THE WEEKEND WARRIOR April 18, 2025 (Easter Edition)
SINNERS, THE WEDDING BANQUET, SNEAKS, COLORFUL STAGE!, THE UGLY STEPSISTER, THE SHROUDS
It’s Easter weekend, and as has been the case many times this year, we have one big studio release and a bunch of smaller releases, as well as the usual limiteds, some of which I’ll try to review, although I just have a lot going on in my life, some of which pays better than writing this column.
Easter is always interesting, because schools have generally been out for spring break in many locations, but then Good Friday is a HUGE day at the movies where many people are off work, school is out, and going to the movies has always been a favorite pastime. There have been some huge opening weekends thanks to Easter, including Batman v Superman: Dawn of Justice ($166 million opening), Furious 7 ($147.2 million), and The Super Mario Bros. Movie ($146.4 million). The last few weeks have been promising for this weekend to continue that trend, even though there’s only one movie that even has a chance of dethroning A Minecraft Movie, and that’s…
SINNERS (Warner Bros.)
Warner Bros is looking to get a second back-to-back hit with Ryan Coogler’s first movie since 2022’s Black Panther: Wakanda Forever, which was four years after the Oscar-nominated mega-blockbuster Black Panther. It’s been 12 years since Coogler made waves with his Sundance-winning drama Fruitvale Station, his first movie collaborating with Michael B. Jordan, and he’s become a director with name-brand value that equals that of his frequent collaborator.
Sinners is set in 1930s Mississippi, and it stars Jordan in a dual role of the twin brothers, Smoke and Stack, who have bought a sawmill with plans to open it as a juke joint that same night. What they didn’t plan was for a trio of vampires (including a Klansmen) showing up with plans to convert everyone into a vampire. Even though there’s a focus on Jordan, Coogler has put together an impressive ensemble that includes Oscar nominee Hailee Steinfeld, Jack O’Connell, Delroy Lindo, Jayme Lawson, Li Jun Li (from Damien Chazelle’s Babylon), and young musical artist MIles Caton in a breakout role as a young blues guitarist caught in the middle of the mayhem.
Jordan definitely has been making his mark as a leading man since starring in Coogler’s Creed ten year ago, a movie that made $109 million domestically, leading to two sequels, the most recent one, Creed III, being directed by Jordan as well. That one opened with $58.4 million and grossed $156.2 million domestically and $119.9 million overseas. The movie surpassed the worldwide gross of Rocky III in 1982 and came close to the $300 million worldwide of Rocky IV in 1985 and was the biggest movie in the “Rocky” franchise since then. Jordan also played the primary bad guy in Black Panther, but he’s clearly become a big star and Sinners is a real test for whether his fans want to see something original that’s not base on previous IP.
Reviews for Sinners have been solid with a 99% rating on Rotten Tomatoes, at the time I write this, though that might change as more regional and international critics watch the movie. Still, Warner Bros. should be thrilled with that number, which is sure to boost interest for the movie and quell any skeptics from the trailer that some feel has been overplayed or shows too much. Being an R-rated horror movie might hurt the movie’s chances, only since fans of Coogler and Jordan’s other movies aren’t necessarily the same people who would go see a vampire or horror movie.
At one point, I thought Sinners might open with $35 million, but having seen it, and knowing how few strong movies there have been for Black audiences, I think Coogler’s latest will do very well over Easter with a huge Good Friday boosted by Thursday previews that will give A Minecraft Movie a run for #1. Expect Sinners to win Friday with ease with the boost from Thursday previews, and though it will be close, I think it will the weekend with $45 million plus.
THE WEDDING BANQUET (Bleecker Street)
Asian-American filmmaker Andrew Ahn, who went from the popular indie Spa Night to making the hilarious Hulu movie Fire Island, now tries his hand at a remake of The Wedding Banquet, one of Ang Lee’s early films from 1993, written by James Schamus. This is likely to be the widest release of Ahn’s career, and it’s a good one, making a number of very specific changes to modernize it for current younger audiences who may have not even seen Lee’s movie yet.
It stars Korean actor Hang Gi-Chan as Min, who is living in Seattle with his long-time boyfriend Chris (Bowen Yang), but he needs to get a green card in order to stay in the States, since his father wants him to return to Korea to take on the family business. Min’s family also might not know that he’s gay, so when he learns his grandmother is coming to Seattle, Min begs his best friend Angela (Kelly Marie Tran), a lesbian married to Lily Gladstone’s Lee, who is trying to have a baby via IVF, to marry him for the green card in exchange the money they’d need to have the baby they want. Ahn also put together an amazing supporting cast for the main four actors, including Joan Chen, fresh off of last year’s Didi, and Youn Yuh-jung, who won the Oscar for Lee Isaac Chung’s Minari a few years back.
