Fall Film Events


Bryant-Lake Bowl, 810 W. Lake St., Mpls.; 612.825.3737 Ongoing

Newly moved to the BLB for screenings on the second Wednesday of each month (including September 14), this series of old newsreels and civics lessons (remember civics lessons?) calls attention to the University of Minnesota's treasure trove of endangered 16mm celluloid.


Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622

This two-week series showcases the recent cinema of developing nations.

September 15 Daughter of Keltoum (7:30 p.m.)

September 16 Today and Tomorrow (7:30 p.m.)

September 17 Lili's Apron (3:00 p.m.)

September 17 Buffalo Boy (7:30 p.m.)

September 20 Daughter of Keltoum (9:30 a.m.)

September 22 Hollow City (7:30 p.m.)

September 23-24 Whisky (7:30 p.m.)

September 23 Hollow City (9:30 p.m.)

September 27 Rachida (9:30 a.m.)

September 29 Kabala (7:30 p.m.)

September 30 Uniform (9:30 a.m. and 7:30 p.m.)

October 1 What's a Human Anyway? (3:00 p.m.)

October 1 Fuse (7:30 p.m.)


Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134

Oak Street's series of Japanese samurai classics concludes with films by Kihachi Okamoto and Akira Kurosawa.

September 15-17 Sword of Doom (7:20 and 9:40 p.m.; also Sept. 17 at 2:30 and 5:00 p.m.)

September 18-19 Kill! (7:20 and 9:40 p.m.)

September 21-22 Seven Samurai (7:30 p.m.)


Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134

Oak Street's cult-film series on Fridays at midnight includes four movies by John Carpenter.

September 16 Evil Dead 2: Dead by Dawn

September 23 Army of Darkness

September 30 Big Trouble in Little China

October 7 The Thing

October 14 Punk Rock Holocaust

October 21 Assault on Precinct 13

October 28 They Live


Resource Center of the Americas, 3019 Minnehaha Ave., Mpls.; 612.276.0788

The Resource Center presents political films on Friday evenings at 6:30 p.m., followed by discussion.

September 16 Granito de Arena

September 23 Quilombo

October 7 A Very Old Man with Enormous Wings

October 14 Memories of Underdevelopment

October 21 Confessing to Laura

October 28 Selena

November 4 The Last Supper


Edina Library, 5280 Grandview Sq., Edina; 952.847.5425

Oxboro Library, 8801 Portland Ave. S., Bloomington; 952.847.5775

Penn Lake Library, 8800 Penn Ave. S., Bloomington; 952.847.5800

Southdale Library, 7001 York Ave. S., Edina; 952.847.5900

The Suburban Hennepin Libraries host a series of independent film screenings throughout the fall. All screenings begin at 1:00 p.m.

September 17 Herman, USA (Edina)

September 24 Equilibrium (Penn)

October 8 Herman, USA (Penn)

October 8 Napoleon Dynamite (Oxboro)

October 8 Osama (Edina)

October 15 Equilibrium (Oxboro)

October 22 Kandahar (Edina)

October 22 Two Harbors (Penn)

October 22 Best in Show (Southdale)

October 29 Mother Tongue, Fatherland (Southdale)

November 12 Metropolis (Oxboro)

November 19 Pieces of April (Penn)

November 19 Whale Rider (Southdale)


Uptown Theatre, 2906 Hennepin Ave., Mpls.; 612.825.6006

The Uptown continues its midnight movie series on Saturdays.

September 17 Clerks

September 24 A Clockwork Orange

October 1 Cannibal Holocaust

October 8 Top Secret!

October 15 The Muppets Take Manhattan


Riverview Theater, 3800 42nd Ave. S., Mpls.; 612.729.7369 Ongoing

The Riverview screens the 1975 cult classic at midnight on the first and third Saturdays of each month, including September 17.


Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134

Oak Street's series of films by surrealist master Luis Buñuel continues on Sundays through October 30.

