Hopefully, you’ve already watched the video portion of this week’s column, where I talked about the box office for the weekend and shared myn interview with The Running Man director Edgar Wright, but if not, you can watch it below. If you don’t feel like watching me ramble for 30 minutes, I do write a little bit about the movies coming out this weekend below this week’s predictions.
Either way, this weekend is just absolutely insane when it comes to movie releases. I lost count of the number of new movies once I hit twenty, and that’s just the limited releases, including a number of acclaimed international films receiving one-week Oscar-consideration runs.
Anyway, video edition below, weekend predictions before that, and then the rest of the column, including three, or possibly four, reviews.
Box Office Predictions November 14, 2025
1. The Running Man (Paramount) – $24.2 million N/A
2. Now You See Me, Now You Don’t (Lionsgate) – $18.8 million N/A
3. Predator: Badlands (20th Century) – $18 million -55%
4. Keeper (Neon) – $7 million N/A
5. Regretting You (Paramount) – $4 million -40%
6. Black Phone 2 (Universal) – $2.7 million -47%
7. Nuremberg (Sony Pictures Classics) – $2.3 million -41%
8. Sarah’s Oil (Amazon MGM) – $2.1 million -51%
9. Bugonia (Focus Features) – $2.5 million -45%
10. Chainsaw Man – The Movie: Reze Arc (Sony/Crunchyroll) – $1.8 million -48%
– Muzzle: City of Wolves (RLJEfilms) – $1.2 million N/A
– King Ivory (Saban/Roadside Attractions) – $500k N/A
Photo courtesy Paramount Picturesnnn
Paramount is releasing Edgar Wright’s take on the Richard Bachman-penned action-thriller THE RUNNING MAN very wide this weekend into 3,400 theaters, hoping to capitalize on the popularity of its star Glen Powell, following last year’s blockbuster hit Twisters, as well as 2022’s Top Gun: Maverick. If you’re unaware, Richard Bachman is actually Stephen King, one of the most popular writers on the planet, who has probably already set some sort of record for number of adaptations with four THIS YEAR ALONE! Wright’s The Running Man is very different from the Arnold Schwarzenegger movie from 1987, also starring Josh Brolin, Colman Domingo (whose voice will also be in Wicked for Good next week), Emilia Jones, Jayme Lawson, Katy O’Brian (who was just in Christy!), Michael Cera, and even William H. Macy. The movie involves Powell playing Ben Richards, a man with financial difficulties who haphazardly signs up for a game show where he has to survive for 30 days while having killers hunting him at every corner. I’ll talk about this more in the video portion of the column
Photo courtesy Lionsgate
It’s primary competition this weekend will be the action threequel, NOW YOU SEE ME, NOW YOU DON’T, which Lionsgate will release into slightly fewer theaters but hoping that this will do better than ITS own Richard Bachman adaptation, The Long Walk, from a couple months back. This one is directed by Ruben Fleischer of Zombieland fame (as well as Uncharted and Venom), and it reunites most of the cast from earlier movies, including Jesse Einsenberg and Woody Harrelson (also from the Zombieland movies), Dave Franco, Isla Fischer, and Morgan Freeman. Joining the Horsemen for the third movie are a younger generation, including the ubiquitous Justice Smith (Jurassic World), Ariana Greenblatt from Barbie, and Dominic Sessa, the breakout star from Alexander Payne’s The Holdovers. Oh, yeah, and the gorgeous Rosamund Pike plays the villain, a rich South African diamond magnate whose Heart Diamond is too rich a target for the Horsemen not to steal it. So yeah, we have two action movies this weekend – actually, there are a couple more below – although Running Man will probably target older guys (especially with its R-rating) while Now You See Me can bring in younger audiences of all genders.