Ahn has made a movie that’s far more of a comedy than the original movie, and it played well when it premiered at the Sundance Film Festival back in January. It’s currently at 97% on Rotten Tomatoes with 31 reviews, at the time of this writing, and it hopefully will appeal to Asian LGBTQ+ audiences in a similar way that Crazy Rich Asians did for Asian audiences back in 2018. We do have to bear in mind that there is still some bigotry among older Asian people towards alternative lifestyles as the ones depicted in Ahn’s movie, but it’s a crowdpleasing movie that should win over others. Maybe the best comparison for this is Billy Echner’s Bros, directed by Nick Stoller (Kool-Aid), which was released by Universal into 3,350 theaters two and half years ago, but only opened with $4.8 million, and I doubt The Wedding Banquet will be released nearly as wide.
In fact, Bleecker Street will be releasing The Wedding Banquet into just 1,139 theaters, but the popularity of its cast and the decent word-of-mouth the film has built since Sundance will make it interesting counter-programming to Sinners. As of now, it seems likely for the movie to open in the $3 to $4 million range, which might not be quite enough to sneak into the top five, though hopefully, it can find an audience over the rest of April.
Mini-Review: I’m not one of those critics who gets upset when one of my favorite films of yesteryear is remade by a younger director with a modern twist, and to be fair, when it comes to this early film from Ang Lee, I only saw it for the first time fairly recently. I’m not going to get too deep into the differences, since I feel like Andrew Ahn’s fourth feature film really should be able to hold its own without comparisons.
We meet the four central characters as they’re at a celebration that includes a Chinese dragon and a drag queen (Oh, I just got that), and we quickly are made aware of their relationships. Hang Gi-Chan’s Min and Bowen Yang’s Chris are in love and living in the basement apartment in the house owned by Kelly Marie Tran’s Angela and Lily Gladstone’s Lee. They’ve been together for a long time, and Lee is trying to have a baby through IVF. When Min is in danger of losing his visa and being forced to return home to Korea to work for his homophobic grandfather, he proposes to Chris, who flatly turns him down. With no other recourse, Min proposes to Angela with the added pressure that Min’s grandmother (Youn Yuh-jung) is coming to Seattle to meet her grandson’s bride.
As with Ang Lee’s film, The Wedding Banquet is a comedy of errors that escalates as it goes along, but it’s also not nearly as much a comedy as it could have been. There are lots of funny moments and situations for sure, but it’s really how these characters interact that keeps the viewer invested, and that’s as much due to Ahn’s writing and direction as his actual cast.
I thought that Tran gives just such a great performance in the film, unlike anything else we’ve seen from her and really holding up to Joan Chen, who plays Angela’s proud LGBTQ ally mother, who is quite dismayed when she learns Angela is going to marry Min. Yang is also great without having to be nearly as comedic as he was in Ahn’s Fire Island, though I wasn’t as enamored with the performances by Gladstone (who has been better) or Hang Gi-Chan. Youn Yuh-jung is as good in this as she was in Mirani, proving that her Oscar win was no fluke. A smaller player in the film is Bobo Lee’s Kendall, Chris’ cousin, who I wish had more to do, since I did like her few scenes, even if she doesn’t play as important a part in the story.
Putting an original twist onto the premise from a familiar title elevates Andrew Ahn fully into another realm as a filmmaker. Although The Wedding Banquet might not be quite as much of a comedy as it purports to be, it’s a joyful character exploration that should leave viewers quite satisfied.
Rating: 7.5/10
SNEAKS (Briarcliff)
This week’s animated movie for families and kids comes from Briarcliff, who hasn’t really released any movies in this vein, and maybe after this weekend, they never will again. Who knows? I haven’t watched Sneaks yet (and I probably won’t) but it’s co-directed by Rob Edwards, who wrote The Princess and the Frog and was one of the writers on Captain America: Brave New World. The last part is important, because that helped him get Anthony Mackie to provide one of the main voices. Edwards’ codirector is Christopher Jenkins, who wrote Surf’s Up, produced Home and has generally been working in the animation space going back to Who Framed Roger Rabbit.
