#katherine is also part of the wingmen

[sk1ttery]

Hello newsies community.

that is all

[criminal-hotch]

cm headcanons

here are some criminal minds headcannons bc i'm ✨ cm trash ✨

hotch and emily hooked up a few times around seasons four-six but stopped after while bc they realized it affected their work lives (the entire team was oblivious but that's besides the point)

jj and emily also got together a few times and both caught feelings but they knew nothing would work out so they dropped it

hotch and rossi most definitely got brunch together and just gossiped abt the team

whenever emily, jj, and garcia went out to drink, jj was the mom friend™ who simultaneously got drunk and still took care of her friends

whenever emily's drunk she's very energetic and just doesnt give a damn abt what other ppl think. cue that one time her and morgan went out for a couple drinks after work and morgan ended up having to call jj to help with emily who was singing ‘girls just wanna have fun’ at the top of her lungs while standing on the bar

one time when morgan and emily went out, a guy was catcalling emily. morgan was abt to beat him until he realized emily had already done that

they are also amazing wingwomen™ and wingmen™ for each other and they always tease each other for who the other ended up getting with that night

hotch and jj made sure to have tons of playdates between their kids and even tho jack's a bit older than henry and michael, he treats them like his little brothers

reid loves babysitting the kids when the rest of the bau goes out for drinks and the kids love showing uncle spence around and teaching him how to be a kid. reid also shamelessly messes up easy sayings or spellings so the kids can correct him and feel smart. whenever jj tells henry that her and will are going out and that he's getting a babysitter, he always pleads with her for it to be reid

will tries super hard to have a good relationship with reid after the whole "reid sleeping on jj's couch for 10 weeks bc of emily's death" thing, and the two end up getting along pretty well, even if most of their conversations are just uncomfortable silences

outside of work, emily will mercilessly call hotch “sir” whenever she can, sometimes she’ll even bow and rossi will laugh until hotch sends him a death glare

the entire team spends christmas at jj’s and they spend it like the big family that they are. (the entire team sleeps over in the living room which is a horrible disaster but still fun as hell) they also watch christmas movies on christmas eve and garcia cries during every single one

they decide to a secret santa one year but it’s no fun bc everyone figured out who everyone has days before the were supposed to reveal it 

reid is amazing at playing piano/keyboard and like never mentions it ??? rossi knows he’s not bad from an old case but doesn’t expect him to be that good until reid mentions that he plays during christmas eve when jj mentions how she wishes they could sing some carols. and reid’s like “i can play that old piano you guys have in the corner” and so he does and everyone sings and it’s a off-time drunken mess and everyone’s laughing their ass off

rossi most definitely bought a sports car in some part of his life but ended up wrecking it

jj has one of those “mom mini vans” and i feel like hotch would have one too

after he leaves the bau, hotch becomes a pta mom, figHT ME

whenever jj and will can’t pick up henry from school, the bau has actual fights over who gets to do it. henry’s classmates and teachers are 100% confused why henry seems to have so many parents but won’t directly ask abt it

jj teaches henry to be an amazing child and makes him drink his respect women juice every morning. when henry’s 14, morgan’s called to pick him up from the principal’s office for punching a kid who tried to look up a girl’s skirt. morgan buys him ice cream after that.

morgan and garcia 100% binge watch shows like grey’s and vampire diaries and morgan becomes rly emotionally invested in them. (he’s total #teamdamon) and garcia just laughs and poked fun at him about it but rly finds it adorable

when the rest of the team finds out abt his secret obsession with teen drama shows, they poke fun about it until morgan and garcia make them join them and then reid’s completely smitten with lexie and jj’s fallen in love with derek shepard. hotch claims he doesn’t enjoy them but he lives off the drama and emily’s simping over katherine.

reid either loves big bang theory or despises it with a passion, i don’t know which one but it’s one of them

one day when the team senses that hotch is gonna stay late doing paperwork, they go out and get party supplies and a big cake and surprise hotch with it. hotch’s all like “why’d you do this? this is a waste of money! i’m trying to work!” but secretly he’s rly happy and proud of his team when after the little party, all collectively help him finish the work

morgan will 100% drop everything and leave a hookup if garcia texts him asking to hang out or to come over and watch a movie bc he treasures his friendship with penelope more than a meaningless fling 

after a particularly bad case, morgan took garcia out for ice cream and then slept over her house where they stayed up all night watching movies bc he knows she has nightmares the next day

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND June 14, 2019  - MEN IN BLACK INTERNATIONAL, SHAFT, LATE NIGHT, THE DEAD DON’T DIE

I apologize for taking last week off, but I really needed a break, especially considering how late I was running on writing anything for the column. I also worry that the fact I write so much about the wide releases over at The Beat -- hitting the ‘net in about an hour -- means I don’t have so much to write here, and I don’t want to disappoint those who click on the link.

