THE WEEKEND WARRIOR May 31, 2024
HAIKYU!, EZRA, IN A VIOLENT NATURE, SUMMER CAMP, ROBOT DREAMS, THE DEAD DON’T HURT, HANDLING THE UNDEAD, MOVIEPASS MOVIECRASH
Wow, last weekend was so bad that it’s quite a downer for someone who has been covering the box office as long as I have. I guess I can understand why The Garfield Movie bombed, as I had no idea if that cartoon/comic strip character had any sort of fanbase anymore, but George Miller returns to the world of Mad Max: Fury Road and every single person I know goes out to see it… and it barely beats Garfield? What is the world coming to? It certainly makes me a little worried for June and July where there are MUCH bigger franchise movies scheduled, but this weekend doesn’t help matters since there probably won’t be a single new movie opening in more than 1,500 theaters, and there’s a lot of stuff being dumped, just hoping for the best.
Fortunately, I’ve seen a lot of the movies already, so I expect this column to have a lot more reviews than the past few weeks… but will anyone get out to theaters to see any of it or is May toast? (That’s rhetorical.)
HAIKYU! THE DUMPSTER BATTLE (Crunchyroll)
The one movie I didn’t see this weekend is this Anime film based on the sports series set in the world of volleyball that hasn’t had a new original episode since 2020. Listen, I generally love Anime and Manga, but I’m so out of touch what’s hot and popular right now that it’s tough to review these movies, let alone trying to predict its box office. The synopsis for this is: Shoyo Hinata joins Karasuno High’s volleyball club to be like his idol, a former Karasuno player known as the “Little Giant.” But, Hinata soon finds that he must team up with his middle school nemesis, Tobio Kageyama. Their clashing styles turn into a surprising weapon, but can they beat their rival Nekoma High in the highly anticipated “Dumpster Battle,” the long-awaited ultimate showdown between two opposing underdog teams?
Sounds fun… maybe I’ll get out to a screening once it opens, although apparently, it’s only opening in 1,000 theaters, which is about half of the last Crunchyroll release, Spy X Family Code: White, last month.
EZRA (Bleecker Street)
Tony Goldwyn (Scandal) directs this family dramedy starring Bobby Cannavale as a stand-up comic who takes his autistic son Ezra (newcomer William Fitzgerald) on a road trip to California where he has to audition for “The Jimmy Kimmel Show,” sending his ex-wife (Rose Byrne) and father (Robert De Niro) into a desperate search for them.
For the sake of transparency, I attended the premiere for this at TIFF last September, but the movie started after 9:30pm, and I was staying miles away from Toronto center, so after about an hour or so, I decided that I should figure out how to get back to my Air BnB. It’s not that I didn’t like the movie, as much as the fact that I was just tired and didn’t think I could give the movie a fair shake. Thankfully, this was the Regal Mystery Monday Movie last week, so I had a chance to watch it again with a real audience, something that’s quite key to the film working as the crowd pleasing emotional journey that it’s meant to be.
Although the screenplay by Tony Spiridakis is a bit tonally disjointed at times, especially when Max does his stand-up and immediately starts bumming his audience out with all his problems, there are other moments that just work so well together, because you’re pulled into the circle of this family and are really invested in Ezra’s journey.
The film’s best moments are probably those between Cannavale and Byrne with De Niro, but young William Fitzgerald is also quite astounding, really holding his own and delivering some of the best quotes and punch lines, which made me wonder if the kid was allowed to improvise during the shoot.
Ezra works surprisingly well as a warm crowd-pleasing movie, despite some of its darker moments, and a lot of that comes down to William Fitzgerald’s ability to steal scenes from his far more experienced co-stars. This might not be a movie that needs to necessarily be seen in theaters – frankly, I’m surprised it’s getting a wide release – but it does give you hope for the human race that there are people out there who really want to raise awareness about the neurodivergent and the important role they play in society.
Rating: 7.5/10
This will open nationwide, and I’ll have a short interview with Goldwyn over at Cinema Daily US shortly.
IN A VIOLENT NATURE (Shudder/IFC Films)
Chris Nash’s violent and gory slasher flick premiered at the Sundance Film Festival in January, though I only started hearing murmurings about it more recently once the trailer hit, and I began hearing about people fainting and throwing up at screenings. Of course, I had to see it then! The plot is simple, as it follows Ry Barrett as Johnny, a Mike Myers/Jason Voorhees-like slasher who we watch as he slowly skulks and follows behind a group of people at a campsite resort, slaughtering them in gruesome ways as he approaches them.