MY REVIEW
Photo courtesy Neon
Osgood Perkins returns with KEEPER, his new horror movie that’s being kept very hush-hush with a very different marketing tactic than Neon took with his massive 2024 hit Longlegs and with *HIS* Stephen King adaptation (this is getting a little ridiculous), The Monkey, earlier this year. This one stars Tatiana Maslany as a woman who travels to the remote cabin in the woods with her boyfriend, and all sorts of strange things happen. My review for Keeper will run later on Thursday around noon, but if you think you’ll learn that much more about the movie by reading that review, think again! This is definitely one of those cases where I know people will appreciate the tension and scares more by not knowing the movie’s secrets beforehand, so I guess Neon was right. This will open in around 1,900 theaters this weekend.
MY REVIEW (on Thursday at noon)
I never saw Aaron Eckhart’s 2023 film, Muzzle, but its sequel MUZZLE: CITY OF WOLVES is getting a much wider release by RLJEfilms (and the Independent Film Company) this weekend than the first movie, which was only in 24 theaters and made very little money, so it’s curious why this one might be getting a wide release. Directed by John Stalberg Jr, Eckhart returns as Jake Rosser, the former K-9 officer still suffering from PTSD who is just trying to enjoy a quiet family life with his dog Socks. His peace is disturbed by a gang who targets him for a brutal attack, so Jake must team with his new dog partner Argos to stop them, even as they threaten his family. I’ve actually watched the movie, and it’s pretty cool, so maybe it will find an audience, even though this has to be the worst weekend ever to try to release another action movie. I’ve decided not to review it, since I don’t have a ton to say, but you can watch the trailer below and see if it’s for you. (It definitely has a bit of a John Wick vibe, though Eckhart is a very different actor from Keanu Reeves obviously.)
Another action movie for guys being released by Saban and Roadside Attractions this weekend is John Schwab’s KING IVORY, which premiered at the Venice Film Festival LAST year. It stars James Badge Dale and Ben Foster, and it takes place in the world of fentanyl trafficking, which is quite a hot topic right now, based on Schwab’s research into all aspects of it from gangs to migrants, addicts and law enforcement. Sounds fun… NOT! (I have no idea how wide this will be released but presumably in less theaters than Muzzle: City of Wolves.)
Image courtesy DOC-NYC
Before we get to this week’s insane slew of new limited releases, I want to quickly mention that the annual DOC-NYC kicks off this week in New York at venues like the IFC Center and SVA, although I’ve had too much going on to really get into too much of what’s showing there this year. There doesn’t seem to be a lot that really jumps out at me other than The Trial of Alec Baldwin, which is self-explanatory; Chuck Smith’s Fugs Film! (also self-explanatory); and I’m also curious about Emmy-nominee Karla Murthy’s The Gas Station Attendant, Exec. Produced by Geeta Gandbhir, whose film The Perfect Neighbor just took home five Critics Choice Documentary Awards over the past weekend. The last one is about a Filipino woman who reflects back on the life of her South Asian father H.N. Shantha Murthy, who ran away from his Indian village as a young boy and eventually travelled to the U.S. under a sponsored visa. It sounds like a great immigrant story, though I won’t be seeing it until next week. This year’s festival opened on Wednesday night with Christopher Nelius’ Whistle, which I haven’t watched yet, but it’s about competitive whistling. I hope to watch more stuff on the festival’s virtual platform, but there’s so much going on right now, it really will be time-permitting.
Photo courtesy Netflix
This week’s Chosen One is also Taiwan’s submission for the Oscars, Shih-Ching Tsou’s LEFT HANDED GIRL, her latest collaboration with recent four-time Oscar winner Sean Baker (Anora), which Netflix will release in select cities this weekend, including in New York at the Quad Cinema, ahead of its streaming debut on November 28. (Yes, you’ll be able to watch it with your family on Thanksgiving!)