Hopefully, some of you are using this column to check up on limited releases and repertory screenings. Feel free to drop me a line or hit me up on Twitter if that’s the case, as I hate working in a vacuum.

Sadly, I don’t think there’s been much buzz for MEN IN BLACK INTERNATIONAL (Sony), the attempt to revive and reboot a franchise without the original movie’s two stars. This has rarely worked in the past, and Will Smith is so well-liked, as seen by the success of the recent Aladdin. Directed by F. Gary Gray (The Fate of the Furious), the new MiB are played by Chris Hemsworth and Tessa Thompson, both popular thanks to Thor: Ragnarok and the recent Aven gers: Endgame but not quite up to Smith when it comes to being a box office draw. I’m happy to see Emma Thompson back, although I’m sure she’ll be better used in this week’s expanding release Late Night, while Liam Neeson can be fun when given the right part.

Mini-Review: It’s officially the summer, so studios are starting to hope that film critics will go easier on their movies meant to be entertaining summer “popcorn fare.” That was certainly true of the original Men in Black, which combined a simple premise of an alien-fighting government agency with the charm of Will Smith.

Men in Black International has the same premise, but this time, instead of Smith, it has Tessa Thompson as Molly, a young girl who discovered the presence of the Men in Black. Twenty years later, she wants to become one herself. If you’ve seen the trailers and commercials, you already know that she’s accepted into the group and paired with Chris Hemsworth’s British Agent H.

There’s no point getting further into the plot, because it really doesn’t matter. It’s the exact same rookie MiB agent trying to keep up with the more experience agent who is having none of their youthful shit, as they encounter weird and often deadly CG aliens.

There’s a good reason Tessa Thompson has been cast in this movie, and that’s because she has a likeable personality in everything she does, and presumably, that’s enough to carry an MIB movie.  Similarly, I like Chris Hemsworth as an actor, but right now, he’s in danger of turning into Johnny Depp, basically famous and popular for one character then trying to imbue every character after that with what he thinks works with his audience. In Hemsworth’s case, Agent H is another arrogant and dumb dope always getting things wrong and being corrected by someone else, in this case Thompson’s Agent M. Those looking forward to seeing this movie for Emma Thompson or Liam Neeson may be disappointed by how little they actually appear in the film.

I certainly don’t entirely fault director F. Gary Gray for the movie’s problems, as he clearly was working with what he was given and doing the best he can. The CG and action are well done and so well-blended there’s no problems there, although the only alien that doesn’t seem like a rehash to previous MiB movies is the one voiced by Kumail Nanjiani, who gets in a few fun jabs at Hemsworth.

The best part of the movie probably comes in the third act when Rebecca Ferguson turns up as an alien arms dealer (with extra arms, of course) and somehow, the combination of her with the other three actors delivers some of the movie’s strongest moments… and then it goes back to the tired plot that didn’t really seem to be going anywhere

I’m sure plenty of people will enjoy Men in Black International just fine, but one really has to go into the movie with lowered expectations to think it’s any sort of improvement even over the worst of the previous movies (MiB 3).

For the most part, Tessa Thompson shines in an otherwise uninspired and mostly unfunny reboot that really doesn’t give much hope for the future of this franchise.

Rating: 6/10

I have to admit that I also wasn’t a very big fan of Tim Story’s SHAFT (New Line), which reunites Samuel L. Jackson and Richard Roundtree 19 years after the previous Shaft movie, which I also never really liked. Joining them this time is Independence Day: Resurgence star Jessie T. Usher, who also will be appearing on the upcoming The Boys series on Amazon. You probably won’t know it from the amount of coverage you’ll be seeing from me this week, but hey, work is work, and who am I to pass up a chance to interview Jackson and Roundtree, not once but twice? No idea when that coverage is running but I’ll post links here when it does.