I hadn’t heard much about this movie out of its festival premieres, but I did hear that there were some super disturbing and gory kills. There was also this strange misnomer out there that this was an “arthouse” slasher or something “ambient,” since the camera tends to follow the killer trudging along after his eventual victims for long stretches. I’m not sure about this being arthouse, though I guess it’s as indie a horror film as Night of the Living Dead, the original Texas Chainsaw Massacre, and others.
The main villain, Johnny, even has a backstory origin that’s not too far removed from the Jason/Freddy mythos, but other than some discussion that we hear as Johnny looks on, there isn’t a ton of dialogue or even many attempts to kill or stop him as he goes through the rest of the cast in some of the most horrific and horrendous ways. It’s hard not to think of the Terrifier movies while watching this, because clearly, there’s a new breed of horror filmmaker who is taking the gory kills to new levels. I can totally understand why some of what Nash has his protagonist (antagonist?) do has so many people who’ve seen the movie worked up.
The movie even has a final girl in the form of Andrea Pavlovic, though the way the movie actually ends might be a bit disappointing to some, since it’s fairly inconclusive about what’s going on. Presumably, Johnny is still around and might be brought back, but it would have been nice if there was an actual ending. Otherwise, it’s a fantastic entry into the slasher genre that does try to do things a little differently.
Rating: 7.5/10
YOUNG WOMAN AND THE SEA (Disney)
Daisy Ridley stars in this Disney biopic produced by Jerry Bruckheimer and directed by Joachim Rønning (Maleficent: Mistress of Evil, Pirates of the Caribbean: Dead Men Tell No Tales), playing competitive swimmer Trudy Ederle, who became the first woman to swim across the English Channel back in 1926. (Spoiler? I mean, that’s literally who she was!)
I never heard of Ms. Ederle, but as soon as I found out the premise for this biopic, it was hard not to think of last year’s NYAD, for which Annette Bening and Jodie Foster received Oscar nominations for their performances, and that actually got me even more curious to learn about Ederle.
The first big surprise was that she grew up in New York City’s Lower East Side (where I currently live in one of those tenement buildings where the Ederles live), so I was quite thrilled to see my neighborhood closer to how it probably looked in the early 20th Century. We regularly see how poorly women were being treated back in those days, not being allowed to swim in the same swimming pool as men. Trudy’s butcher father (Kim Bodnia) is particularly strict, while her mother Gertrud (Jeanette Hahn) is just worried about her daughters’ safety and happiness.
The aspects of the film that follow along traditional biopic lines that will certainly vex film critics who seem to hate the genre, but Trudy’s story is just so interesting from surviving the death sentence of measles as a young age and pushing herself to become the best swimmer she can be. This may be Ridley’s best performance to date, and her relationship with her sister Meg (Tilda Cobham-Hervey) plays such a large part in driving the film’s emotions.
At times, it goes a little overboard (ha ha) with the artistic license, because a few things happen that are very hard to believe, particularly some of the inscrutable obstacles Trudy faces and how she rises past them, though screenwriter Jeff Nathanson adapted this from biography by Glenn Stout, so maybe some of that stuff was already in the latter’s book.
This also has to be one of Rønning’s better efforts as a filmmaker – and that includes the Oscar-nominated Kon-Tiki – but that’s because he has assembled such a fantastic cast and a crew that does such a great job impeccably recreating the time period. Amelia Warner’s score is likely to be one of the best scores I hear this year, I’m sure as it adds so much to every scene.
Young Woman and the Sea is a gloriously inspirational and emotional story of a young woman who fought against the odds to break through one of the many proverbial glass ceilings. It works so well as a big-screen experience, I hope people interested in her story will make a concentrated effort to see it in theaters rather than waiting for the inevitable Disney+ debut.
Rating: 8/10
SUMMER CAMP (Roadside Attractions)
Castille Landon, director of the last three “After” movies, managed to assemble an impressive cast for this high-concept comedy that goes from being about young people to being… well, there’s no nice way of saying this… old people. It stars Kathy Bates, Diane Keaton, and Alfre Woodard as childhood best friend who spent every summer at sleepaway camp, and who have an opportunity for a reunion at the camp many decades later. The movie also stars Beverly D’Angelo, Eugene Levy, Dennis Haysbert, Betsy Sodaro, and by comparison, a quite young Josh Peck.
