a war movie a few months back); Michael Gandofini from The Deuce and Daredevil: Born Again; Will Poulter, who seems to be in a movie every week following Death of a Unicorn a couple weeks back; Charles Melton from Riverdale and May December; D'Pharaoh Woon-A-Tai, who just appeared in Hell of a Summer; Cosmo Jarvis from Shōgun; Aaron Mackenzie; and many more. All dudes.
For the longest time, war movies were being cranked out right and left, but it’s been some time, and this might not be the best time for a war movie with what’s going on in the Ukraine and Israel/Gaza. There’s so much war on the news and this is a throwback to a war started by a previous bad President, and there’s a chance that movie audiences just don’t want to go to movie theaters to be bummed out.
That said, the reviews for this war movie have also been fantastic, and A24 wisely allowed word to get out earlier, maybe because they figured it might be tough to sell an Iraq war movie almost twenty years after the events happened. Warfare is mainly going to appeal to guys from early 20s to much older, and though they’ll have to choose between this and The Amateur, the positive reviews could allow this to bring in $6 to $8 million this weekend, helped by its IMAX screenings, though it’s sharing IMAX screens with other movies.
SACRAMENTO (Vertical)
This is the second feature directed by former child actor Michael Angarano that has him and Michael Cera taking a road trip to (you guessed it) Sacramento, California, premiered at the Tribeca Film Festival last year, where I wrote about it. I quite liked it, but since I watched it again to prepare to interview Angarano and his real-life partner Maya Erskine for the movie (coming to Cinema Daily US soon), I might as well share some more thoughts, even though I’m not quite sure how wide Vertical will release this one. Although the movie mostly focuses on Angarano and Cera’s relationship, Erskine plays Tallie, a woman that Angarano’s Ricky meets early in the film, and the two connect, though he kind of flips out when he learns she’s become present. Ricky has ulterior motives for getting his pal Glenn (Cera) to go with him on this road trip, although Glenn’s own wife Rosie (Kristen Stewart) is also pregnant and not a fan of him going off with Ricky. It’s a pretty simple set-up, but one that allows for many hilarious and even some poignant moments as Angarano uses it to explore his own journey into adulthood.
The reviews for the movie have been solid since it debuted at Tribeca last year, though I’m not quite sure Vertical has really been marketing it or getting Angarano and the rest of the cast out there to promote the movie on talk shows and such. Also, not knowing a theater count, I’m hesitant at making any sort of prediction, though Vertical has given a number of movies wide releases in recent years.
THE CHOSEN: LAST SUPPER PART 3
And last but not least, we have the third and final chapter of the biblical web series being previewed in theaters with Episodes 7 and 8 of Season 5 of The Chosen, which has become a decent-sized theatrical franchise over the past few years. Part 2 opened significantly less than Part 1 with under $7 million, and I expect Part 3 to open even lower, probably in the $5 to $6 million range, particularly with the direct competition of King of Kings, the third movie in the last month to depict the last supper.
THE BOX OFFICE CHART
This weekend can go in a lot of different directions, although obviously, A Minecraft Movie will stay well above the pack. After that, we’re looking at three movies somewhere in the $8 to $13 million range with King of Kings benefitting from presales, and The Amateur and Drop benefitting from early previews. Warfare might be a tougher sell, since who wants to see a movie about Iraq 20 years after the height of that unfortunate war? But word-of-mouth and premium screens like IMAX should help get it into the Top 5 with the final installment of The Chosen: Last Supper missing out. I’m not sure if Sacramento is going wide enough to get into the top 10, but I’m assuming it isn’t.