Adding a bunch of my features on the movie:

AM NEW YORK FEATURE

COLLIDER INTERVIEW WITH JACKSON, ROUNDTREE AND USHER

COLLIDER INTERVIEW WITH DIRECTOR TIM STORY

I’m always excited for a new Jim Jarmusch movie, even though I’ve been mixed on some of his more recent films, including Only Lovers Left Alive, his vampire movie starring Tilda Swinton and Tom Hiddleston that I seemed to be one of the few people who wasn’t that into it. With THE DEAD DON’T DIE (Focus Features), Jarmusch explores the world of zombies, and I think the tone and mood of this one are more in line with Jarmusch’s earlier work but also with Romero’s zombie movies, although there isn’t as much zombie gore as some might hope.

My Review of The Dead Don’t Die from The Beat

Also expanding nationwide this weekend (presumably) is Amazon Studios’ LATE NIGHT, the Mindy Kaling-penned comedy co-starring Emma Thompson. I was mostly bummed about not doing this column last week because it meant delaying my review, but I do hope that people will go out see this very funny movie based on Kaling’s own experiences in late night. I think it’s one of Thompson’s best performances in a long time, although I did think she was great in last year’s The Children Act, a movie that was sadly overlooked by most film critics/writers.

Mini-Review: Anyone who has ever underestimated Mindy Kaling from her TV work on The Office and The Mindy Show will never do so again after seeing Late Night. I’m saddened to say that I’m one of those who has learned that lesson the hard way.

The premise is simple with Kaling playing Molly Patel, a young woman with dreams of being a comedy writer, something that becomes more possible when she’s hired as a writer on the prestigious talk show “Late Night with Katherine Newbury.” What Molly doesn’t know is that she’s a bit of a “diversity hire” once Katherine (Emma Thompson) realizes her writing room is all white males. Molly has troubles fitting in at first but her bright personality proves to be what Katherine needs to start examining her own life, as the network tries to take her show away from her.

Directed by Nisha Ganatra, an indie filmmaker whose work I have sadly overlooked until now, Late Night is a great example of the quality of work that can be created when an actor is allowed to make her passion project.  It’s immediately obvious what Kaling has brought to her television shows as a writer, performer and producer as Late Night.

Kaling and Ganatra’s impeccable storytelling includes many characters around Molly and Katherine that add to their story without taking the attention away from them.Thompson has always been a fine actor but in Katherine Newbury, she’s been given a present that will bring her back to the forefront come awards time. Thompson creates a character that can be funny in the same was as Meryl Streep in The Devil Wears Prada but also quite sympathetic, and that’s a hard balance to create.

Overall, Late Night is just a joyous breakout film for Kaling.  If you can imagine a cross between Tina Fey’s “30 Rock” and Kumail Nanjiani’s The Big Sick, then you may have a better idea whether Late Night will be your thing. Rating: 8.5/10

Interview with Director Nisha Ganatra

You can see how I think the above movies will fare over at The Beat.

LIMITED RELEASES

Although the big news this weekend is Late Night (presumed) expanding nationwide, as well as the wider-than-usual release for Jim Jarmusch’s latest, there are still a number of movies opening in select cities I want to draw attention to.

One of my favorite films from this year’s Tribeca Film Festival was Jeff Chan and Andrew Rhymer’s PLUS ONE (RLJE Films), which stars Jack Quaid (from The Hunger Games and the upcoming The Boys series) and Maya Erskine from Pen15as long-time best friends Ben and Alice who decide to accompany each other to an upcoming round of weddings, acting as wingmen to help the other one pick up men and women. As you can imagine, it only works out to a point.

I’m not embarrassed to say that romantic-comedies are a bit of a guilty pleasure with me, and Plus One is a really good one, since it’s both funny and romantic, which isn’t something we often get from studio fare in this vein. I absolutely love Maya Erskine, though I haven’t had a chance to check out her Hulu series just yet; there are few actors who are so talented at being hilariously funny but also delivering on the drama when necessary. I feel like Quaid is trying to keep up with her. If you’re the type of person who gets dragged to weddings every other weekend, this movie is definitely for you.  Plus One will be in theaters and On Demand this Friday, and I definitely recommend seeking it out, especially for a fun date night movie.