That’s a pretty good pedigree for the film and having Mackie providing a voice won’t hurt either with the voice cast joined by the legendary Keith David; Laurence Fishburne (fresh off the surprise hit The Amateur); Martin Lawrence, who hasn’t done much in the film realm other than his two Bad Boys movies with Will Smith; as well as Macy Gray, Chloe Bailey, and others. The premise, as snagged from the film’s IMDB logline is, “When a designer sneaker unwittingly finds himself lost in New York City, he must dig deep into his sole* in order to rescue his sister and return to his rightful owner.” (*GROAN)
Presumably, this is an animated movie geared towards Black family audiences, which could be good for an Easter weekend, although it’s really only going to be for families with kids, since any Black audiences over the age of 15 or 16 years old will almost undoubtedly go see the new Coogler vampire movie instead. It’s doubtful that anyone younger or cooler will have much interest in this one.
This is another movie where I don’t have any screen counts in advance, but Briarcliff will probably try to get it into 1,800 theaters or more, but that probably won’t be enough for this to make more than $2.5 or $3 million over the weekend. It’s just difficult to get an original animated movie seen by audiences unless you’re a Disney or Universal, even if Angel Studios disproved that theory with the success of The King of Kings, which will also be a draw over Easter, making it even tougher for Sneaks to have an impact.
COLORFUL STAGE! The Movie: A Miku Who Can’t Sing (GKIDS)
Another week and another Anime movie. As you probably know by now, I’m terrible about this stuff, because Anime is just not something I deliberately watch at all, neither in theaters or via streaming. This one is from Hiroyuki Hata, about teen musician Ichika who meets with Hatsune Miku after hearing a song she wrote, and the two connect through music. It’s based on a hugely popular Japanese rhythm game called “Hatsune Miku,” and there’s been a number of animated series over the past few years. Presumably, all of those things have been popular enough to warrant a theatrically-released feature film. GKIDS is only releasing this for an exclusive four-day run from Thursday though Sunday, with no reported theater counts yet, but presumably, it will be pretty wide in 800+ theaters, and that should be enough for it to get into the top 10 over Easter weekend with $2 million or more.
THE BALLAD OF WALLIS ISLAND (Focus Features)
Expanding wider this weekend is one of my favorite movies of the year, Tom Basden and Tim Key’s comedy about a folk musician (Basden) who accepts a large sum of money from a lottery winner (Key) to play a private concert on a remote island… unwittingly reunited with his former partner and musical collaborator, played by Carey Mulligan. Directed by James Griffiths, this is an absolutely wonderful film that I reviewed a few weeks back. As of this writing, the movie has earned $737k in limited release with great reviews and a solid audience score on Rotten Tomatoes, although it might be tough for a very British film to do well outside larger cities, even with the Good Friday/Easter weekend ahead, but it probably can make around $1.5 million this weekend, which is not enough to break into the top 10.
CHEECH AND CHONG’S LAST MOVIE
Opening next week but getting special 4/20 sneak previews is a movie whose title speaks for itself with Cheech and Chong’s return to theaters. I haven’t seen the movie yet but hope to see it on Sunday, so maybe I’ll write more about this next week. We’ll see.
THE BOX OFFICE CHART
1. Sinners (Warner Bros) - $46.4 million N/A
2. A Minecraft Movie (Warner Bros) - $42.5 million -46%
3. The King of Kings (Angel Studios) - $11 million -41%
4. The Amateur (20th Century/Disney) - $8 million -48%
5. Warfare (A24) - $4.4 million -46%
6. Drop (Universal) - $4 million -47%
7. The Wedding Banquet (Bleecker Street) - $3.8 million N/A
8. Sneaks (Briarcliff) - $2.5 million N/A
9. The Chosen: Last Supper Part 3 (Fathom Events) - $2.3 million -60%
10. COLORFUL STAGE! (GKIDS) - $2 million N/A
THE UGLY STEPSISTER (IFC Films/Shudder)
Emilie Blichfeldt’s Norwegian period thriller stars Lea Myren as Elvira a young woman whose father dies, leaving her to contend with her stepmother and far more beautiful stepsister, forcing her to take drastic measures to achieve physical perfection to attract the rich and handsome Prince Julian (Isac Calmroth).