September 18 The Adventures of Robinson Crusoe

September 25 Diary of a Chambermaid

October 2 Belle de jour

October 9 The Milky Way

October 16 The Discreet Charm of the Bourgeoisie

October 23 The Phantom of Liberty

October 30 That Obscure Object of Desire


St. Paul Public Library, Arlington Hills Branch, 1105 Greenbrier St., St. Paul; 651.793.3930

St. Paul Public Library, Hamline Midway Branch, 1558 W. Minnehaha Ave., St. Paul; 651.642.0293

St. Paul Public Library, Merriam Park Branch, 1831 Marshall Ave., St. Paul; 651.642.0385

St. Paul Public Library, Rice Street Branch, 1011 Rice St., St. Paul; 651.222.3242

Presented by the Friends of the St. Paul Public Library and the Minnesota Advocates for Human Rights, this series of monthly film screenings explores important issues related to women's rights and human rights. All screenings begin at 7:00 p.m.  

September 22 The Vienna Tribunal (Rice)

October 11 Operation Fine Girl (Merriam)

November 17 ¡Basta! Women Say No to Violence (Arlington)

November 29 Peace by Peace: Women on the Frontlines (Hamline)


The Bell, U of M, University Avenue and 17th Street SE, Mpls.; 612.331.3134 September 23-29

This latest mindblower from the documentary team responsible for Microcosmos and Winged Migration tackles the origins of the universe: how gas, steam, lava, and even raindrops helped create life as we know it. Once again, directors Claude Nuridsany and Marie Perennou took their cameras to the farthest reaches of the earth (Iceland and the Galapagos Islands are both included in the film's bustling itinerary), and came back with footage of such unparalleled beauty that it seems almost otherworldly. A "now-you-see-him, now-you-don't" jellyfish and a puckish mudskipper are probably the star attractions, but I was particularly dazzled by the sight of a lissome snake gulping down a colossal egg, then politely spitting out the shell after digesting his meal.--Milan Paurich


Riverview Theater, 3800 42nd Ave. S., Mpls.; 612.729.7369. September 24

What initially appears as a classist poke at suburban domestic kitsch (Get a load of the tacky vinyl siding on those Long Island ramblers!) is peeled away in this documentary to reveal something infinitely more textured--and humane. And no wonder. Judith Helfand's entree into the topic of "poison plastic" is, well, two-sided: Her own parents are among those North Americans who account for a new vinyl-lined home every three seconds; and her own bout with cervical cancer informs her mission as an activist documentarian specializing in issues of chemical toxicity. Co-directed by Helfand and Daniel Gold, Blue Vinyl follows Helfand as she spans the globe in search of PVC-production horrors, and then as she literally brings it all back home, struggling to convince her obstinate mother and father to replace the vinyl siding on their home with an environmentally sound product as a symbolic gesture. While the merits of making an ultimately upbeat film about a largely unknown global crisis are arguable, the optimism isn't entirely unearned in this case. In the end, the message of Blue Vinyl is that if you can radicalize your parents, then maybe anything is possible. Proceeds from this Saturday morning screening (10:00 a.m.) will benefit the Women's Cancer Resource Center. --Rob Nelson


Heights Theater, 3951 Central Ave. NE, Columbia Heights; 763.788.9079 September 25

The Heights (est. 1926) celebrates its 75th anniversary of sound-film projection with a pair of rare screening programs: a restored print of the 1930 Technicolor musical Follow Thru (8:00 p.m.), starring Charles "Buddy" Rogers; and Best of the Best (1:00 and 4:30 p.m.), a collection of a dozen short "talkies" from the late '20s and early '30s. Proceeds will benefit the restoration of Vitaphone shorts by the UCLA Film and Television Archive.


Bryant-Lake Bowl, 810 W. Lake St., Mpls.; 612.825.3737

The Twin Cities Black Film Festival continues its monthly screening series at the BLB. Films begin at 7:00 p.m. on the fourth Tuesday of each month.