Another really good drama coming out this weekend is Sienna Miller’s AMERICAN WOMAN (Roadside Attractions/Vertical), which stars Ms. Miller as Debra, a 30-something woman whose teen daughter goes missing, leaving her to care for her grandson. She’s able to deal with the loss with the help of her sister (Christina Hendricks) and mother (Amy Madigan), but also ends up with a series of bad men until she meets Aaron Paul. Directed by Jake Scott, Ridley Scott’s son, who made the drama Welcome to the Rileys back in 2010, this movie lives or dies on the performance by Miller, and she is pretty fantastic in a role that covers 11 years in this woman’s life. This is definitely a smaller slice-of-life movie that covers the things her character goes through in order to find her best self, but I generally liked the entire cast, which is quite diverse, including Will Sasso (from Mad TV) and the underrated Pat Healy as one of the most abusive men with whom Debra ends up.

Opening at the Metrograph Friday and in L.A. on June 28 is Sophie Huber’s documentary Blue Note Records: Beyond the Notes, a terrific look at the classic jazz label that’s still going strong thanks to current President Don Was (yes, he of “Walk the Dinosaur” fame) but is also branching out into other jazz-influenced genres. I really dug how Huber told this story, featuring new interviews that’s framed by a recording being done by the current incarnation of the Blue Note All-Stars. If you like jazz or  even have a passing interest, it’s good to know the history of the genre and Blue Note’s part in it.

A movie I’ve been wanting to see but just haven’t had the chance to is FRAMING JOHN DELOREAN  (Sundance Selects), directed by Don Argott (The Art of the Steal) and Sheena M. Joyce and starring Alec Baldwin as the visionary who made his way up through the auto industry only to be disgraced when charged with drug trafficking. Also starring Morena Baccarin, Josh Charles and more, it opens in select cities on Friday.

Miranda Bailey’s BEING FRANK  (The Film Arcade) features comedian Jim Gaffigan as the title character. Set in 1992, it stars Logan Miller as teenager Phillip, who wants to leave his small town to go to music school in New York, something his father (Gaffigan’s Frank) forbids. Philip decides to go on a wild spring break but he then discovers that his father has another whole family in another town.

Jay Stern’s SAY MY NAME  (Electric Entertainment) opens in select cities and on VOD Friday. It stars Lisa Brenner and Nick Blood as two strangers who have a one-night stand that’s interrupted by a robbery, sending them across Wales to try to retrieve their stolen property.

Thomas Stuber’s German drama IN THE AISLES  (Music Box Films) stars Franz Rogowski (Transit) as a guy who just started working at a big box store where he becomes obsessed with a co-worker (Sandra Hüller from Toni Erdmann) but when he starts delving into the secrets she’s keeping, he begins returning to his own dark habits. It opens at the Village Eastin New York on Friday.

Less than a month after her last film Poms bombed, Diane Keaton is back in Joel Hopkins’ HAMPSTEAD  (IFC Films) starring opposite Brendan Gleeson as Emily, a widow in an expensive apartment in the title London neighborhood that she can’t afford. Gleeson plays Donald, a gruff loner living in a cabin who just wants to be left in peace, but when his home is threatened, Emily has found her new cause. Based on a true story, it also stars Lesley Manville, and it will play at the IC Center this Friday.

Kat Rohrer and Gil Levanon’s award-winning doc Back to the Fatherland  (First Run Features) will open in New York (Cinema Village) and L.A. (Laemmle Music Hall). It deals with the friendship between the two filmmakers despite their different backgrounds – Kat is the granddaughter of a Nazi officer while Gil is that of a Holocaust survivor – and they seek out other grandchildren of Holocaust survivors who have moved back to Germany and Austria.

Opening on Wednesday at the Film Forum is Muayad Alayan’s psychological thriller The Reports of Sarah and Saleem (Dada Films) about the clandestine affair between an Israeli café owner from West Berlin and her Palestinian bread vendor from the East, made more complicated when their spouses find out. So it’s sort of a retelling of Romeo and Juliet set in Israel? It actually sounds intriguing.

I’m bummed that I didn’t get a chance to see divisive Mexican filmmaker Carlos Reygadas’ latest, Our Time  (Monument Releasing), but at three hours, it was just hard to find time to watch it. This one is about a Mexican family living in the countryside raising fighting bulls who is torn apart by the woman of the house falling in love with another man. No, I have no idea why this story had to be three hours long, but it will open at the Quad Cinema in New York Friday.