I wasn’t really sure what to expect from this one, though I did know that it premiered in the Midnights section at the Sundance Film Festival this year, so I presumed it was some sort of horror or genre film. Although it ably fits into the latter category, I’m not sure I would necessarily call it “horror.” It’s essentially a twist on the Cinderella story with Lea Myren’s Elvira beginning the film with braces on her teeth and in pigtails, but after her father dies, she’s left with her cruel stepmother Rebekka (Ane Dahl Torp) and her beautiful older stepsister Agnes (Thea Sofie Loch Næss). She also has an innocent younger sister in Alma (Flo Fagerli). Elvira is madly in love with Prince Julian, and not only does she fantasize about being his wife, but after her father dies, it becomes urgent that she find a rich husband to save the family.
As luck would have it, Prince Julian is throwing a ball where he will choose his next wife, and for whatever reason, Rebekka thinks that Elvira will be the family’s best bet. Or maybe she’s just being cruel to the girl because Agnes is far prettier and poised, though she’s also in love with another man, who doesn’t have nearly the financial means. Elvira is put through a finishing course in order for her to learn dancing, and goes through a horrific series of surgeries to try to make her prettier, including a torturous nose job where she’s forced to wear a metal nose guard. She’s also deliberately given a tapeworm to deal with her weight issues, and that will lead to some of the more disgusting moments later in the film.
Meanwhile, as Elvira gets subjectively prettier and more attractive, Agnes is falling apart, and it makes you think that maybe Agnes is the Cinderella in this story while Elvira is the evil stepsister. At a certain point during the climactic ball, Elvira’s stomach starts rumbling, and you’re expecting the worst to be some vomiting, but then, it just gets much, much worse than that. I won’t spoil some of the other horrific scenes, but there are many things in The Ugly Stepsister that were tough to watch and almost made me stop watching it altogether.
In that sense, the film feels very much in the vein of films by Julia Ducournau (Raw and Titane) or Coralie Fargeat’s The Substance, making it clear that these European women directors really want to prove that they can go harder than the men. But to me, this is just gross-out horror done for shock value, not unlike the Terrifier movies or the body horror made famous by Cronenberg, who ironically, has a new movie out this week that doesn’t go as far with the gore but just isn’t a very good movie either. (See below.)
The thing is that Emilie Blichfeldt’s film is quite gorgeous, her cast does a fine job, and the film’s score is also great, making the film as much reminiscent of Sofia Coppola’s Marie Antoninette as any other recent genre film. Maybe it’s a movie that will appeal more to women, but it definitely gets harder and harder to watch as we see all the experiments on Elvira lead to an outcome possibly even worse than the last act of The Substance. The Ugly Stepsister tends to get so disgusting and grotesque, it’s hard to recommend to anyone who doesn’t have an iron stomach and the constitution for watching a movie that more than earns the descriptor of being “ugly.”
Rating: 6/10
THE SHROUDS (Sideshow/Janus Films)
David Cronenberg is back with his latest film, which premiered at Cannes last year and has been playing at various film festivals since then. It stars Vincent Cassel (returning from Eastern Promises) as Karsh, a widower businessman who has invented GraveTech, a technology that allows you to monitor your loved one’s corpse as it’s decaying in its grave. Karsh ends up in a relationship with his dead wife’s sister (Diane Kruger), who used to be with his own brother (Guy Pearce). When Karsh’s wife’s grave is desecrated, he needs to figure out who is responsible and find out why they did it.
I kind of knew that I was in trouble with this one when I sat down to watch it at least year’s 62nd New York Film Festival, and I barely got through 45 minutes of it, but I did give it another chance by watching it with a fresh brain, and it didn’t so much to persuade me that it was worth my time. It begins with Cassell’s Karsh on a date at his own restaurant, telling his date about GraveTech and the shrouds he created to allow people to check on loved ones… as they decay in their graves. As luck would have it, the restaurant is next to a GraveTech graveyard, so he’s able to show his date the decaying remains of his wife. That immediately makes this the year’s absolute WORST DATE ON FILM, surpassing a scene in Magazine Dreams and the entirety of Drop.
One can possibly see why Cronenberg’s morbid curiosity to explore all aspects of “body horror” would lead to the idea of a grave that allows people to watch their loved ones decay, but he doesn’t necessarily do anything interesting with it. There is one exception there, and that is casting the hugely underrated Diane Kruger in a dual role as Karsh’s dead wife and her twin sister Becca. She also voices Karsh’s Siri-like assistant, Hunny, who he constantly turns to for help. The only other significant character is Guy Pearce as Karsh’s brother Maury, who was once married to Becca and is extremely jealous of time that she’s spending with Karsh. It also reminds is that back in 1988, Cronenberg made the far more interesting Dead Ringers with Jeremy Irons in a dual role.
