THE WEEKEND WARRIOR June 14, 2024
TRIBECA FESTIVAL REVIEWS, INSIDE OUT 2, TREASURE, FIREBRAND, GHOSTLIGHT
Before we get to this week’s movies, of which I’ll have already reviewed INSIDE OUT 2 (Disney/Pixar) – right here, in fact – you may remember in last week’s column that I previewed the 2024 Tribeca Festival, and since then, I’ve watched a bunch of movies with more to watch this week. Let’s look at some of the ones I’ve seen, although a couple of them are actually being released this week
As I’ve mentioned, Tribeca tends to premiere many great docs, and one of the ones I’ve seen that I really liked is Neil Berkeley’s GROUP THERAPY, in which he gathered six prominent stand-up comics - Tig Notaro, Nicole Byer, Mike Birbiglia, Atsuko Okatsuka, London Hughes, and Gary Gulman – for them to have an open discussion about mental health and bringing complex issues from their personal lives into their stand-up act. The filmed panel is moderated by Neil Patrick Harris, and it’s a great way to learn more about these terrific stand-ups, some long-time veterans and some fairly news, but also learning what goes into their decisions in terms of what to share with their audiences. What’s especially interesting about this doc is that it deals with one of the things that has been very present in my mind as of late due to Netflix’s “Baby Reindeer” and the recent Ezra where in both cases, stand-up comics end up completely bumming their audiences out with their honesty, which also makes it harder to consider them as “comedians” or those projects as “comedies.” Group Therapy is still quite funny, because Berkeley has literally pulled together some of the funniest people on the planet, and it’s interesting to watch how some of the discussions take place with an audience (seated around the circular seating of the main subjects in the center) and then others take place backstage before and after the tapings. This is a fantastic doc that really makes you think about what goes into comedy and how comedians sometimes suffer from horrible things in their life but still have to get up on stage to talk to audiences expecting to laugh.
I also quite liked Tiffany Paulsen’s WINTER SPRING SUMMER OR FALL, a sweet Y.A. rom-com starring Jenna Ortega and Percy Hynes White (who stars with Ortega in Netflix’s “Wednesday,” apparently) as two teens who have a meet-cute encounter on a train into New York City, then it follows them as the reconnect at their prom and have a summer fling. Ortega’s Remi is a studious valedictorian who is focused on her future career as a lawyer, which involves going to Harvard, while Barnes is more laidback and plans on taking a gap year. She obviously wants very little to do with him, but changes his mind when they meet again, and they become close and then even closer over the summer. I wasn’t really familiar with Paulsen’s work as a writer, but she does a decent job with her feature directorial debut, creating a breezy and thoroughly enjoyable coming-of-age rom-com that benefits greatly from the clear chemistry between Ortega and White. I believe that Republic Pictures, a division of Paramount that seems to do more VOD stuff for Paramount+, has the rights to do this one, so we’ll have to see if it gets a theatrical release.
I quite enjoyed Nicholas Colia’s GRIFFIN IN SUMMER, a coming-of-age comedy starring Everett Blunck as the title character, a 14-year-old theater kid named Griffin, whose passion is writing overly-dramatic and quite adult plays for his friends to perform. He’s in the middle of one such production when he meets and falls for a 25-year-old handyman named Brad, played by Owen Teague (Kingdom of the Planet of the Apes), who happens to have experience doing performance art in New York City. I generally love coming-of-age films when well done, and Colia has found a great lead in Blunck, who is just so likeable in his nerdy obsessions. This is the kind of movie that theater kids will swoon over, since there’s so much of that aspect to the story, especially in the way Griffin’s friends – none of them very good actors – perform his words, material that’s clearly far too grown-up for them to truly understand. There’s also a few fun moments with Kathryn Newton as Brad’s ditzy girlfriend, who Griffin immediately hates and effectively finds a way to break them up. Having Melanie Lynskey in your cast as Griffin is another way to have me on board, even though it’s a much smaller role than others, and it was also great to see Abby Ryder Fortson from Are You There God? It’s Me, Margaret as Griffin’s best friend Kara, who he has directing his play, even though she is more interested in spending time with her boyfriend before she leaves town. Griffin in Summer is a terrific indie comedy that works in many ways that I feel like this week’s Ghostlight (see review below) didn’t.