I’ll freely admit that I was quite hesitant about watching this one even before watching the trailer, and even moreso as I started watching the movie, because it seemed to be exactly the movie I thought it would be… another bad Diane Keaton vehicle where any signs of her being an Oscar-winning actor are long gone in favor of her doing some of the hammiest comedy acting possible. She plays Norah, one of three childhood friends who for whatever reason, reunite at the camp with Bates’ Ginny Moon having become a hugely successful author, always there to offer advice to all the other women.
First of all, is this a real thing to have older people returning to summer camp because that concept alone seems pretty forced, and not like something that might work. In order to get laughs, Landon throws her three stars into the most ridiculous situations like whitewater rafting, because isn’t it funny to watch 70-year-olds doing such activities?
I usually love Eugene Levy, but I just can’t fathom him as a romantic lead who has ZZ Topp playing when he first shows up… and what is going on with his hair? But to squander one of the funniest comedic actors on the planet by putting them into such unfunny situations is just one of the film’s many flaws. And then there’s the super-annoying Betsy Sodaro, who plays a bossy camp counselor, I guess? Every time she opened her mouth, I wanted to walk out of the movie… and I was watching this at home! Josh Peck’s comedic delivery and timing is equally embarrassing.
Alfre Woodard is probably the best of the bunch as Mary, who is dealing with marital issues, though her scene doing erotic pottery with Dennis Haysbert, it’s about as uncomfortable as walking in on your grandparents having sex. Then there’s the scene with all the oldsters having a food fight, which is followed, in course, by a pillow fight, just showing the dearth of good comedic ideas Landon is working from to try to make this premise work.
The film is almost saved by a moving speech given by Bates’ character during the last act, but then it’s back to insane shenanigans with some of the dumbest unfunny end credit outtakes in recent memory.
If listening to a bunch of older women opine about their love lives is your thing, then more power to you. Maybe it’s just me and my own personal taste in movies, but I wouldn’t have been too upset if Johnny from In a Violent Nature showed up and slaughtered all the characters in this movie, since most of the characters here were much MUCH worse than the outspoken younger victims in that slasher.
It’s like no one involved with this movie (including Landon, who actually wrote the script) actually READ the script before deciding that Summer Camp was a movie worth making. It isn’t, and the faster this goes away and is forgotten, the better.
Rating: 3/10
THE BOX OFFICE CHART
1. Furiosa: A Mad Max Saga (Warner Bros) - $12.5 million
2. The Garfield Movie (Sony) - $10.7 million
3. IF (Paramount) - $8.5 million
4. Kingdom of the Planet of the Apes (20th Century) - $6.5 million
5. Haikyu!! The Dumpster Battle (Crunchyroll)- $3.6 million N/A
6. The Fall Guy (Universal) - $3.3 million -45%
7. In a Violent Nature (IFC Films) - $2.8 million N/A
8. The Strangers Part 1 (Lionsgate) - $2.6 million -45%
9. Ezra (Bleecker Street) - $2.1 million N/A
10. Young Woman and the Sea (Disney) - $1.4 million N/A
– Summer Camp (Roadside Attractions) - $1 million N/A
This week’s “Chosen One” is….
ROBOT DREAMS (NEON)
Spanish filmmaker Pablo Berger’s animated movie based on Sara Varon’s graphic novel actually got an Oscar nomination in the Animated Feature category earlier this year, and it probably premiered at a couple of 2023 film festivals, though I only finally got around to watching it in the past month. Boy, do I regret not watching it last year, as it would have been in my Top 10 for the year for sure, although I’m also glad I waited to watch it on the big screen, since the colors just pop, and it would have been better to see it that way, rather than on my computer or TV.
The plot is simple, involving a dog living in New York City in the ‘80s who has gotten lonely so he buys himself a robot friend/companion. Unfortunately, on an outing to Coney Island, he accidentally leaves the robot stranded on the beach, unable to retrieve him as the beach gets shut down for the fall/winter.