The film follows single mother Shu-Fen (Janel Tsai) who has relocated to Taipei with her two daughters: I-Ann (Shih-Yuan Ma), the older daughter who is maybe in her early 20s, and her younger sister I-Jing (Nina Ye), who may be 12 or 13 years younger, though they may be from different fathers. I-Ann’s older father is deathly ill and Shu-Fen is working hard to keep her ex-husband hospitalized by running a night market stall where she cooks for various clients, while I-Ann works at a shady “betel nut shop,” something she keeps a secret from her mother. I-Jing is a particularly impressionable young girl, who shares her time between her mother and older sister, but as the film’s title states, she’s a lefty, and her superstitious grandfather says that she needs to write and eat with her right hand, believing that the left hand is controlled by the devil. Of course, the young I-Jing believes him, and that leads to all sorts of things from shoplifting and things happening that I-Jing blames on her “devil hand.”
There are other characters around the three generations of women – the other being Shu-Fen’s mother, who seems to be making money with one dubious scam or another – as well as the guy who runs the stall next to Shu-Fen’s who takes to the young I-Ann while also having an affair with her mother.
There’s no way to avoid stating what might be obvious, in that Left Handed Girl falls very much in line with some of Baker’s earlier films, many which were produced by Ms. Tsou. She previously co-wrote and co-directed the 2004 film Take Out with Baker, which I never saw, but it’s quite obvious she is taking the point on this one, with Baker offering his aid in the writing and editing. There are certainly moments in the film in which Baker’s chaotic DNA come to the forefront, but Tsou pulls us into a world that feels so familiar (probably from my 35 years in New York’s Chinatown) but also so new and refreshingly unique.
Much of that comes from the casting of the three women, including the marvelous Nina Ye, a young superstar in the making who carries every scene with her actions and behavior. The pacing and tone of the film is handled impeccably, building to a nice twist as the characters convene at a birthday party for Shu-Fen’s judgy mother.
This has to be one of the nicest surprises of the year, maybe because I hadn’t really heard anyone talking about it from its festival run, but the combination of Ms. Tsou’s storytelling skills, along with Baker’s able editing makes Left Handed Girl, a very special film and one of the best films of the year.
Rating: 9/10
Netflix will also be releasing Noah Baumach’s new dramedy JAY KELLY (Netflix), starring George Clooney, Adam Sandler, and Laura Dern into select theaters this weekend ahead of it streaming on Netflix and following a short festival run. Clooney plays the title character, a huge box office star who is dealing with life issues, things from his past, as well as trying to connect with his two daughters, one an older teenager ready to go off on her own and the older one (Riley Keough) who has become estranged from her father being too busy with his career to be a part of her life. He goes on a trip to Italy with his agent (Adam Sandler) and publicist (Laura Dern), who happen to have been in a relationship, and all sorts of madness ensues. Co-written by Baumbach with Emily Mortimer (whose kids appeared in Baumbach’s White Noise a few years back), I reviewed the movie at my former home, so if you want to read my thoughts (I didn’t love it), you can click on that link and check it out. The movie will arrive on Netflix on November 21.
Oliver Laxe’s SIRÂT, which is Spain’s submission for the Oscars (as well as a Jury Prize winner at Cannes) will play for one week only in New York (at Film at Lincoln Center) and L.A. for its Oscar-consideration run, with Neon planning on giving it a bigger release in the new year, presumably depending on whether it gets an Oscar nomination in January or not.
I knew that people were generally liking this but I also avoided the trailer and knowing much about it, since I heard there were some truly shocking surprises, and that’s just putting it lightly. The film follows father Luis (Sergi López) who is trying to find his missing daughter along with his son Esteban (Bruno Núñez Arjona), arriving at a day rave (no, I didn’t know those were a thing either) in Northern Africa, where they join up with a motley band of ravers to travel across a treacherous mountain path and desert in hopes to find her at another rave.