Directed by Icelandic filmmaker Thordur Palsson, THE DAMNED, sounded like something that should have been in Tribeca’s Midnight section, but it’s actually in the spotlight narrative, a dark period drama set in the 19th Century involving a fishing boat owned by a young widow, Eva (Odessa Young), who has to make a tough decision when they see another ship sinking in the distant, though Eva feels she needs to put the safety and livelihood of her men over those strangers. It’s probably better to go into The Damned knowing that, despite its title, it’s not a full-on horror movie, even though it definitely has elements of the supernatural, but it’s more of a psychological thriller as we watch Eva and her men getting more paranoid about something that’s out there seeking revenge for their decision that killed dozens of people on the sinking ship. The rest of the film involves Eva and her crew experiencing strange and supernatural events that seem to be taking place as revenge for them allowing those men to die. Even so, it’s an impressive debut feature from Palsson that makes me think Hollywood will be reaching out to use his skills on their projects in the future.
Michael Angarano’s second film as a director, SACRAMENTO, co-stars Michael Cera as two long-time friends who go on a road trip to the title city for ulterior reasons had by Angarano’s Ricky. The film opens with a cute scene between Angarano and Maya Erskine’s Tallie at a pond, and then it cuts forward a year where we meet Cera’s Glenn and his pregnant wife, played by Kristen Stewart in a surprisingly minimalistic role. Angarano’s Ricky then shows up, much to the consternation of Glenn, who has reasons to want his old friend out of their lives, as he’s roped into a road trip to Sacramento under false pretensenses. It took me some time to really get into Sacramento, and that’s because it’s an hour before Erskine returns, and we learn that she got pregnant from her earlier encounter with Ricky and then was promptly ghosted. The film then goes into far more interesting places, dealing with the anxiety of being a young father, and thankfully, the movie ends in a satisfyingly emotional place. I also loved seeing former wrestler A.J. (Lee) Mendez playing one of two wrestlers the two guys meet on their journey – I guess Angarano’s character is REALLY into Asian women, huh? (I only just realized after writing that last bit that Angarano has been in a relationship to Maya Erskine, which may have been why her jazz drummer father Peter Erskine supplied the score, something I recognized almost immediately. But now, I’m super-jealous of him for being married to Maya Erskine, too.)
And then, we get into stuff that I didn’t like nearly as much (or at all), such as Calvin Lee Reeder’s THE A-FRAME, starring Dana Namerode as Donna, a young pianist who has been diagnosed with bone cancer, which would require amputation of her hand. She then encounters Johnny Whitworth’s Sam, a quantum physicist who offers an unconventional cure that actually works, but he feels that’s not enough proof that his process works, so he goes even further. This being a part of the Midnight section of the festival and denoted as “horror” and “science fiction” gave me hopes that this would have some potential as a “mad science horror” ala The Fly or Flatliners, because that’s where it seems to be going, but other than a few gory sequences (exactly two… and right out of Cronenberg’s remake of The Fly), it’s pretty bland, and though Whitworth has a bit of a Christian Slater delivery, Namerode gives such a flat performance, neither of them really doing much justice to the material or its potential. This is a movie that I was really hoping would be better.
There probably was a lot of buzz going into Tribeca for Mike Ott’s MCVEIGH, starring “Game of Thrones” star Alfie Allen as Army vet, Timothy McVeigh, who is inspired by the siege in Waco, Texas, to commit one of the deadliest acts of domestic terrorism in U.S. history, blowing up the capitol building in Oklahoma City. Knowing that there’s an end game we’re all aware of, I was hoping that this movie might give us more insight into the mindset of McVeigh, but Allen gives such a deliberately low-key performance, one that requires so little actual dialogue, that it’s just never compelling enough to keep anyone interested. That’s not to mention the fact that McVeigh was an unrepentant killer, who deservedly got the death penalty, so it’s unclear what people are supposed to get out of this. This just isn’t as good as the recent Ted K, starring Sharlto Copley, that probably was influenced by the actions of McVeigh and other domestic terrorists. But McVeigh is a bonafide dud.