Lastly, there’s David Hackl’s Daughter of the Wolf  (Vertigo), starring MMA star Gina Carano as a military specialist who comes back from the Middle East to claim her inheritance only to find her son has been kidnapped.  Also starring living legend Richard Dreyfuss, it opens in a bunch of theaters, but this is more of a VOD special.

STREAMING AND CABLE

Premiering on Netflix (and in select theaters) Wednesday is Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, an amazing film resuscitated from 1975 as Scorsese goes on the road with Dylan during his 1975 fall tour. (Besides streaming on the network, it can also be seen in select theaters like New York’s IFC Center and Film at Lincoln Center.)

Also, Adam Sandler is back with his latest comedy MURDER MYSTERY, reuniting him with Jennifer Aniston as a couple who go on a trip to Europe where they’re invited for a party on a yacht by a billionaire (Terence Stamp) who ends up being murdered with them being the prime suspects. So Sandler, a New York detective, needs to work with a local crimefighter, played by Luke Evans.

Also, the doc Life Overtakes Me which looks at the Resignation Syndrome being suffered by refugee children in Sweden as they end up in a coma-like state for months and years with their parents having few options to help them.

LOCAL FESTIVALS

A few decent festivals are starting this weekend, a couple in New York and on in Chcago, but the one that definitely shouldn’t be missed is the annual BamCinemaFest, which kicks off tonight with Lulu Wang’s amazing Sundance favorite The Farewell, starring Awkwafina. Unfortunately I didn’t get to nearly as many of the screenings as I hoped, but I’m sure you can find one or two gems in the line-up this year.

The annual Human Rights Watch Film Festival will kick off at Film at Lincoln Center this week with a wide variety of documentaries, dramas and foreign films. I haven’t seen any of the movies but really, with this festival, you can rarely go wrong in terms of learning what’s going in the rest of the world.

Kicking off in Chicago this week is the Cinepocalypse Genre Film Festival, which features a wide variety of genre films both old and new. It kicks off on Thursday with the World Premiere of Glenn Danzig’s Verotika and in a similar vein, there will be events like Gwar vs. Rock ‘n’ Roll Nightmare and Gwar vs. Cinepocalypse plus there’s lots of vintage genre including Tammy and the T-Rex from 1994 and Joel Schumacher’s Flatliners (1990) in 70mm! Some of the big horror films from other festivals like Villains, The Lodge and Satanic Panic will also get their Midwest Premieres. It’s a fairly robust schedule that runs from June 13 through the 20.

REPERTORY

METROGRAPH (NYC):

The Jim Jarmusch retrospective continues through the weekend with Ghost Dog: The Way of the Samurai (1999) with Jarmusch in person Thursday night, and 1991’s Night on Earth as well as a couple reshows. Late Nites at Metrograph will be screening the action-comedy The God of Cookery (1996) starring the amazing Stephen Chow, while Playtime: Family Matinees will screen Jimmy Stewart’s 1962 film Mr. Hobbs Takes a Vacation.  Sine Sunday is Father’s Day, the Metrograph is screening a couple father-friendly baseball comedies like the 1962 movie Safe at Home!, starring Mickey Mantle, as well as John Badham’s 1976 comedy Bingo Long Travelling All Stars and Moto Kings, starring Billy Dee Williams, James Earl Jones and Richard Pryor.

THE NEW BEVERLY (L.A.):

The Wednesday matinee is Alfred Hitchcock’s Marnie (1964), starring Tippi Hedren and Sean Connery, then the Weds-Thursday double feature is Dean Martin’s The Wrecking Crew co-starring Bruce Lee with Hammerhead, both from 1968. Friday and Saturday will be screenings of Stanley Kubrick’s classic 2001: A Space Odyssey (1968), then Sunday and Monday is Sergio Leone’s Once Upon a Time In the West (1968). (Not sure if you noticed a trend there but all four movies are from the same year!) The weekend’s KIDEE MATINE is the Japanese sci-fi film The Green Slime … from 1968! Friday’s midnight movie is Tarantino’s own Inglourious Bastereds while Saturday is Journey to the Far Side of the Sun (1969 – changing things up a little).  Monday’s matinee is The Assassination of Jesse James by the Coward Robert Ford  (2007) from Andrew Dominik, and then Tuesday’s Grindhouse double feature is Model Shopand They Came to Rob Las Vegas.