That might be all you’ll need to know and all you’ll want to know, since much of the film plays out like William Friedkin’s Sorcerer where you’re constantly on edge whether one of the trucks or Luis’ van might go careening off the side of the mountain with its narrow, windy passages. Laxe does such a great job introducing the six or seven characters that you’re always invested in this search for Luis’ daughter, even if there aren’t a ton of plot developments… until there are. And once things start happening, you’ll be so shocked and moved and maybe even disturbed by what the filmmaker puts his cast through in telling this story.
He also has such a diverse and interesting cast, including a few actors missing limbs, and I was never sure how well these actors were known or established in Spain before Laxe cast them in this movie.
That said, Sirât gets pretty grim as it goes along, making it hard to fully recommend to everyone, though anyone ready for the amount of tension thrown their way with some of the horrific events taking place will constantly be curious about what might happen next.
Although my first instinct would be never to sit through this movie again, I already have a ticket to see it at the Metrograph on December 5, where Laxe will be doing a QnA, because watching other moviegoers reacting to some of what happens in this movie will probably make this one of this year’s movies that absolutely needs to be seen in a theater with others.
Rating: 7.5/10
Image courtesy Bleecker Street
The ever-present Josh O’Connor (this isn’t even his last movie this month!) stars in Max Walker-Silverman’s drama REBUILDING, which will be released in select cities by Bleecker Street this weekend, months after it premiered at the Sundance Film Festival to rave reviews. He plays Dusty, a rancher whose ranch was taken by wildfires, forcing him to live on a FEMA camp song with a community of others who lost their homes, including his ex-wife Ruby (Meghann Fahy) and daughter Callie-Rose (Lily LaTorre). Amy Madigan, who was so fantastic in Weapons, plays Ruby’s mother Bess.
Normally, this is the type of film I quite enjoy, as typified by East of Wall, one of my favorite films out of Sundance this year, or going back to Chloé Zhao’s The Rider or her Oscar-winning Nomadland, films that team non-actors or first-time actors with established ones. I actually thought Rebuilding fell into that category before realizing that many of the actors around O’Connor are veterans like Fahy and Madigan. The bigger problem with Walker-Silverman’s movie is that it’s just boring, and it’s another movie like The Mastermind where we just spend the movie watching O’Connor playing a mopey character, who has barely anything to say, while spending time with his daughter in a community of people who have nothing to say, so we just have moments where we watch them sing for some reason. Major yawn. At least those other movies I mention have actual plot developments that make the characters more interesting to watch.
Essentially, this is a movie that was heading towards a big-time negative review, but it just is barely getting a passing mark from me, since after moving along at such a slog, it does eventually lead to better moments later in the film, as Dusty and his community are forced to leave the FEMA camp.
But that’s after nothing really happens for so much of the movie that it’s beyond aggravating. The fact I’ve seen most of this cast, including O’Connor, doing much better things this year alone, so it’s hard to fully recommend Rebuilding when there are so many better iterations of this exact same movie already out there.
Rating: 6.5/10
Image courtesy Magnolia Pictures
12 O’Clock Boys director Lofty Nathan returns with this biblical genre film, THE CARPENTER’S SON, starring Nicolas Cage, FKA Twigs, Noah Jupe, and more. It reinvents the story of Jesus to be more of a horror or genre film where the teenage Jesus (Jupe) is plagued by a stranger (Isla Johnston) who tries to tempt him into evil deeds. Magnolia will be releasing this into select cities this weekend.
In the movie, Ms. Twigs plays Mary to Cage’s Joseph, though neither of them are actually named, but after she has her baby, they realize that the villagers are killing babies, since they believe that the baby will grow up to be a powerful king. The small family escapes to another small settlement, and years later, their baby is a teenager who discovers naked women in the form of a mute girl with an overprotective mother. The boy (it’s Jesus, if you hadn’t figured it out) also encounters a mysterious androgynous being (Isla Johnston) who begins to stir up problems in the already-troubled village.