This really is a fantastic animated film that should appeal to all ages, particularly clever in the way that it avoids dialogue and language and things that might trip up the youngest of movie viewers, even though for some reason it’s being released unrated rather than a more than appropriate PG rating. Again, the simplicity of the storytelling is key to the enjoyment, because you can understand every beat and emotion without needing dialogue or exposition, and I quite enjoyed the ‘80s New York City setting that plays such an important role (though this is a world made up solely of animals, no humans, another thing kids will enjoy.) Berger also uses music wisely to fill in for the lack of words, and I especially loved the repeated use of the Earth Wind and Fire song “September.”
If it isn’t clear, I just can’t emphasize much more how much I loved this movie. I’ve already watched it twice (thanks to the screener NEON sent me last year), and I’m sure I’ll be watching it more times, but this is a movie that will play even better watching it with an audience, being appropriate for viewers of all ages, so definitely seek this one out!
Rating: 9/10
Robot Dreams will open on Friday at the Film Forum and at the AMC in Lincoln Square with Pablo and Sara doing QnAs, then it will open in L.A. next weekend, and fingers crossed that NEON can find a good slot for this to go nationwide and not be swallowed by Inside Out 2 (which opens on June 14). I’ll have my own interview with Berger over at Cinema Daily US next week.
THE DEAD DON’T HURT (Shout! Studios)
Viggo Mortensen’s second film as a director is this Western that’s just as much a love story about the relationship between his character, Holger Olsen, and Vicky Kriep’s Vivienne Le Coudy, as they try to survive the corruption of a small Western town during the early days of the Civil War.
We meet Holger as he’s been hired the sheriff of this small frontier town, and just as his wife Vivienne has just died. There’s also been an incident at the local saloon that has left a number of citizens including Holger’s deputy dead. We then go back in time and learn more about characters leading up to their meeting, before Holger goes off to war and leaves Vivienne to the mercies of some of the town’s awful patriarchy, including characters played by Garret Dillahunt and Solly McLeod.
If you’re anything like me, you’ve seen a ton of great Westerns, and Mortensen’s film is reminiscent of Clint Eastwood’s Unforgiven (which I just saw for the first time very recently) in the way it starts with the main character burying his wife before showing what led up to that moment.
At this point, it should be little surprise what a fantastic actor Kriep is, and she delivers another fantastic performance here, as Mortensen was wise to cast her as his counterpart, and I loved watching the two of them on screen.
Viggo Mortensen’s The Dead Don’t Hurt is a beautifully-crafted Western that frequently goes in unexpected directions. It’s sure to appeal to fans of the genre looking for more stories from that era from another actor who has become quite an impressive filmmaker and storyteller.
Rating: 8/10
The Dead Don’t Hurt is playing in select theaters starting Friday, and I’ll have an interview with Viggo and Vicky over at Cinema Daily US very soon.
HANDLING THE UNDEAD (NEON)
Renate Reinsve and Anders Lie – both from The Worst Person in the World and other movies from Joachim Trier – star in Thea Hvistendahl’s Norwegian zombie drama, this one set in a world where the dead begin returning to life, even though this is not your typical George Romero or “Walking Dead” level of zombie horror.
This movie premiered at this year’s Sundance Film Festival, and I was hearing good things about it, but quite vexed that the virtual screenings of it sold out before I could reserve a ticket Maybe it’s a little ironic that this is being released the same weekend as In A Violent Nature, because this movie redefines the concept of slow zombies, since it is indeed a movie that crawls at a snail’s pace for most of it.
I wasn’t aware that this was based on the novel by John Ajvide Lindqvist (Let the Right One In), who co-wrote the screenplay with Ms. Hvistendahl, as I watched it, but that probably would have put even more pressure on it, to try to live up to that classic vampire film.
There’s some impressive make-up work on the newly-risen dead, but these aren’t zombies eating brains, even though there are definitely a few tenser moments with some unexpected violence.
Ultimately, Handling the Undead feels kind of flat, and never really gets off the ground to deliver on its premise and genre. Put it this way: Even horror fans who prefer their zombies to be slow will find this entire movie to be way too slow.
Rating: 6/10
Handling the Undead will open at the IFC Center in New York with Ms. Hvistendahl doing QnAs after specific screenings, as well as in other theaters.
MOVIEPASS, MOVIECRASH (HBO Max)
Now streaming on Max is this doc directed by Muta’Ali that I was definitely interested in when I first heard about it playing out of the SXSW Film and TV Festival, because I was definitely an early advocate of Movie Pass, and I even wrote about it during my early days at The Tracking Board. I understood the problems of offering seemingly unlimited movies for $9.99 a month and how that could be fiscally irresponsible, but I also had high hopes that it would ultimately pay off, similar to how AMC’s A-List has proven to be hugely popular.