FILM FORUM (NYC):

Opening Friday is a new restoration of Jennie Livingston’s Paris is Burning  (1991) which looks at New York in the ‘80s from the perspective of the African-American and Latinx drag scene. The movie ran for six months back in 1991 when it first played at the Film Forum. This weekend’s Film Forum Jr. is Spike Lee’s Crooklyn from 1994. The Jewish Soul series continues this weekend with Maurice Schwartz’s 1939 film Tevya, while Alain Resnais’ Last Year at Marienbad will continue playing for another week, as well. Also, if you haven’t had a chance to see Gillo Pontecorvo’s The Battle of Algiers, it will play as part of The Hour of Liberation series which also ends on Thursday.

EGYPTIAN THEATRE (LA):

Cassavetes & Scorsese: Love is Strange, the series that just won’t end, continues on Friday with Alice Doesn’t Live Here Anymoreand A Woman Under the Influence, both from 1974 and a pretty good double feature actually.  On Saturday from noon until midnight, there’s a Camp Void 6-Film Marathon, co-presented by Cinematic Void, which includes a number of classic genre films, as well as a couple comedies from the ‘70s and ‘80s.Kubrick’s long-time assistant Leon Vitali will be back to present a screening of The Shining (1980) for Father’s Day. Although it’s already sold out, the Egyptian will have a special John Woo double feature of Hard Boiled  (1992) and Face/Off (1997) with John Woo in person!

AERO  (LA):

As with New York’s Quad, the AERO is sharing the Pauline Kael centennial love with The Pearls of Pauline: Kael at 100 with Children of Paradise (1945) on Thursday, a double feature of Bonnie and Clyde (1967) and Thieves Like Us (1974) on Friday, and then Diner (1982) and Melvin and Howard (1980) on Saturday. For Father’s Day Sunday, there’s a special Indiana Jones TRIPLE feature of the first three movies, all in 35mm with the third film Indiana Jones and the Last Crusade celebrating its 30thAnniversary.

QUAD CINEMA (NYC):

Because I had to skip last week’s column, I wan’t able to write about the Quad’s amazing new series Losing It at the Movies: Pauline Kael at 100, which pays respect to the film critic who would have turned 100 next week. The movies being shown this weekend include Brian De Palma’s The Fury (one of my personal faves from 1978), Clint Eastwood’s The Gauntlet  (1977), the horror classic Re-Animator (1985), Woody Allen’s Hannah and Her Sisters (1986) and more.

IFC CENTER (NYC)

Waverly Midnights: Parental Guidance  goes with David Lynch’s Eraserhead  (1977), Weekend Classics: LoveMom and Dad will screen Vittoio De Sica’s Bicycle Thieves  (1948), while Late Night Favorites: Springgoes with Ridley Scott’s Alien(again), Suspiria (again), The Holy Mountain (again).. and Tarantino’s Pulp Fiction.  Seems like Bicycle Thieves is the best bet in terms of stuff that isn’t shown a lot.

FILM OF LINCOLN CENTER (NYC):

Besides the Human Rights Watch Film Festival, the Upper West Side theaters are beginning an extensive Ermanno Olmi Retrospectivethat includes films from the Italian director ranging from 1958’s Time Stood Still and 1961’s Il Posto through 2014’s Greenery Will Bloom Again. I honestly don’t know if I’ve seen any of his movies but it’s an amazing series with two screenings of each movie.

MUSEUM OF THE MOVING IMAGE (NYC):

On Saturday, MOMI will screen Burt Reynolds’ Hooper  (1978), directed by Hal Needham, in 35mm, as well as Sidney Lumet’s musical movie The Wiz (1978) starring Diana Ross and Michael Jackson as part of a StarringDiana Ross series. That series also includes Lady Sings the Blues (1973) and Mahogany (1975), both screening Saturday.

MOMA (NYC):

The extensive Jean-Claude Carrière will finally conclude on Sunday, and as before, I have nothing to add about it.

ROXY CINEMA (NYC)

Richard Donner’s The Goonies (1985) will be shown on 35mm on Friday and Saturday

LANDMARK THEATRES NUART  (LA):

This Friday’s midnight screening is the 1987 film Hard Ticket to Hawaii.

Next week, Disney is back to dominate with Toy Story 4 as Woody and Buzz Lightyear shouldn’t have too many worries facing the return of Chucky in Orion Pictures’ Child’s Play.