The film just keeps going down this rabbit hole of Karsh trying to solve the mystery of who desecrated his wife’s grave, and why they might do it while having flashbacks and dreams (some might say nightmares) of his wife dying from cancer, inevitably losing a breast and various limbs, which would be quite morbid in a film from any other filmmaker but from Cronenberg, it just seems rather staid.
There is no way around the fact that this is by far Cronenberg’s worst film in a very long time, possibly going back to the days of Crash. Frankly, I’m surprised this has gotten so much of a pass from adoring Cronenberg fans that call themselves “film critics.” Maybe I was among that lot for many decades, but anyone who walks out of The Shrouds thinking it’s a good movie worth recommending might want to get their heads examined.
Rating: 3/10
THE PRESIDENT’S WIFE (Cohen Media Group)
Catherine Deneuve stars in filmmaker Léa Domenach’s directorial debut, which opens at the Quad Cinema in New York on Friday, as well as Laemmle’s Royal and Town Center in L.A. and theaters in Chicago, DC, San Fran, and more. She plays Bernadette Chirac, the wife of the newly-elected president Jacques (Michel Vuillermoz), who arrives at the Elysée Palace, frustrated for having worked in her husband’s shadow and not being credited when he’s elected. With the help of her chief of staff Bernard (Denis Podalydès), she tries to restore her reputation with the press and the French people with new clothes from her friend, fashion designer Karl Lagerfeld. I haven’t watched this yet, but I guess this is a biopic of sorts?
IT FEEDS (Samuel Goldwyn)
Ashley Greene from the Twilight movies stars in this Chad Archbald’s horror-thriller, playing a clairvoyant therapist who encounters a young girl being threatened by an evil entity that’s feeding on her. Shawn Ashmore, who played Bobby Draka aka Iceman in X-Men and some of its sequels, plays the girl’s father who is trying to protect his daughter from this mysterious force. Due to time constraints, I wasn’t able to review this one.
LIGHT OF THE SETTING SUN (DCTV)
Vicky Du’s directorial debut looks into her family’s history across three generations and three countries – China, Taiwan and the U.S.-- which uses archival footage, reflections and interviews to tell this story about their escape from the 1949 Chinese Communist Revolution.
INVENTION
Courtney Stephens’ new film will premiere at the Metrograph on Friday as part of its “Weird Medicine” series with Stephens on hand with writer Callie Hernandez for intros and QnAs. In the film, Hernandez plays Carrie, a young woman whose father died leaving behind a legacy that includes the patent for an innovative healing machine.
Other movies out this weekend…
DEAD MAIL (Shudder)
MUMU (Well Go USA)
REPERTORY
This weekend, Joe Wright’s debut feature, Pride and Prejudice, starring Keira Knigthley in her first Oscar-nominated role, will be getting a 20th Anniversary rerelease into theaters nationwide, so this week’s repertory round-up isn’t just about New York, for once.
Taiwanese actor Lee Kang-Sheng gets his first film retrospective outside of Taiwan with “Drifting Through Time: Focus on Lee Kang-Sheng” though Lee Kang-Sheng won’t be appearing in person until next weekend. This weekend, Metrograph is showing some of Tsai Ming-Liang’s films starring Lee, including The Wayward Cloud (2005), Vive L’Amour (1994), I Don’t Want to Sleep Alone (2006), and What Time Is It There? (2001).
In conjunction with the premiere of Courtney Stephens’ Invention, “Weird Medicine” is also screening Robert Kramer’s 1988 film Doc’s Kingdom and a Weird Medicine Shorts program.
“Syd Mead: Illustrating the Future” continues this weekend with more screenings of Blade Runner: The Final Cut and Star Trek: The Motion Picture - Director’s Edition, both from 1979. “In the Pinku: The Return of Roman Porno” will screen Ahihiro Shioa’s We Woman in the Wind (2016) and continue to show Love Hotel.
Two more great John Sayles screen this weekend as part of “The People’s History: Early Films of John Sayles”: 1996’s Lone Star, for which Sayle won an Oscar for his script, and 1994’s The Secret of Roan Inish. I have seen neither of these but look forward to seeing them both this weekend.
“Welcome to Suburbia” continues this weekend with screenings of Gus Van Sant’s Paranoid Park (2007), while the anthology Eros (2004) screens one more time as part of “Tonnino Guerra: A Poet’s Cinema” on Tuesday.
John Schlesinger’s Oscar-winning Midnight Cowboy (1969) screens one more time on Monday evening.