1. A Minecraft Movie (Warner Bros) - $76.4 million -53% (up $3.2 million)
2. King of Kings (Angel Studios) - $14 million N/A (up $2 million)
3. The Amateur (20th Century/Disney) - $11.5 million N/A (up $500k)
4. Drop (Universal) - $8.8 million N/A (same)
5. Warfare (A24) - $7.6 million N/A (up .8 million)
6. The Chosen: Last Supper Part 3 (Fathom Events) - $4.5 million N/A
7. A Working Man (Amazon MGM) - $3.8 million -48%
8. Disney’s Snow White (Disney) - $2.8 million -52%
9. The Woman in the Yard (Universal) - $2.3 million -50%
10. The Chosen: Last Supper Part 1 (Fathom Events) - $1.7 million -75%
Let’s get into some limited releases, beginning with this week’s “Chosen One,” and probably one of the best documentaries I’ve seen this year so far…
ONE TO ONE: JOHN AND YOKO (Magnolia)
Opening in IMAX theaters on Friday is this new doc directed by Kevin Macdonald (One Day in September, Marley, Touching the Void) and co-directed and edited by Sam Rice-Edwards (Meet Me in the Bathroom).
I remember back in 2006, when the documentary The U.S. vs. John Lennon was released, I was thinking as I watched it that John Lennon ended up being such a hugely influential person on young Americans and their politics, particularly protesting against the government and the country taking part of the Vietnam War. That came out during the second Bush Jr. term, and this doc just drives that point home, as it’s released during Trump’s second term, which is dividing the country even more.
Macdonald’s latest doc looks at a very specific period in John Lennon and Yoko Ono’s lives, specifically when they moved to the States and were living in New York City for 18 months during the early ‘70s. The movie is mainly centered around Lennon’s first and only full-length concert after the Beatles breakup, a free Madison Square Garden concert called “One to One,” which was put on to raise money and awareness for the Willowbrook Institute where mentally-challenged and handicapped children were being treated quite poorly, being underfed and dirty. The actual concert is even preceded by a fair in Central Park for the kids, just showing the empathy that Lennon and Ono had, especially towards children and the needy.
This is not a straight biographical doc, but more in the vein of something like Brett Morgen’s Moonage Daydream, as Macdonald and Rice-Edwards use a combination of archival footage, both of the concert and of John and Yoko both on television and in their personal lives, cutting it with all sorts of other found footage. We learn fairly early on that they’re obsessed with television, always having it on at all times, and that’s what leads to the melange of footage interspersed with actual phone conversations by Lennon and Ono with other parties. These conversations cover a wide range of topics including other charitable events Lennon and Ono were trying to stage during this period. (One concert for John Sinclair, successfully gets the poet and author released from prison after being put there for marijuana possession.)
Although the film has a lot of great footage from the Madison Square Garden concert, that’s only a very small part of why One to One is so riveting to watch. More than anything else, the film gives viewers to get a clearer idea what Yoko Ono was really about, because to many, she was a bit of an enigma who just showed up and then was with John. Through the film’s footage, we learn all about how her daughter was taken away from her by her ex-husband, and about her activism for women’s rights. We also get to see her perform and sing, and that has an even bigger impact than hearing Lennon perform his well-known songs. Heck, Yoko could have been one of the pioneers of punk rock, especially for women like Siouxie Sioux and X-Ray Spex frontwoman, Poly Styrene. The film effectively creates empathy for Ono and drives home how important she was in Lennon’s life.
Still, it’s a true shame that the country just doesn’t have someone on the level of a John Lennon, someone who can speak out about what’s going on and get people riled up to protest and do something about it. I mean, people are doing it anyway, but it seems like all the biggest icons and celebrities are timid about actively speaking out about the current administration, maybe to avoid what happened with Rachel Zegler and Snow White.
Either way, this is another fantastic film by Macdonald on par with his previous documentary work, as it allows you to learn so much about these two enigmatic individuals and learn how they navigated being in New York City at a very divisive moment in our country’s history. This is easily one of the best docs of the year so far.
I hope to have an interview with Kevin Macdonald over at Cinema Daily US sometime early next week, ahead of the film’s limited release in non-IMAX theaters, but those who have an IMAX theaters nearby can catch it this weekend.
Unfortunately, that’s all I had time to watch this week, because I either need to use my limited time to watch movies or use my time to write about movies, and there just isn’t enough time to do both these days.