September 27 Imitation of Life (1959)

October 25 Carmen Jones

November 22 The Mack

December 27 The Wiz


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006 Opens September 30

With its ashen faces and ravaged Ukrainian vistas, this unabashedly off-kilter adaptation of the Jonathan Safron Foer novel doesn't often aspire to prettiness. Yet writer-director Liev Schreiber seems to regard every inch of this mean terrain with reverence--just as the film's obsessive protagonist, named after the author, finds illumination in the most mundane of artifacts. Armed only with a single enigmatic photograph and a piece of amber found at his grandfather's deathbed, Foer (Elijah Wood) journeys through the Ukrainian countryside in search of the woman who saved his ancestor's life during World War II. While this meticulous family historian seems like a sheltered suit compared with his ebullient translator/tour guide (Eugene Hutz), a "premium dancer" who dresses like an Eastern-bloc Ali G., Wood's subtly shaded performance ensures that the character's phobias and eccentricities are believable. And, albeit small and slow at times, the story, too, feels real: beginning in noisy Odessa, where Ukrainian youth fetishize Western culture, and ending in a place as silent as the past and as weirdly beautiful as an old trinket sealed in plastic. --Diablo Cody


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006 Opens September 30

In his short film "The Architecture of Reassurance," graphic designer-turned-SoCal ethnographer Mike Mills pictured a teen girl's stroll through suburbia as if she were an astronaut touring Mars. In this feature-length follow-up, the director equates growing up with an unpleasant trip to the dentist. An average teenager in Oregon (the source material is set in Stillwater), Justin Cobb (Lou Taylor Pucci) is still suffering from the oral fixation of the title. After the family's new-age dentist (Keanu Reeves) attempts hypnosis with terrifying results, Justin walks innocently into a number of other obvious pitfalls; his parents, carrying their own baggage, offer little help. Mills's hypersensitivity to tone and loving eye for the ordinary create an endearing statement on the normality of fucking up. They can also be a little creepy: The doomed characters reach eagerly for the quick fix while the soundtrack's Polyphonic Spree blares, "You can do it!" like a bullhorn loaded with Prozac. --John Behling



Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622 October 2

This latest film from Palestinian firestarter Hany Abu-Assad (Ford Transit, Rana's Wedding) is a claustrophobic procedural that follows two friends (Kais Nashef, Ali Suliman) who are selected for the dubious honor of becoming suicide bombers. One of them harbors doubts--but cold logic (why give the Israelis an alibi for the occupation?) isn't enough by itself to outweigh longtime fanaticism and a sense of familial obligation. Besides, his chest-strapped bomb is rigged to explode if it's tampered with. What kind of existential dilemma is that? Teetering between suspense and dark comedy (as when one of the men is forced to rerecord his will on video), Paradise Now turns into a bit of a lecture, albeit one uncertain of its own conclusions. Still, few films have explored the Israeli-Palestinian conflict with this degree of specificity. Abu-Assad will be present to introduce the Walker's 3:00 p.m. screening, held in advance of the film's Twin Cities opening on October 28. --Ben Kenigsberg


Minneapolis College of Art and Design, 2501 Stevens Ave. S., Mpls.; 612.874.3700

MCAD's film series explores the connections between commerce and the environment. All screenings begin at 7:00 p.m. and will be followed by panel discussions with eco-design professionals and faculty members.

October 6 The Cost of Cool: Youth, Consumption and the Environment/Escape from Affluenza

November 3 Exporting the Harm/Garbage Barge

December 1 The Environment: A Historical Perspective/Creating a Sustainable Future: Perspectives from Five Minnesota Communities


The Bell, U of M, University Avenue and 17th Street SE, Mpls.; 612.331.3134

Bryant-Lake Bowl, 810 W. Lake St., Mpls.; 612.825.3737

Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134

Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622

Now in its sixth year, this ten-day festival of movies featuring and concerning independent and underground music continues to include a wide variety of films as well as live performances at area clubs. Selected film screenings are listed below; visit www.soundunseen.com for additional show times and more information.

October 7 Born to Boogie (Oak, 8:00 p.m.)

October 8 Fantasia (Walker, noon)

October 8 Put the Needle on the Record (Bell, 7:00 p.m.)