Claude Lelouch’s A Man and a Woman continues through Thursday as does the Lelouch retrospective, though it won’t really matter depending on when I post this week’s column. This Sunday’s “Film Forum Jr” is a terrific offering, James Whale’s The Bride of Frankenstein (1935). Oh, and later on Sunday, you can watch the 2021 doc, Boris Karloff: The Man Behind the Monster. Charles Burnett’s Killer of Sheep (1977) will be running as a new 4k restoration starting this Friday.
On Thursday night, you can catch Wim Wenders’ Oscar-nominated Buena Vista Social Club from 1999 with a QnA by Joachim Cooder. This weekend’s “Late Night Favorites” include the Coens’ The Big Lebowski (1998), Ken Russell’s The Lair of the White Worm (1988), Passolini’s Salo, or the 120 Days of Sodom (1975) – the latter is actually playing once per night as a 50th anniversary rerelease through next week – and Jodorowsky’s The Holy Mountain (1973). Another ongoing series is “Joel Potrykus: The Late Show,” which includes late night screenings of Sam Raimi’s The Evil Dead (1981) on Friday and Saturday night, as well as George Miller’s Mad Max (1979). Lisa Cholodenko’s High Art (1998) continues to run through the weekend, and David Lynch’s The Elephant Man (1980) continues to screen as a 45th anniversary 4k restoration.
Screening on Thursday and Friday is a 35mm print of Henry Hathaway’s Kiss of Death from 1947, and on Saturday and Sunday, you can see Richard Linklater’s 1993 film Dazed and Confused, starring the late Nicky Katt, though I’m not sure this was programmed before Katt’s death and may just be a coincidence. On Sunday, there’s a screening of Greg Araki’s Smiley Face (2007), starring Anna Faris, John Krasinski, and Adam Brody.
“A Century Of Romance” continues this weekend with screenings of Roman Holiday, Bringing Up Baby, Sofia Coppola’s Lost In Translation, and Maurice on Friday, When Harry Met Sally and But I’m a Cheerleader on Saturday, and that same day, the Academy’s Makeup Artists and Hairstylists Branch will show David Lynch’s The Elephant Man (which also might still be playing at IFC CEnter where it’s been playing for weeks). On Sunday, there will be another screening of Howard Hawks’ His Girl Friday on Sunday, as well as Sense and Sensibility, You Can Count on Me, and Call Me By Your Name, all Oscar nominees.
BAM (BROOKLYN ACADEMY OF MUSIC)
A new series starts at BAM this weekend called “Triple Canopy Presents: In the Hole” which seems to involve movies about holes? Besides Disney’s Holes, it also will screen Pier Paolo Pasolini’s film Salò, or the 120 Days of Sodom from 1975, Georges Franju’s 1960 film Eyes Without a Face, Tsai Ming-liang’s The Hole (1998), as well as a couple short film programs, including one program called “Open Wide: Mouths on Screen.” They’re really taking this whole hole thing pretty seriously.
NITEHAWK CINEMA PROSPECT PARK & WILLIAMSBURG
“Apocalyptic Visions” continues this weekend with Alfonso Cuaron’s 2006 film, Children of Men, on Saturday and Sunday brunch time at Prospect Park and Kevin Costner’s Waterworld (1995) on Monday night. Williamsburg offers its own movies in the series with Thom Eberhardt’s 1984 film Night of the Comet screening on Friday and Saturday night just before midnight.
Williamsburg is also screening Peter Weir’s Picnic at Hanging Rock (1975) as part of “Recent Restorations” on Saturday and Sunday at brunch time.
Monday night sees Fassbinder’s 1975 film Fox and His Friends as part of “A Session on Class,” while Prospect Park is showing Fellini’s La Dolce Vita (1960) tonight (Thursday, though it’s sold out) and again on Sunday morning.
Over the weekend as part of the “MoMI Loves” series, they’ll be showing David Cronenberg’s 1983 adaptation of Stephen King’s The Dead Zone three times, once each day on Friday, Saturday and Sunday.
Well, that’s it for this weekend. I honestly wasn’t sure if I’d be able to get a column done this week, but hey, here it is. Next week, Ben Affleck returns as math savant Christian Wolff in Gavin O’Connor’s The Accountant 2 with Jon Bernthal, with some potential competition coming in the form of David F. Sandberg’s Until Dawn, based on the horror video game of the same name, and A24’s family fantasy-adventure, The Legend of Ochi.
i love "decasia," which is part of bam's triple canopy series