ZERO (Well Go USA)
Congolese filmmaker Jean Luc Herbulot’s action-thriller stars Hus Miller (who co-wrote the script with Herbulot) and Cam McHarg as two strangers in Senegal, who wake up with bombs strapped to their chests with the clock counting down ten hours. In order to survive, they must complete a number of chaotic missions as the city of Dakar is dealing with protests against Western influences.
THAT THEY MAY FACE THE RISING SON (Juno Films)
Set in rural Ireland in the ‘70s, this film written, directed, and produced by Pat Collins, based on the novel of the same name by Irish author John McGahern, follows a couple, Joe and Kate Ruttledge (Barry Ward, Anna Bederke) who have returned to Ireland after living in London and are trying to get back into the town’s close-knit community. This will open in New York (at the Quad Cinema) and L.A. on Friday.
THE UNINVITED (Foton Distribution)
Opening at New York’s IFC Center on Friday and in L.A. and Miami on April 18 is Nadia Conners’ dramedy, starring Elizabeth Reaser and Walton Goggins as Rose and Sammy, a couple who throw a party in the Hollywood Hills that is crashed by a stranger (played by veteran character actor Lois Smith), leading to a comedy of errors that causes Rose to confront her insecurities in a marriage that’s going downhill. The film also stars Rufus Sewell and Pedro Pascal.
THE TEACHER (Watermelon Pictures)
Also opening in New York this weekend and then in L.A. and other markets on April 18 is this film from Oscar-nominated and BAFTA-winning filmmaker Farah Nabulsi, starring Saleh Bakri as a Palestinian schoolteacher who experiences a tragic incident involving his son, who finds solace by forming a bond with one of his students and a British social worker, played by Imogen Poots, while also committing to his political resistance.
Other stuff out this weekend…
G20 (Prime Video)
GUNSLINGERS (Lionsgate)
NORA
Okay, let’s see if I can do a full repertory round-up since I have a lot of my work done for the week…
REPERTORY
Starting this weekend is the series “Syd Mead: Illustrating the Future” with screenings of Ridley Scott’s Blade Runner: The Final Cut (1982) with much more to come.
“The People’s History: Early Films of John Sayles” continues this weekend with a screening of his 1988 baseball movie, Eight Men Out on Saturday morning and then another screening on Tuesday night.
“Welcome to Suburbia” continues this weekend with screenings of Richard Linklater’s Suburbia (1996) and Catherine Hardwicke’s Thirteen (2003), starring a very young Evan Rachel Wood as well as Brady Corbet, who also stars in Greg Araki’s Mysterious Skin, along with Joseph Gordon Levitt, which screens a few more times early next week.
The 2004 anthology Eros, featuring segments by Wong Kar-wai, Steven Soderbergh, and Michelangelo Antonioni will screen on Saturday and Sunday as part of “Tonnino Guerra: A Poet’s Cinema,” while Kim Jee-woon’s 1998 film, The Quiet Family, plays as part of “The Body Between Us” a few times this weekend.Almodovar’s All About My Mother (1999) plays one more time on Thursday night as part of “Filmcraft: Inbal Weinberg,” while “Filmcraft: Monika Willi” also continues this weekend with a screening of Todd Field’s Tár and Michael Haneke’s Happy End (2017), both of which Monika Willi edited.
John Schelsinger’s Oscar-winning Midnight Cowboy from 1969 will screen again on Friday afternoon and then on Tuesday.
I feel a bit bad that I haven’t really been checking out what’s going on at other repertory theaters, so I’ll rectify that this week.
A DCP restoration of Claude LeLouche’s A Man and a Woman from 1966 continues to play at Film Forum through April 17, as do other films as part of a LeLouche series. Sunday’s “Film Forum Jr.” is Barbra Streisdan’s Yentl from 1983.
Let’s see what’s going on at another great downtown arthouse/repertory theater. There are a bunch of 40th Anniversary screenings of Vampire Hunter D to begin with, while David Lynch’s The Elephant Man (1980) is screening a 45th anniversary 4K DCP at least two times a day for the next week. This Friday and Saturday, the “Late Night Favorites” movie is Ken Russell’s horror film, The Lair of the White Worm (1988), starring a very young Hugh Grant. Jodorowsky’s The Holy Mountain is also screening Friday and Saturday night late. Lisa Cholodenko’s 1998 film High Art is screening as a 4k restoration, as well.