I went into this without having seen the trailer, but I got the general idea that it was a Jesus pastiche just from the title and description, and sure enough, Nathan is creating his own version of The Passion of the Christ, only focusing on a younger version of Jesus, as he learns about his powers to heal, much to the concern of his father. This sort of passion play isn’t generally my type of thing, and I haven’t seen any of the other many biblical films and series being released like The Chosen and such.
There’s no avoiding the fact that Nicolas Cage just seems to be in a different movie than everyone else, and this was an oddly missed opportunity to not just call this movie “Biblical Treasure,” since he just seems to be playing Benjamin Gates with a typical Cage over-the-top reaction to just about everything that happens. The younger actors are significantly better, particularly Ms. Johnston, who I wasn’t nearly as familiar with as Jupe (who has a bit of a scene stealing performance at the end of Chloé Zhao’s Hamnet, which opens next week).
There is a lot of CG in play here, particularly with the serpent that hits the viewer over the head with its representation whenever it makes an appearance, but otherwise, there’s just a lot of writhing going on, maybe even more than the upcoming The Testament of Ann Lee, which is about shakers.
In some ways, The Carpenter’s Son reminded me of something Lars von Trier might make where there’s so much stuff done merely for shock value, and yet, in trying to make this a horror or genre film, Nathan never really goes far enough. This generally feels like a waste of time, and I’m not sure who might enjoy this experience. But if that doesn’t dissuade you, it will be playing at the Village East this weekend with Nathan and FKA Twigs doing a QnA on Thursday night.
Rating: 5.5/10
Image courtesy Sony Pictures Classics
Jodie Foster stars in Rebecca Zlotowski’s crime-thriller A PRIVATE LIFE, which I saw at the New York Film Festival a little over a month ago, and Sony Pictures Classics will release it into select cities this weekend. In the movie, Foster plays psychiatrist Lilian Steiner, an ex-pat living and working in France who learns that one of her patients has died under mysterious circumstances, and she becomes convinced that she was murdered, even though her family claims it’s suicide. I’m not going to write a formal review, since I feel like I’d need to watch it a second time for it to make much sense – oddly, I didn’t even write about it on my Letterboxd – but as someone who doesn’t always love the films coming out of France, this was a decently tense and twisty French thriller with Foster proving her mettle as one of the finest actors working today.
Another great foreign animated film being released this weekend (by Neon) is Ugo Bienvenu’s ARCO, a French film set in 2075 about a girl who witnesses a boy named Arco fall from the sky wearing a rainbow suit that helps him fly. He tells her about a future where time travel is possible, and she offers to help him return to his time period. Unfortunately, I only got to see the dubbed version of this, which features the voices of Natalie Portman, Will Ferrell, Andy Samberg, Mark Ruffalo, and America Ferrara, and that played a major factor in me not loving the movie as much as I might have normally. It’s a beautifully lush animated film that’s very colorful, but I’ve decided not to review it unless I have a chance to see it with subtitles, as I feel that will be more in line with what the filmmaker intended. I think I much preferred Little Amelie, which came out a few weeks ago.
Opening in L.A. on Friday and then in New York on November 21, presumably also for Oscar consideration, is Sang-ing Lee’s KOKUHO, which is Japan’s submission for the Oscars. Set in post-war Japan, it follows the life of Kikuo Tachibana (Soya Kurokawa) who has become adapted by a kabuki actor and who becomes a gifted performer himself. This is almost three hours long and I wasn’t able to make the time to watch and review for this week’s column, but maybe I’ll get to it next week. I believe that GKIDS is only giving it a one-week release in each city and will wait until the New Year to see if it received an Oscar nomination, but I’ll try to get to this one before year’s end. So yeah, keep an eye on my Letterboxd for any thoughts.
Mischa Barton – remember her from “The O.C.”? – stars in Stephen Shimek’s MURDER AT THE EMBASSY (Lionsgate), playing private detective, who is investigating a murder in the British Embassy of Cairo in 1934 after a secret document is stolen. Yes, it sounds a lot like Agatha Christie’s Murder on the Nile, but it probably it’s getting a nominal theatrical release, since this is probably one of Lionsgate’s releases focusing more on digital and VOD. I wasn’t able to get around to watching it unfortunately, though I do like Barton and this sort of thing.