October 8 Be Here to Love Me: A Film About Townes Van Zandt (Oak, 7:30 p.m.)

October 8 Rock and Roll Superhero (Bell, 9:00 p.m.)

October 8 930 F Street (Oak, 9:30 p.m.)

October 9 Ludwig Van (Walker, 3:00 p.m.)

October 9 Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen (Walker, 7:00 p.m.)

October 9 Amazing Grace: Jeff Buckley (Bell, 7:30 p.m.)

October 10 Drive Well, Sleep Carefully: On the Road with Death Cab For Cutie (BLB, 5:00 p.m.)

October 10 Spectrum: Minnesota Soundtracks Vol. 3 (Oak, 5:00 p.m.)

October 10 Favela Rising (Oak, 7:30 p.m.)

October 11 Arvo Pärt: 24 Preludes for a Fugue (Bell, 7:30 p.m.)

October 11 Scene Minneapolis 1977-1986 (Oak, 7:30 p.m.)

October 11 Stranger: Bernie Worrell on Earth (Bell, 9:15 p.m.)

October 12 Looking Glass (Bell, 7:30 p.m.)

October 12 Life in a Box (BLB, 7:30 p.m.)

October 12 Derailroaded: Inside the Mind of Larry "Wild Man" Fischer (Oak, 7:30 p.m.)

October 13 Leadbelly (Oak, 7:15 p.m.)

October 13 Malfunkshun: The Andrew Wood Story (Bell, 7:30 p.m.)

October 14 Amazing Grace: Jeff Buckley (Oak, 8:00 p.m.)

October 14 Punk Rock Holocaust (Oak, midnight)

October 15 Mingus: Charles Mingus 1968 (Oak, 6:00 p.m.)

October 15 La Fabrik-K/The Cuban Hip-Hop Factory (Oak, 7:30 p.m.)

October 16 Shakespeare Was a Big George Jones Fan (or Cowboy Jack Clements' Home Movies) (Oak, 7:30 p.m.)


Dinkytowner Cafe, 412-1/2 14th Ave. SE, Mpls.; 612.362.0437  

"Weird and wonderful movies" are screened on the second Tuesday of each month at 9:00 p.m.

October 11 Gargoyles/Bad Ronald

November 8 Casshern/Immortel: Ad Vitam


Varsity Theater, 1308 4th St. SE, Mpls.; 612.604.0222 October 12

Of this traveling horror-film convention hosted by ultra-prolific schlockmeister Charles Band (Josh Kirby...Time Warrior: Chapter 4, Eggs From 70 Million B.C.), the auteur himself writes: "I am so looking forward to this event!!! We now have many surprise guests confirmed and it looks like we'll have enough original puppets and dolls from my films to auction 4-5 in every city! Also--when you come into the theater you'll take your business card or fill out a card with your info--drop it into a coffin(!) and later we'll have someone from the audience come up on stage and pick out one card: The winner will be in a Full Moon movie AND BE KILLED!!!" (Start time is TBD.)


The Bell, U of M, University Avenue and 17th Street SE, Mpls.; 612.331.3134

Son of a great fiction filmmaker, the silky-smooth Max Ophüls (Letter from an Unknown Woman), Marcel Ophüls makes the world's most demanding and insightful documentaries about the queasy moral questions that lie within world history. This three-film retrospective is especially notable for the presence of The Memory of Justice, Ophüls's 1976 masterpiece about the Nuremburg trials and the nature of "crimes against humanity" in the post-WWII world. Memory was assailed in its day for being unfocused, but the filmmaker's roving style, darting from Dresden to Ho Chi Minh City in a blink of the mind's eye, will seem especially apt to today's hypertext generation. Alongside Memory sits Ophüls's monumental Sorrow and the Pity, a four-hour meditation on the nature of the words collaboration and resistance (and, alas, a punch line in Annie Hall). A Marcel Ophüls film frustrates your certainties, requests a rigorous reexamination of the point it just made, and never lands in a place where it can feel secure. In other words, a Marcel Ophüls film has never been more essential than now. (Note: All screenings begin at noon.)--Matthew Wilder