David Lynch’s Eraserhead is playing on Thursday night as is William Friedkin’s The French Connection, the latter also screening on Saturday afternoon. Susan Streifeld’s Female Perversions (1996), starring Tilda Swinton, is showing on Friday, Saturday and Sunday with QnAs after a few screenings.
Jacques Demy’s French musical classic The Umbrellas of Cherbourg (1964) plays a few times on Friday as part of “The Divine Deneuve” with more screenings of Belle de Jour (1967) on Saturday, the 1966 film Les Créatures on Sunday, The Young Girls of Rochefort (1967) on Monday, The Last Metro (1980) on Tuesday, and 1970’s Donkey Skin on Wednesday. In other words, if you love Catherine Deneuve, you should play to get to the Quad every day in the coming week.
On Sunday, you can see William Wyler’s classic Ben Hur, starring Charlton Heston, as part of “Sunday Epics,” and then, on Monday night, you can see one of my all-time favorite movies, Hal Ashby’s Harold and Maude, this one in 35mm with two screenings.
The ongoing “A Century of Romance” series continues with this weekend with screenings of Amélie, His Girl Friday, The English Patient, and When Harry Met Sally, and then on Friday and Monday, you can see a double feature of Ernst Lubitsch’s The Shop Around the Corner (1940) and Preston Sturges’ Hail the Conquering Hero (1944), both screened on 35m, as part of “All’s Fair in Love and Boor: Lubitsch and Sturges.” (There’s a lot more in this series over the weekend that you can check out by clicking on the link above.) Tonight (Wednesday), you can see Diner in 35mm, as part of the “Academy Museum Branch Selects” program, that one selected by the Casting Directors Branch, and then nextd Wednesday, you can see the ‘80s classic, Working Girl, starring Melanie Griffith and Harrison Ford, that one picked by the Executives Branch.
NITEHAWK CINEMA PROSPECT PARK & WILLIAMSBURG
On Wednesday night at Prospect Park, you can see Spike Lee’s comedy concert doc, The Original Kings of Comedy (2000) as part of “Adventures in Black Cinema.” Robert Altman’s Gosford Park (2001) screens at brunch time on Saturday at Prospect Park as part of “A Session on Class,” while Williamsburg screens the 1989 horror film, Society, on Friday and Saturday just before midnight and Jacques Tati’s Mon Oncle (1958) on Saturday and Sunday for brunch. (The latter is a great film that I highly recommend but really, all of Nitehawk’s programming is fantastic.) This Sunday is the latest installment of “Sundays on Fire,” showing secret unannounced Hong Kong movies on 35mm – sadly, I’m going to miss this one.
The original Billy Wilder Sunset Boulevard (1950) screens on Monday night in Prospect Park with a QnA with members of the Broadway company of the musical, while Sofia Coppola’s The Virgin Suicides from 2000 screens on 35mm in Wiliamsburg.
Another series this month is “Apocalyptic Visions” with Williamsburg showing Lars von Trier’s Melancholia (2011) on Saturday and Sunday at brunch time, and Prospect Park screening 1988’s Miracle Mile on Tuesday night. Also on Tuesday, Williamsburg is showing Confessions of a Teenage Drama Queen from 2004 as part of its ongoing “Re-Consider This” series.
On Wednesday night, Williamsburg is showing Michelle Garza Cervera’s Huesera: The Bone Woman from 2022 as part of “The Future of Film is Female.”
On Thursday night, you can see David Chase’s 2012 rock drama Not Fade Away in a special black and white version.
I think that will do it for this week, but next week, Ryan Coogler and Michael B. Jordan reunite for Sinners, and there are other films as well, hopefully not as many as this week.
I've seen the trailer a dozen times, and I know you just reviewed it, but... Come on, "The Amateur" isn't a real movie, right?
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