I keep hoping to find some good stuff in the Midnight section with very little luck, and that continued with the Nigerian thriller, THE WEEKEND, from director Daniel Oriahi which follows a couple to the home village of Luke, who is nervous about having his fiancé Nikya meet his family, but he grants her wish. As soon as they get there, it’s obvious that something isn’t quite right, especially when Luke’s sister shows up with her obnoxious and sexist boyfriend. The Weekend uses such a slow build over its first hour before it finally gets to a point that’s probably pretty obvious and expected, and once you figure out where it’s going, it doesn’t really deliver on its premise, trying hard to be a movie like Jordan Peele’s Get Out, but never really clicking in terms of delivering on the tension. I also didn’t think the actors were that great, so the whole movie just felt uneven, leaving me quite disappointed.
Before finally seeing it at Tribeca, I was hearing so much earlier buzz about Nikhil Nagesh Bhat’s KILL, since it premiered last year at TIFF and Fantastic Fest, because I heard that it was a hugely violent and gory action revenge thriller but from India, receiving buzz following the success of the Telugu-language action film, RRR, in 2022. It takes place on a passenger train where a couple soldiers encounter a group of thieves who begin slaughtering the passengers, including the girlfriend of Lakshya’s lead of the piece, who turns around and starts slaughtering the bandits in violent and gory ways. I can understand why there are people who like this sort of thing, comparing it to the likes of John Wick, etc, but as someone who tries to see as much as I can from Bollywood, this is a very poor example of the storytelling that’s coming out of the country, as it seems to be trying too hard to appeal to a certain audience who enjoys this sort of violence and gore. Even worse is the amount of melodrama interspersed with the over-the-top action where even the bad guys beginning crying as their friends and family are killed by the main character. That’s just a bad move to try to make the audience feel anything for the bad guys after they’re killing so many other innocent people. I just hated this movie, since it’s trying hard to be something like Die Hard or The Raid, but it’s just so derivative of so many better action movies that it’s unforgivable. Either way, this will be released by Roadside Attractions on July 4.
I also saw (and didn’t like) THE DEVIL’S BATH, the new film from Austrian filmmaking duo Severin Fiala and Veronika Franz (Goodnight Mommy, The Lodge), since I found it to be quite bleak and dour with very few redeeming values, but I’ll save this review for next week, when it gets a theatrical release ahead of its Shudder streaming premiere. Another movie coming out soon is DADDIO, starring Dakota Johnson and Sean Penn, which I also ended up walking out of because it just wasn’t my thing.
Other than Inside Out 2, there’s only one other semi-wide release (at least that I know of)...
TREASURE (Bleecker Street)
Lena Dunham and Stephen Fry star in Julia von Heinz’s dramedy, another Tribeca premiere in fact, in which they play New York journalist Ruth, and her Holocaust survivor father Edek, who return to Poland to visit his childhood home in the ‘90s. This is based on a true story, apparently – not sure if it’s Heinz’s or of her cowriters’ – and Bleecker Street will release this into roughly 649 theaters this weekend, which could be enough to get it into the Top 10 though probably not with very much money.
I generally liked the story being told here, and the teaming of Dunham and Fry, which one might not think would work, is actually strong enough to really carry this film which is more of a drama than a comedy, even though the squabbling between father and daughter may be one of the film’s biggest selling points. Another aspect of the film I really enjoyed is how I could relate to the whole dynamic, having gone back to my father’s pre-WWI home of Hamburg, Germany back when he was still alive. It’s a very different dynamic, since this one plays up to the dynamic between Dunham and Fry, whose accent gets a bit annoying at times.
A big problem with this movie is that many will already have seen Jesse Eisenberg’s A Real Pain, a more comedic film co-starring Kieran Culkin, which involves a similar trip to Poland among relatives who end up squabbling. Although Treasure is pretty good, Eisenberg’s movie is much better, possibly getting Culkin an Oscar nomination, so it’s probably a good thing that Bleecker Street got this out earlier.
Bearing in mind that this does suffer by not being quite as good as Eisenberg’s film, it’s still a fairly enjoyable drama that explores the Holocaust from a different angle, one that’s maybe not quite as much of a downer.
Rating: 7.5/10
THE BOX OFFICE CHART
1. Inside Out 2 (Disney/Pixar) - $107.3 million N/A
2. Bad Boys: Ride or Die (Sony) - $26.5 million -53%
3. The Garfield Movie (Sony) - $5 million -50%
4. IF (Paramount) - $4.1 million -48%
5. Kingdom of the Planet of the Apes (20th Century) - $3 million -44%
6. The Watchers (New Line/WB) - $2.5 million -65%
7. Furiosa: A Mad Max Saga (Warner Bros) - $2.1 million -50%
8. The Fall Guy (Universal) - $1.5 million -43%
9. Treasure (Bleecker Street) - $1 million N/A
10. The Strangers Part 1 (Lionsgate) - $900k -49%
FIREBRAND (Roadside Attractions/Vertical)
Oscar winner Alicia Vikander stars in Karim Aïnouz period drama, playing Katherine Parr, the sixth wife of Henry the VIII, as played by Jude Law, as we watch her trying to avoid her inevitable fate, as preceded by the king’s previous wives.