October 15-16 The Sorrow and the Pity

October 22-23 The Memory of Justice

October 29-30 The Troubles We've Seen: A History of Journalism in Wartime


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006. Opens October 14

Following his criminally underrated Confessions of a Dangerous Mind, this is the second movie by small-screen hunk-turned-lefty auteur George Clooney--and his second on the subject of TV's power to cause tremors not only in viewers' hearts, but in their heads as well. Whatever self-flattery may be inherent in that enterprise is made irrelevant here by the depth of Clooney's research into a pinnacle moment in the history of American journalism. There has probably never been a bad time to make a studio movie about the threat that corporations pose to free speech, but it's hard to imagine a better time than now for Good Night, and Good Luck., Clooney's hard-hitting black-and-white portrait of CBS newscaster Edward R. Murrow and his on-air battles with Joseph McCarthy, the "junior senator from Wisconsin" who made a career of communist witch-hunting in the mid-1950s. (The movie completed production not long before the Times broke the story that the Corporation for Public Broadcasting had hired a researcher to investigate the "political leanings" of commentators such as PBS's own Bill Moyers.) Actor David Straithairn channels the chain-smoking Murrow right down to the dead-serious stare that separated the news anchor from any who followed him. But the movie benefits just as much from Clooney's decision to let McCarthy play himself in archival footage--a decision that mirrors Murrow's own brilliant choice to allow the yammering McCarthy to hang himself onscreen. (Besides, the real McCarthy was too uniquely scary for anyone to play as well as the man played himself.) No mere "liberal feel-good movie," as another McCarthy has suggested, Good Night reveals Murrow's ultimate victory in the court of public opinion as the beginning of the end of TV's ability to speak truth to power: As the network, the government, and the sponsors close in on Murrow, forcing him to run celebrity puff pieces in place of investigative journalism (plus ça change...), Clooney's inclusion of vintage cigarette ads doesn't lighten the tension so much as show that the smokes killed Murrow in more ways than one. With each of the inimitable sign-offs that give the movie its title, we have the increasing sense that the broadcaster will need his own good luck as much as anyone. Straithairn will appear in person at Walker Art Center to introduce a screening on October 7 (7:30 p.m.), held a week in advance of the film's opening at Lagoon Cinema. --Rob Nelson



Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622 October 16-23

This staggering documentary is essential viewing on the survival of two ruthlessly fit species: the Nile perch, which quickly annihilated almost all other fish life in Tanzania's Lake Victoria after its artificial introduction in the '60s, and the omnivorous beast known as winner-take-all global capitalism. Cargo planes descend on the region with weaponry--apparently to restock nearby civil wars--and leave for Europe with loads of Nile perch while the AIDS-wracked local population hovers on the brink of starvation. Hubert Sauper's stoically despondent film leaves little doubt that globalization's losers are slaves by any other name. --Jessica Winter


Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134 October 21--November 3

Former Dogme disciple Thomas Vinterberg (The Celebration) dutifully delivers screenwriter Lars von Trier's latest "anti-American" message--a love letter from a good ol' boy to his gun. Wendy, as she's known, is a pistol shapely enough to seduce even the pacifist Dick (Billy Elliot's Jamie Bell), who forms a teenage gun club called the Dandies in his brutal mining town of Estherslope. Here the youth of America think justice comes from the barrel of a gun that never leaves its holster. Or so it seems until Dick and his Dandies decide to help a desperate fugitive--the violent African American maid Miss Clarabelle (Novella Nelson)--procure her all-important morning coffee. The apparent logic: Why should a black housekeeper--even one with an itchy trigger finger--be denied a good cup o' joe? Like von Trier's Dogville, Dear Wendy is an allegory of aptly absurdist proportions. Put it this way: If the Wild Bunch denouement doesn't pump your 12-gauge, I don't know Dick.--Rob Nelson

