There’s just no way around the fact that we’ve officially arrived at the “Dog Days of Summer,” where we’re getting movies dumped into theaters with very little promotion, just hoping for the best as they take on the inevitable FOURTH weekend of Spider-Man: Brand New Day being #1. There are a few movies with decent potential, and at least one wide release that I really liked, but there are also two decent smaller films expanding wider, so read on and learn more.
The bigger of the two new releases is going to be Sony’s horror sequel INSIDIOUS: OUT OF THE FURTHER, hitting 3,100 theaters on Friday, give or take. It’s the sixth installment of a horror franchise that began all the way back in 2010 with the first Insidious, created by Saw co-creators James Wan and Leigh Whannell with a world premire at the Toronto International Film Festival. It was released in April 2011 by Film District (remember them?), opening with $13.3 million and ended up just under $100 million worldwide.
Written and directed by Jacob Chase (Come Play), the latest movie stars Amelia Eve as Gemma, a young mother who discovers that she can bring demons and lost souls from “out of the Further” into the real world, which is not something most people would want to be good at. Linn Shaye is the last of the original cast to return, once again playing paranormal investigator Elise Rainier, but original producers Jason Blum, Wan and Whannell are all still involved.
Other than that very first movie, all previous installments have opened over $22 million with Insidious Chapter 2 having the biggest opening with $40.3 million, opening just a few months after James Wan launched his other successful horror franchise, The Conjuring, in 2013. Insidious: Chapter 3, Whannell’s directorial debut opened significantly lower with $22.7 million in 2015, that installment released by Focus Features. 2018’s Insidious: The Last Key, released by Universal, opened with $29.6 million but only made $67.7 million domestic. That one also focused on Linn Shaye with her assistants also appearing, played by Whanell and Angus Sampson. The previous installment to this one, 2023’s Insidious: The Red Door was directed by original star Patrick Wilson, and it offered the franchise’s second-biggest opening with $33 million on its way to $82.1 million domestic, the second highest grossing movie behind 2013’s Insidious Chapter 2 by just over a million. That also had the lowest CinemaScore with a “C+,” even worse than The Last Key’s “B-,” which may be showing the franchise to have diminishing returns among audiences.
2026 has been a year where horror has been all over the map, with enormous hits like Backrooms and Obsession, but also, a lot of diehard franchises like Evil Dead Burn and Lee Cronin’s The Mummy not doing nearly as well. Insidious: Into the Further should be able to avoid some of the problems being such a reliable franchise, similar to The Conjuring movies and spin-offs. Even so, I feel like I didn’t even realize this movie was coming out this week until very recently. As of this writing, reviews are generally positive with it being at 63% on Rotten Tomatoes, significantly better than the last two installments.
Because of that, I’m expecting the latest Insidious movie to open somewhere just over the $20 million mark, although maybe it won’t open as high as previous installments. Being the sixth movie in the series, it may have run its course, especially without having many of the key characters returning, other than Shaye.
I have to be honest that I was fairly skeptical of there even being a sixth Insidious movie, having been a fan of the franchise since I saw the very first movie during “Midnight Madness” at TIFF and immediately
on board with its twist on the Poltergeist movies I loved so much. On paper, Out of the Further was a little worrying, since it was essentially starting from scratch with new characters. The last time they tried that was Insidious Chapter 3, Leigh Whannell’s directorial debut, and I don’t remember it working out that well. I also don’t remember much about the Patrick Wilson-directed Insidious: The Red Door from a few years back, although it felt like it finally put to bed the stories begun in the first movie. (The Last Key was the only installment I just didn’t like at all.)
Out of the Further introduces us to Gemma Hall (Amelia Eve), who watched her mother kill herself when she was a young girl. Twenty years later, Gemma is still living in the same house with her own daughter Maya (Island Austin) but strange things start occurring, including the appearance of three elderly people, who we’ll later learn are Acolytes trying to bring demons out from the Further using Gemma. Helping Gemma navigate all these supernatural goings on are her police officer boyfriend Nick (Brandon Perea) and Maisie Richardson-Sellers’s Clare, a tattoo artist/medium, who Gemma turns to. I had forgotten that Lynn Shaye’s Elise Rainier died in an earlier installment, but she’s used in an interesting way, almost as a guide through the Further for Gemma, as channeled by Clare.