I definitely was fairly interested in the movie, just knowing the little bit that I do know about Henry the VIII – okay, okay, most of that is from the album by Rick Wakeman! – but Aïnouz has such a strong cast led by Vikander and Law, but also including Eddie Marsan and others, that it often makes up for some of the weaker storytelling.
The set-up for the film revolves around Katherine’s relationship with Erin Doherty’s Anne Askew, a revolutionary who has been speaking out against the king. Once she’s discovered, the king and his men, particularly the bishop (Simon Russell Beale) who has religious motives for outing Katherine’s deception, try to figure out how Anne got the money to stage her revolt before being burnt alive.
There are aspects to Firebrand that feel a bit like Game of Thrones, as the different characters are trying to use their pull in order to maneuver the way closer to taking over the throne once King Henry (who suffers from a horrible affliction on his legs) becomes sicker. Thomas and Edward Seymour (Sam Riley and Marsan), the brothers of one of the king’s ex-wives, are also involved in trying to protect Katherine, maybe because she’s taken on the responsibility of caring for their sister’s kids without any of her own.
As one might be expected from our historic knowledge of King Henry VIII, there are a lot of violent sequences in the toxic royal relationship, including a number of horrible-to-watch sexual assaults by the king on Katherine. Law’s portrayal of the boorish king, complete with (presumably) fatsuit is one of the film’s highlights, and he and Vikander make Firebrand a better experience than it might have been otherwise. Even so, Firebrand is one for the costume drama junkies and few others.
Rating: 6.5/10
GHOSTLIGHT (IFC Films)
Opening in New York (at the IFC Center) and Chicago this weekend is the new movie from Alex Thompson and Kelly O’Sullivan (Saint Frances), which premiered at the Sundance Film Festival earlier this year. It stars Keith Kupferer as construction worker Dan, who has been drifting away from his wife and daughter but finds new purpose after joining a local production of “Romeo and Juliet.”
I wasn’t really sure what to make of this film as I watched it, partially because I could not remember if I had seen or liked Saint Frances, which had the misfortune of being released mere weeks before COVID shut down movie theaters. This is a suitable Sundance indie starring an actor who I wasn’t even remotely familiar with in Kupferer with his daughter played by his actual daughter, Katherine Maller Kupferer, who appeared in Are You There God? It’s Me, Margaret. Dolly De Leon from Triangle of Sadness plays Rita, the woman who is running the community theater production and also playing Juliette, even though she’s older, and eventually she ends up casting Dan opposite her, and when Dan’s theater kid daughter learns what her father is doing, she also joins the production.
There’s a lot about this film that either rubbed me the wrong way or had me confounded, maybe because I’ve seen so many movies like this where some person who has suffered great loss tries to find a new direction in their life. I’ve also seen them turn to theater, as that seems to be an indie mainstay, as if the filmmakers somehow thought that idea may have been original.
Unfortunately, the younger Kupferer is the film’s weak link, as she spends much of the movie carrying on and generally overacting, and she almost ruined the entire movie for me. Then again, the last act is just fantastic, especially once you know what happened to Dan’s son. The scenes between Keith Kupferer and De Leon are generally so good that the last act is where things should grow on you, as things get far more dramatic.
Ghostlight isn’t great, but it’s far more forgivable for its problems once things start to come together in the last act, but it still feels very much like a Sundance movie rather than something that might have mainstream appeal.
Rating: 6.5/10
REVERSING THE CURSE (Vertical)
This dramedy written and directed by David Duchovny, adapted from his own book, “Bucky F*cking Dent,” premiered at the Tribeca Festival last year, stars Logan Marshall-Green as Ted, who lives with his father Marty (as played by Duchovny), who has developed a fatal illness. In order to make him happier, Ted hires his grief counselor Mariana (Stephanie Beatriz) and some friends to fake a winning streak by the Boston Red Sox. (And yes, this premiered at a New York City film festival.) It also stars Pamela Adlon, Daphne Rubin-Vega and others.