One Bright Shining Moment: The Forgotten Summer of George McGovern

The Bell, U of M, University Avenue and 17th Street SE, Mpls.; 612.331.3134 October 21-November 3

George McGovern was a prairie populist who followed in the footsteps of Jack and Bobby Kennedy to emerge as the 1972 democratic candidate for the presidency of the United States. This new documentary from Stephen Vittoria begins with the premise of how different the United States would be today had McGovern actually defeated Richard Nixon; then it follows the career of the former South Dakota senator from his childhood during the Depression to his service in World War II and his leadership of the international Food for Peace program during the Kennedy administration. Vittoria weaves current footage of the reflective McGovern--who remains as committed to the good fight as ever--together with compelling comments from Dick Gregory, Gloria Steinem, Warren Beatty, Gary Hart, Gore Vidal, members of McGovern's campaign staff, historian Howard Zinn, and many others who witnessed McGovern's campaign of hope during the increasingly unpopular Vietnam War and the corrupt Nixon administration. Narrated by Democracy Now! host Amy Goodman, the film is an elegant homage to a man who once urged America to "come home" to its core values, but it also illuminates much of the political landscape of the '60s and early '70s--as well as today. (History, indeed, repeats itself.) From a Minnesotan perspective, the doc explores Hubert Humphrey's less than honorable attempts to wrest the nomination away from his former protégé, and suggests the many ways in which Paul Wellstone must have been influenced by McGovern-style liberalism. McGovern himself will be present at the Bell to introduce both screenings on opening night of a two-week run. --Caroline Palmer


Excelsior Dock Theater, 26 Water St., Excelsior; 952.474.6725 October 21-27

Now in its fifth year, this weeklong festival continues to earn its acronym by screening Strictly Midwestern Movies and Short Hits. Visit reelcinema.net/smmash/ for more information.


Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622

The Walker re-screens all five installments of Matthew Barney's epic experimental-film series.

October 28 Cremaster 1 (7:00 p.m.)

October 29 Cremaster 2 (3:00 p.m.)

October 29 Cremaster 3 (7:00 p.m.)

October 30 Cremaster 4 (2:00 p.m.)

October 30 Cremaster 5 (4:00 p.m.)

The Squid and the Whale

Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006 Opens October 28

Ten years after Kicking and Screaming evoked the terrible drag that often lies between college and the "real world," writer-director Noah Baumbach has made another semiautobiographical, French New Wave-style comedy-drama. This one reaches further back--to a mid-'80s adolescence in Park Slope, Brooklyn--but its insights are even sharper. The subject of the film is how it feels to come of age in a hyperintellectual family whose culture of intense competition has both nurtured its members and pulled them apart. (The director's parents are Georgia Brown--the most underrated of great American film critics--and novelist Jonathan Baumbach.) Walt (Jesse Eisenberg), 16 going on 40, strains to emulate his smug, misanthropic professor dad (Jeff Daniels): When a high school crush dares to tell Walt her favorite book, he casually berates it as "minor Fitzgerald." (A shrink would say young Walt "identifies with the aggressor" so as to avoid feeling that he's the victim.) Twelve-year-old Frank (Owen Kline) is keenly observant, like his mom (Laura Linney), and more fragile than his brother. Yet both siblings talk like critics, not kids--at one point even reviewing their parents' relative gifts as writers and as people. (For Baumbach, Mom is the squid of the title and Dad is the whale.) Guiding all four actors to deliver performances of rare detail and authenticity, Baumbach conveys the raw bewilderment of childhood amidst divorce with the psychological acuity of an adult's wounded retrospection. Virtually everything about The Squid and the Whale seems real--no doubt because it has been so vividly remembered. (Baumbach used his parents' own books to decorate the main set: an old brownstone apartment whose cluttered interior suggests an unattended library--as well as the family's emotional state.) At once wistful and bitter, funny and tragic, The Squid and the Whale dives deep into the mixed blessing of precocious intellect and the unavoidable condition of being our parents' children. It is surely one of the best American films of the year. --Rob Nelson



Oak Street Cinema, 309 Oak St., Mpls.; 612.331.3134 October 31--November 1

This 12-hour Halloween horror-film screening marathon (Monday at 10:00 p.m. to Tuesday at 10:00 a.m.) includes Slumber Party Massacre and other terrifying titles TBD.