Other stuff out this weekend…
TRAP HOUSE (Aura Entertainment)
THE THINGS YOU KILL (Cineverse)
SOUND OF FALLING (Mubi)
SERIOUS PEOPLE (Tribeca Films X Memory Present)
REEDLAND (Outsider Pictures)
BUNNY (Vertical)
THE REPERTORY ROUNDUP
Photo courtesy GKIDS
Mamoru Oshii’s 1985 anime classic ANGEL’S EGG received an Early Access Dolby launch last night before its wide release by GKIDS next weekend (where I hope to write more about it). But it also be playing at the METROGRAPH on the Lower East Side on Saturday night. Sadly, that screening is already sold out, but there will be more screenings next Thursday as well. That’s playing as part of “Mamoru Oshii Restored: Origins and Inspirations,” which will also screen Tarkovsky’s Stalker (1979) this weekend. (Apparently, Miyazaki’s Oscar-winning The Boy and the Heron is also getting some sort of rerelease this weekend starting on Saturday. That could be a Fathom Events.)
If you like animated films, get down to the Metrograph on Saturday afternoon for the bimonthly “Saturday Afternoon Cartoons” this installment being subtitled “Fall Follies.” If you haven’t been to one of these programs, put together by Tommy Stathes (with an informative QnA to follow) then you definitely should check it out (and most of the toons are kid-friendly, unlike the program at the Roxy Cinema mentioned below.) Also, the semi-regular kid-friendly “Screentime at Metrograph” will show Agnès Varda’s Jacquot de Nantes (1991) on Friday afternoon and Sunday morning. (Monday night, there’s one last screening of Ms. Varda’s 2008 film, The Beaches of Agnès.)
On Friday, the American Cinema Editors (aka ACE) continue their monthly “ACE Presents” with a screening of Garrett Bradley’s 2020 film, Time, with editor Gabriel Rhodes doing a QnA afterwards.
“Music Was My First Love” will screen Norman Jewison’s Moonstruck (1987), starring Cher (who won an Oscar for the movie) and Nicolas Cage, as well as the Kevin Costner-Whitney Houston romantic drama, The Bodyguard (1992). Paul Thomas Anderson’s 2021 Licorice Pizza will screen one more time this weekend, as will Stanley Kwan’s Rouge (1987).
“Alt Divas: Argento / Dalle / Golubeva” will screen Abel Ferrara’s The Blackout (1997) and 1998 film New Rose Hotel, as well as Dario Argento’s The Stendhal Syndrome (1996) this weekend, all three films starring Dario’s daughter, Asia Argento. (“Metrograph: Where People Who’ve Been Cancelled Have Their Careers Revived.” Kind of funny cause they cancelled a Dustin Hoffman series when someone reported him for being inappropriate during the #MeToo movement.) This series is also showing Jean-Jacques Beineix’s 1986 film Betty Blue, starring Beatrice Dalle, this weekend.
“Soul and Soil: Ukrainian Poetic Cinema” continues this weekend with four more movies from Eastern Europe all directed by Yuri Illienko: The Eve of Ivan Kupalo (1968) on Friday night, A Spring for the Thirsty (1965) and The White Bird Marked with Black (1971) on Saturday evening, and 1989’s Swan Lake. The Zone on Sunday. All four of these will either have intros or QnAs with Illienko’s son and film producer Pylyp Illienko and/or composer Leonid Hrabovsky (for the two on Saturday). On Monday night, you can catch Sergei Parajanov’s 1965 film Shadows of Forgotten Ancestors. I wish I had more time to get to these.