One thing that really stands out with this movie is that it really doesn’t require having to watch any of the previous five movies to understand what is happening, because it very much acts as a stand-alone entry. I’m not sure if I’ve seen Jacob Chase’s earlier film Come Play, but to be given the keys to the kingdom, being allowed to both write and direct the latest Insidious, is akin to what’s been happening with other horror franchises like Evil Dead, and it really pays off here. Although the Poltergeist influence is still there, Out of the Further goes deeper into something that’s more of a cross between Nightmare on Elm Street and Hellraiser movies. The main villain this time is a cult leader named Cyrus who is trying to use Gemma to get back to the real world along with any other demons he can bring with him.
Early on in the sixth Insidious, it offers two absolutely horrifying back-to-back sequences, one involving a “pillow fort,” the other involving one of those Acolytes in Gemma’s dental hygienist chair, a sequence that’s just as nerve-wracking from a dental standpoint as when horror is brought into the mix. By the end of the movie and the somewhat convoluted plan to end Cyrus’ incursion, Gemma, Maya and Elise are absolutely surrounded with all sorts of demons. It’s an absolute joy to watch all these different actors covered in prosthetics really getting into these roles.
Insidious: Out of the Further is a surprisingly effective installment of the horror franchise that has somehow been able to survive and revive itself with new characters who really work their way into the viewers’ hearts, leading to quite an emotional ending. Hiring Chase may have been one of the best decisions made for this franchise.
Rating: 7.5/10
On top of that, Jason Statham is back with his latest action movie, MUTINY (Lionsgate), this one teaming him with Annabelle Wallis (Malignant, Annabelle, ironically) and Jean-François Richet, the French director behind 2023’s Plane, for a violent R-rated action movie, which mostly takes place on a cargo ship. Statham plays Cole Reed, the bodyguard of a Southeast Asian businessman who is ready to sell his shipping business when he’s killed during a shady police checkpoint. Cole is framed for his boss’ death, so he sneaks onto the cargo ship Artemis, unaware it’s being used by a human trafficking ring, filled with armed militia men there to protect their investment.
Mutiny is Statham’s second movie this year after Shelter back in January, and it teams him with the French filmmaker behind the Gerard Butler action movie Plane, though I personally was a bigger fan of his earlier two-part crime-drama biopic, Mesrine, starring Vincent Cassell. Ironically, Shelter teamed Statham with Ric Roman Waugh, who is best known for his many movies collaborating with Gerard Butler, so it was a real switcheroo. Before that, Statham made two movies with director David Ayer (Suicide Squad), both for MGM with The Beekeeper in January 2024 opening slightly higher with $16.6 million to 2025’s A Working Man (written by Sylvester Stallone!), which opened with $15.5 million. The former had much better legs, which is why they’ve been developing a sequel. Statham got to that point from appearing in a number of big budget franchises like The Meg and its sequel, but moreso when he was cast as Deckard Shaw in Furious 7 and eventually teamed with Dwayne Johnson for 2019’s Fast & Furious Presents: Hobbs & Shaw, which made $760.7 million globally and was supposed to lead to a sequel. Statham is probably one of the top three action stars working these days, which is why he keeps being put into movies like Mutiny.
For this one, Statham is paired with Annabelle Wallis, who has appeared in a few horror movies and in the recent Timur Bekmambetov action movie, Mercy. It doesn’t feel like the movie is being marketed so much based on her involvement, even though her character is important to the story. Reviews so far have been fairly bad with it currently at 40% on Rotten Tomatoes, so that might convince some Statham fans to Statham home. (Ha ha ha).