Muta’Ali’s doc is fun and fairly thorough with its assessment of how two Black entrepeneurs came up with the concept for Movie Pass before bringing in big financial investors, who eventually drove them out and squandered millions of dollars while providing an increasingly faltering service. We all know what happened, but Muta’Ali’s film does a good job showing that Stacy Spikes and his co-founder Hamet Watt are the real heroes of the Movie Pass story, despite the bad taste the whole debacle left in many moviegoers’ mouths.
This is now streaming on Max.
SAMSARA (Bendita Film Sales)
Opening at my beloved Metrograph this Friday is Lois Patiño’s film set in Laos – hey, just like a recent “Chosen One,” Kimi Takesue’s Onlookers! – as it follows a young man who befriends local monks and an elderly woman. I may have to try to see this – it’s only playing twice this weekend! – since I’m fascinated with Laos after that earlier documentary.
WHAT YOU WISH FOR (Magnet)
Nick Stahl stars in Nicholas Tomnay’s thriller, playing Ryan, a down-on-his-luck chef with gambling problems, who heads to a Latin American country, welcomed by his prestigious chef friend Jack (Brian Groh), who Ryan is jealous of, though he soon learns what it’s like to live in such luxury, as he begins to learn Jack’s secret. This won four awards at something called “Grimmfest” and it will be in theaters and VOD this Friday.
BACKSPOT (XYZ Films)
D.W. Waterson’s feature directorial debut stars Devery Jacobs (Reservation Dogs) as Riley, an ambitious chearleader who seeks perfection under a demanding coach (Evan Rachel Wood) who selects Riley and her friends for an all-star cheer squad. Exec. produced by Elliot Page, this will also be in theaters (such as the Alamo Drafthouse in Lower Manhattan) and VOD on Friday.
FOOTNOTES
Opening on Saturday at the Cinema Village in New York before hitting digital and streaming on Friday, June 7, is Chris Leary’s film about neighbors and strangers Will and Apurna who end up in lock-down together during the 2020 pandemic. Yes, there are still pandemic movies being released, because that’s all everyone was thinking about for over a year.
THE COMMANDANT’S SHADOW (Warner Bros)
Daniela Volker’s documentary will play in theaters via Fathom Events on Weds and Thursday night, as it covers some of the same territory as Jonathan Glazer’s Oscar-winning The Zone of Interest, following the son of Rudolf Höss, Hans Jürgen, who starts learning about his father’s involvement in the murder of millions of Jews at Auschwitz during the Holocaust.
Other movies I just wasn’t able to get to…
INVISIBLE NATION (Abramorama)
PROTOCOL 7 (Abramorama)
THE YOUNG WIFE (Republic Pictures)
JIM HENSON IDEA MAN (Disney+)
NEW YORK REPERTORY
Starting this weekend is “Visionary Auteurs: Five Decades of MK2,” celebrating the 50th anniversary of the work by Bucharest-born Marin Karmitz to bring some of the great French and international filmmakers to the rest of the world with this weekend screening Karmitz’s own 1972 film Blow By Blow, as well as Haneke’s Code Unknown, 2017’s A Season in France, the late Iranian filmmaker Abbas Kiarostami’s Certified Copy (2010), and The Oak from 1992. Seems like a good mix of international auteur classics and discoveries.
“‘90s Noir” continues with screenings of the Coens’ Miller’s Crossing (1990) – one of my favorites – as well as one last screening of McGehee and Siegel’s early film, Suture (1993), on Sunday evening. There are repeat screenings of Tarantino’s Pulp Fiction and Reservoir Dogs, as well as Wong Kar-Wai’s Fallen Angels early next week.
“Ethics of Care” will screen Kore-eda’s Nobody Knows (2004) and Bong Joon-ho’s Mother (2009) this weekend, both which I’d recommend.
Lots of repeats this weekend as part of “Dream With Your Eyes Open,” including Jodorowsky’s The Holy Mountain, but the real treat will be to see David Lynch’s Lost Highway (1997) back on the big screen over the weekend.
“Euro-Heists” will screen Guy Ritchie’s debut, Lock Stock and Two Smoking Barrels (1998) on Saturday, Sunday and Tuesday nights in 35mm!