“The Memory Palace” will not only be showing Martin Scorsese’s early film Mean Streets from 1973 (it’ll be my first viewing) but you can also see Scorsese’s 1974 Italianamerican on Friday and Sunday evenings.
Across town, FILM FORUM will be screening Luis Buñuel’s Palme d’Or-winning 1961 film Viridiana for one week only, and then on Sunday, you can catch Richard Linklater’s School of Rock (2003) starring Jack Black, as the Film Forum Jr. offering, and then Monday’s “Screen Deco,” is James Whale’s “Remember Last Night” from 1935.
Speaking of James Whale, the PARIS THEATER will be playing James Whale’s Frankenstein and Bride of Frankenstein in connection to its series “Monsters and Makers” centering around Guillermo del Toro’s new version of Mary Shelley’s classic, now streaming on Netflix. That series will run through next year, showing all of del Toro’s earlier films.
Down at the ROXY CINEMA in Tribeca, you can see George Romero’s Day of the Dead (1985) in 35mm on Friday night, Wes Anderson’s The Royal Tenenbaums (2001) – Hey, Hannah Strong will be there pimping her book, too! – on Saturday afternoon, and David Lynch’s The Straight Story on Saturday evening. If you didn’t get enough toons at the Metrograph on Saturday, you can head over to the Roxy for Tommy Stathes’ “Rude, Sexy and Risqué” cartoons on Sunday afternoon. I’ll be in both places for both programs.
NITEHAWK CINEMA’s November series continue with “Val Forever” screening Oliver Stone’s The Doors: The Final Cut at PROSPECT PARK on Saturday and Sunday morning, and at the same time, WILLIAMSBURG will be screening Batman Forever, directed by the late Joel Schumacher. Continuing at Williamsburg, “Best Picture 1975” will screen Kubrick’s Barry Lyndon on Monday night, while Prosect Park will screen it on Wednesday. (Confused yet?) The always fun “Ridiculous Sublime” will screen Ed Zwick’s Legends of the Fall (1994), starring a young Brad Pitt, on Tuesday night. (Oddly, this will also be the theater’s “Recent Restorations” next weekend, too, in case you can’t make it on Tuesday.) Monday night’s “Darkmen” offering at Prospect Park is the original The Crow from 1994, while Tuesday’s “Re-Consider This” at Williamsburg is Kathryn Bigelow’s 1995 Strange Days, celebrating its 30th anniversary.
Astoria, Queens’ MUSEUM OF MOVING IMAGE is beginning the new series “American Woman: Reframing ’70s Cinema” with screenings this weekend of John Cassavetes’ 1974 A Woman Under the Influence on Friday and Sunday nights, as well as Alan J. Pakula’s Klute (1971) with film critic Molly Haskell having a discussion afterwards on Saturday. Wes Anderson’s The Grand Budapest Hotel (2014) will screen on Sunday followed by a QnA and book signing with author Hannah Strong, talking about her new book “The Colors of Wes Anderson.” Also “Prime Redford” continues with Sydney Pollack’s 1973 film The Way We Were, costarring Barbara Streisand, on Sunday afternoon.
IFC CENTER continues its “Two By Spielberg” with its second film by Steven Spielberg, 1993’s Jurassic Park, which will screen late night on Friday and Saturday, along with The Silence of the Lambs, Jodorowsky’s El Topo, and the anime The End of Evangelion.
On Monday night, the VILLAGE EAST will be playing Stanley Kubrick’s classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, starring Peter Sellers, (a must-see for those who enjoyed Kathryn Bigelow’s A House of Dynamite on Netflix) and on Wednesday, they’ll be showing Roman Polanski’s Chinatown, starring Jack Nicholson as part of “Noirvember.” (Clever.)
Next week, what will be one of the most anticipated sequels of the year for many, Jon Chu’s Wicked For Good, hits theaters, and it probably will make more money its opening weekend than every single other movie that has opened in November thus far COMBINED. There are other movies, too, but it’s mostly going to be about that Wicked sequel.