THE GRAB (Magnolia)
Blackfish director Grabriel Cowperthwaite returns to documentary for this look at journalism from the Center for Investigative Reporting, taking the viewer around the world, as it follows Nathan Halverson, Emma Schwartz, Mallory Newman, and Brigadier Siachitema.
JUST THE TWO OF US (Music Box Films)
Opening in New York and L.A. is this new film from Valérie Donzelli, written by Audrey Diwan (Happening), which follows Blanche Renard (Virginie Efira) who meets Grégoire (Melvil Poupaud), who she believes to be the one, though their relationship quickly turns toxic as she learns how dangerous he is.
TIGER STRIPES (Dark Star Pictures)
Amanda Nell Eu’s Malaysian horror film stars Zafreen Zairizal as carefree 11-year-old Zaffran who starts to experience horrifying changes to her body. It opens in select theaters on Friday but will be on VOD on July 9.
I also wasn’t able to get to…
FRESH KILLS (Quiver Distribution)
LATENCY (Lionsgate)
BAD BEHAVIOUR (Gravitas Ventures)
SUMMER SOLSTICE (Cartilage Films)
NYC REPERTORY
This weekend, the big repertory event is the DeNiro Con that’s taking place in conjunction with Tribeca, and the Robert De Niro classics being screened are impressive, everything from Mean Streets and Goodfellas to Raging Bull, Taxi Driver, and even a few comedies not directed by Scorsese like Analyze This and Meet the Parents. I mean, if I had more time this weekend, I totally would be checking some of these out, including the few movies being show that I’ve never seen (like Mean Streets) :O
But as might be expected, I have a lot going on this weekend at…
This weekend, there are two new series running just this weekend, “Reassembly: The Films of Bill Morrison” and “Filmcraft: Tom Fleischman,” and though I’m more excited about the latter, I’m excited that the former is showing the terrific archival doc Dawson City: Frozen Time, a movie where Morrison assembles a treasure trove of found footage from a frozen swimming pool in Yukon Territory in 1978 that contains hundreds of reels of flammable films from the 1920s and earlier. Morrison will be on hand all weekend to talk about his works, including Dawson City on Saturday afternoon.
The Metrograph’s Filmcraft series have been absolutely fantastic, and the latest one, focusing on the sound engineer and re-recording mixer Tom Fleischman, who happens to be the son of the late film editor Dede Allen, who received her own retrospective a few months back. This weekend’s program includes JOnathan Demme’s Something Wild, Robert Altman’s Nashville, Martin Scorsese’s Hugo, and Kubrick’s Barry Lyndon with Fleischman on hand for QnAs and intros for many of them on Saturday and Sunday. I feel that this is a program that shouldn’t be missed.
The comprehensive “Visionary Auteurs: Five Decades of MK2” continues this weekend with… a LOT, and nothing I know or have seen but screening this weekend are La Cérémonie, The Apple, Le Bonheur, Room 999, Every Man for Himself, and Hôtel du Nord. Click on the series title for more info about filmmakers, dates, etc, as I’m sure there’s some good stuff to discover.
“Modern Families” continues with screenings of Ang Lee’s Eat Drink Man Woman (1994) and Matt Ross’ Captain Fantastic (2016), starring Viggo Mortensen (one of his three Oscar nominations). “Euro-Heists” will screen the animated Ruben Brandt, Collector (2018) from Milorad Krstic, which I remember quite enjoying when it came out. “‘90s Noir” continues to screen Tarantino’s Pulp Fiction (1994), one of my all-time favorite movies so do check that out if you haven’t seen it for whatever reason.
“Animal Farm: Moles” will screen Martin Scorsese’s Oscar Best Picture-winning The Departed (2006), starring Jack Nicholson, Leonardo DiCaprio, Matt Damon, Mark Wahlberg, and more, while “Ethics of Care” will show Bong Joon-ho’s Mother on Thursday night (tonight)
“Dream With Your Eyes Open” goes full-out with screenings of Gaspar Noé’s Enter the Void (2009) on Monday and next Thursday.
The “Out of the ‘80s” series has been held over until June 20 with some more great screenings this weekend including Escape from New York, Mad Max 2: The Road Warrior, Videodrome, Do the Right Thing, Stranger Than Paradise, and much more. Sunday’s “Film Forum Jr.” is not an ‘80s movie but the musical Stormy Weather from 1943, starring Lena Horne.