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006 November 4-10

The CP-sponsored festival of cutting-edge nonfiction celebrates its fifth year (and its first at Lagoon) with a mix of docs both new and old. More than a dozen Twin Cities premieres will be joined by rare big-screen revivals of documentary classics. Check www.citypages.com/getreal in October for a complete list of films, visiting directors, and show times.


area theaters; opens November 4

Ads for Stanley Kubrick's Full Metal Jacket featured the chilling tag line, "In Vietnam the Wind Doesn't Blow--It Sucks." Why chilling? Because you can't quite tell whether the author--like the auteur--is being slyly sarcastic or dead serious. The tag for this big-budget Gulf War feature from director Sam Mendes (American Beauty, Road to Perdition) is "Welcome to the Suck"--and there you have the difference between Kubrick's 1987 and Mendes's 2005. Here, Jake Gyllenhaal ships out to the Persian Gulf and encounters the tragicomic absurdity of life in battle. (As the Platoon poster put it, "The first casualty of war is innocence.") Jamie Foxx and Peter Sarsgaard bring up the rear as Mendes looks ready to complete his trilogy of Mike Nichols impersonations. --Matthew Wilder


Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622

The Walker's monthlong tribute to the genre-hopping producer-director team of Ang Lee and James Schamus will culminate in the Minnesota premiere of their latest work, Brokeback Mountain, and a dialogue with the visiting filmmakers on December 13 (8:00 p.m.).

November 11 Pushing Hands (7:30 p.m.)/The Wedding Banquet (9:30 p.m.)

November 13 Eat Drink Man Woman (3:00 p.m.)

November 20 Sense and Sensibility (3:00 p.m.)

November 26 Crouching Tiger, Hidden Dragon (7:30 p.m.)/The Hulk (9:45 p.m.)

November 27 The Ice Storm (2:00 p.m.)

November 30 Ride With the Devil (7:30 p.m.)

December 11 Brokeback Mountain (7:30 p.m.)


Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622

Comprising three film/video screening programs, this tribute to Jerome Hill includes two collections of short works by artists who have received support from the filmmaker/philanthropist, as well as the 1971 Film Portrait, Hill's autobiographical work about his life.

November 16 Challenging Perceptions (7:30 p.m.)

November 17 Crossing Genres (7:30 p.m.)

November 18 Film Portrait (6:30 p.m.)


area theaters; opens November 18

If The Texas Chain Saw Massacre went 30 years without a buzz-worthy heir (never mind the remake), it's only because the world hadn't yet produced a work of horror as bleak and ferocious as 1974. Not to suggest that we should want a real nightmare to get a scarier movie--but if you've got the former already, you might as well have the latter as well. Basing his own screenplay on a notorious true-crime case, director Greg Mclean plops an attractive trio of twentysomething hikers--two girls (Cassandra Magrath, Kestie Morassi) and a guy (Nathan Phillips)--in the middle of the Australian outback, drains their car battery at dusk, and sends an unkempt, abrasively gregarious, and volatile mechanic (John Jarratt) down a dark path to "help." Notice I've made Mclean the subject of the previous sentence--in order to emphasize that Wolf Creek is one of those horror movies in which you're never sure who's the bigger sadist, the killer or the director. In this case, both men ply their trades with ingenuity and flair. You do prefer your sadists to work ingeniously, right? --Rob Nelson



Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7622 November 19

In conjunction with its series Jerome Hill Centennial: A Filmmaker and His Legacy (see above), the Walker screens two features by director Todd Haynes, who'll appear in person for a discussion between the two films, Far From Heaven (7:00 p.m.) and Poison (10:00 p.m.).

Sponsor Content


All-access pass to the top stories, events and offers around town.

  • Top Stories


All-access pass to top stories, events and offers around town.

Sign Up >

No Thanks!

Remind Me Later >