“Metrograph Selects: Victoria Ashley” will screen Sydney Pollack’s classic political thriller Three Days of the Condor (1975) a few times this weekend.
Greg Araki’s Totally F***ed Up will screen again on Monday as part of “Modern Families,” while “Animal Farm: Moles” will show something more appropriate with the sci-fi thriller The Mole People (1956) this weekend.
There’s one final screening of Kelly Reichard’s Showing Up as part of “American Landscapes: The Cinema of Kelly Reichardt” on Thursday night, while Wang Bing’s Three Sisters will play one more time on Thursday afternoon as part of “Small Town, Big Dreams.”
The “Out of the ‘80s” series continues with more screenings of The King of Comedy, An American Werewolf in London, My Favorite Year, Polyester, and much more with this Sunday’s “Film Forum Jr” being Back to the Future! The Lavender Hill Mob ends Thursday (today) while Le Samouraï will continue through June 6.
Jodorowsky’s El Topo will play Friday and Saturday late nights as part of the IFC Center’s “Late Night Favorites” series, while Walter Hills’ Streets of Fire (1984) will play both nights as part of “Let’s Go Crazy: Cult Musicals.” (Don’t worry… Purple Rain is coming next week, as the series title might suggest!) Also, Martin Scorsese’s After Hours, one of my favorite all-time movies and one of the reasons I moved to New York, continues to play through the weekend, as do other musicals, The Apple and the Who musical Tommy.
On Thursday, you can see the 1979 horror sci-fi film The Visitor as part of “Cathode Cinema Presents,” and on Friday, they’re showing Roger Corman’s 1959’s A Bucket of Blood to commemorate the late filmmaker. Saturday, there’s Michel Gondry’s Human Nature (I wasn’t a fan) and the terrific Nicolas Refn flick Bronson (2008), starring Tom Hardy, will screen on Saturday and Sunday.
On Sunday, Gary Cooper and Barbara Stanwyk’s Ball of Fire will be screened as part of the Academy Museum Branch Selects series, this one selected by the Writers Branch, and then, on Wednesday, Wong Kar-wai’s In the Mood for Love will screen as chosen by the Cinematographers Branch. Otherwise, it’s all Richard Linklater’s Hit Man all the time.
NITEHAWK CINEMA PROSPECT PARK & WILLIAMSBURG
At Prospect Park, this weekend’s brunch offering is Kirsten Dunst in 1999’s Drop Dead Gorgeous (Amy Adams’ big screen debut!), as well as Spielberg’s Indiana Jones and the Temple of Doom (1984). Williamsburg is screening Bram Stoker’s Dracula late night on Friday and Saturday, and then, it is ALSO showing Walter Hill’s Streets of Fire on Saturday and Sunday but earlier in the day, so you can either see it late at IFC Center or early here. Also screening on Saturday and Sunday for brunch at Williamsburg is Alfred Hitchcock’s Rope (1948).
Miyazaki’s Princess of Mononoke screens again on Saturday… but you should know by now that most of Miyazaki’s movies will play in regular multiplexes throughout the summer, including this one, I presume. Also on Friday night, you can see Terrence Malick’s The Thin Red Line, and on Saturday, you can watch Albert Brooks’ Defending Your Life (1991) and/or John Patrick Shanley’s Joe Versus the Volcano (1990), all part of the “See It Big at the ‘90s Multiplex” series.
The Hungtingon, Long Island based arthouse will screen Pulp Fiction on Thursday night, May 30 (Tonight!) I just rewatched it over the weekend, and it’s one of my top 5 movies of all time, so do go see it if you’re out there. Friday night’s Night Owl Cinema offering is Argento’s Deep Red, and then Saturday’s Cult Cafe screens Kevin Kline’s In & Out (1997), directed by Frank Oz.
The Hiroshi Shimizu series comes to a close this weekend with Mr. Shoshuke Ohara (1949), as well as 1956 Sounds of the Mist, and 1951’s Children of the Beehive: What Happened Next.
On Monday, you can see Dennis Hopper’s Easy Rider in 35mm, although the ticketing doesn’t seem to be working at this moment.
Next week, things pick up again in movie theaters with the release of Will Smith and Martin Lawrence’s Bad Boys: Ride or Die, while 2nd gen filmmaker Ishana Shyamalan makes her directorial debut with the thriller, The Watchers.
Hollywood just needs to distribute the new Road House film to theaters at this point. Only way to save Cinema.