It’s “Bleak Week New York” through Sunday, as programmed in conjunction with the American Cinemateque in L.A. – anyone remember when I used to include L.A. theaters in this section? I wish I had the time to do that again. Matthew Modine will be on hand for a QnA after a screening of Kubrick’s Full Metal Jacket on Friday, June 14, while my pal Glenn Kenny will moderate a QnA with director Jerry Schatzberg after a screening of Panic in Needle Park (1971) on Thursday night. On Saturday, they’ll be showing PT Anderson’s There Will Be Blood with Paul Dano as a guest for a QnA. No surprise but it’s very close to being sold out. On Sunday, Isabella Rossellini will be at the Paris to present her father Roberto Rossellini’s Rome, Open City in 35mm, and the only Paul Schrader will present his thriller Hardcore (1979)
On Sunday, the Academy Museum Branch Selects screens Orson Welles’ Citizen Kane (1941), programmed by the visual effects branch, oddly.
Somehow I missed the start of Arnold Schwarzenegger, Action Hero last week but you can see Terminator 2: Judgement Day and Total Recall on Friday and Saturday nights LATE! “Late NIght Favorites” will show Jodorowsky’s El Top. “Let’s Go Crazy: Cult Musicals” will keep screening Prince’s Purple Rain, as well as David Byrne’s True Stories, again on Friday and Saturday nights late.
Next week, the Village East will bring back its repertory series – it’s been booked up with Tribeca – showing Fritz Lang’s Metropolis on Monday, A Streetcar Named Desire in 35mm on Tuesday, and also on Tuesday, its Pride Series will screen But I’m a Cheerleader, Gus van Sant’s My Own Private Idaho, Paris is Burning, and The Watermelon Woman.
Lincoln Center’s free outdoor screenings begin this Thursday night with Darren Aronofsky’s Black Swan. Ahead of the release of Annie Baker’s Janet Planet next week, FilmLinc is beginning a new series called “Angels and Puppets: The Stage on Screen with Annie Baker.” It runs from this Friday through June 20 with screenings of My Dinner with André, Vanya on 42nd Street, The Tales of Hoffman, All That Jazz, and lots more.
One of my favorite weird NYC sci-fi films, Liquid Sky, from 1982 will screen on Thursday night, but otherwise, it’s all newish stuff like I Saw the TV Glow.
NITEHAWK CINEMA PROSPECT PARK & WILLIAMSBURG
At Prospect Park, you can see David Cronenberg’s Crash on Thursday night and David Lynch’s Mulholland Dr. on Sunday afternoon. For Saturday and Sunday brunch, they’re showing The Last Starfighter, and then Star Trek III: The Search for Spock, all as part of its “Summer of ‘84” series.
Friday night’s “Late Night Lanthimos” at Williamsburg will be “The Lobster” (2015) while the weekend’s “Summer of ‘84” brunch offering is The Neverending Story. Late night on Friday and Saturday is a double feature of Scorpio Rising and O Fantasma, and on Monday night, you can see Russ Meyers’ Faster, Pussycat! Kill! Kill! from 1965.
Some good stuff in MoMI’s “See It Big at the ‘90s Multiplex” with Terry Gilliam’s The Fisher King and The Last of the Mohicans screening on Friday and Clint Eastwood’s The Bridges of Madison County on Saturday. The Agnieska Holland series continues through the weekend with screenings of In Darkness, Spoor, and Charlatan.
Friday night’s Night Owl Cinema is Nicolas Roeg’s The Man Who Fell to Earth (1976) as CAC’s “David Bowie Celebration” while Saturday’s Cult Cafe will screen Gregg Araki’s Mysterious Skin (2004), starring Joseph Gordon-Levitt and Brady Corbet. On Monday, you can see John Huston’s The Asphalt Jungle (1950), starring Sterling Hayden and Marilyn Monroe, as part of “Film Noir Classics” and on Tuesday, there’s Scorsese’s Goodfellas from 1990. George Roy Hill’s Academy Award-winning classic The Sting (1973), starring Paul Newman and Robert Redford, will screen on Wednesday.
Next week, we’ll get even more odds and ends in wide or semi-wide release but Jeff Nicholls’ The Bikeriders will probably be the biggest of the new releases.