Although Statham has been in a bunch of movies opening in the $15 million range, I’m just not sure if this movie has that kind of draw, and the mid-August release is just not conducive to it opening big, especially with so many stronger movies in theaters. Shelter only opened with $5.5 million but that was Black Bear Pictures, a fairly new distributor compared to Lionsgate, who should be able to get this one closer to $10 million, even though I’m going with around $8 million vs. higher than that. (Note that the news of the movie leaking and being pirated occurred so recently, I really couldn’t include that in my analysis for the movie’s box office chances.)
When going into Mutiny, the first thing you have to get right out of your mind is the idea that it was probably pitched as another “Die Hard on a boat” (the poster is literally ripped off from Die Hard), although one would think that might be a harder sell now than it would have been thirty years ago. For Jason Statham, it’s another chance to show up, kick some ass, then move onto his next project, which is pretty much what he does as Cole Reed, former police officer who has taken a job as a bodyguard to Tibu, a wealthy Indian shipping magnate who has left the business to his son. One night, Cole is just doing his job when he and his boss are attacked by a combination of police and armed militia, and he has to go into hiding since he’s been framed for the murder.
We then meet Annabelle Wallis’ Angie Ellis, a single mother who has been called to fill in for a missing third mate on the same shipping boat , but when she shows up, the ship’s Captain Marko Madsen (Roland Møller) does not seem happy to see her, and it’s probably more than a little case of outright sexism. While hiding out in the hold, Cole discovers a dozen Thai migrants locked inside a shipping container, but his attempts to free them are thwarted by a number of armed men in collusion with the captain to smuggle them into sex trafficking.
It isn’t fully clear until nearer to the end why there’s this whole human trafficking subplot amidst Cole’s search for revenge. It’s also not clear why Cole stows away on the Artemis after being framed for the murder of his boss. Is he just trying to escape, or is this part of his ulterior motive for getting revenge? The human trafficking thing doesn’t even work since it’s basically a dozen Thai migrants, mainly women and children, which seems like such a small operation that it doesn’t seem plausible it would require over a dozen heavily-armed men.
Mutiny is a perfectly fine-looking movie, but it still seems to be following a certain very specific formula, and even the violent action sequences, really the highlight of any Jason Statham movie, seem somewhat forced by trying to be gorier than necessary. There’s nothing that isn’t entirely predictable about how things will fall into place, even with the overall story making little sense.
In other words, if you just want to see Jason Statham beat the crap out of baddies in violent ways, then Mutiny delivers that in spades, but if you want anything with any more weight or even a coherent story, then this is not his best effort.
Rating: 6/10
Vertical will be releasing THE MAGIC FARAWAY TREE, a movie based on the four popular novels by Enid Blyton, published between 1939 and 1951, nationwide this weekend into 1,200 theaters or so. I personally had never heard of them or read them, because I’m not THAT old, but presumably, they’ve remained in print over the years. This film, directed by British television director Ben Gregor, follows a family of five, led by Andrew Garfield and Claire Foy, as they move out to the country to run a farm. Their youngest daughter Fran (Billie Gadsdon) discovers a magical tree full of eccentric characters and wonderful places, and she eventually gets her older brother Joe and cynical teen sister Beth to join her on adventures.
Having not read the original books, I wasn’t thinking this might be my kind of thing, basically a fantasy movie for kids. I was mostly right, but good fantasy and good family movies offer something for even those who haven’t read the books, which is why The Magic Faraway Tree works far better than other recent efforts like Harold and the Purple Crayon, as just one example.
We meet Garfield’s Tim Thompson and his wife Polly, as they’re suffering from money issues which forces them out to the country home where Tim used to live. With no television and barely any electricity, the Thompson kids need to find something to keep themselves entertained and that falls to the non-talkative Fran, who goes exploring and comes across the chatty fairy Silky (Nicola Coughlan) and her friends, Nonso Anozie’s Mr. Moonface, Dustin Demri-Burns’ “Saucepan Man,” and an angry pixie, played by Hiran Abeysekera. They live in the film’s titular tree that has pathways to all sorts of magical lands, which usually involve climbing up a never ending ladder to get to each one.
The Magic Faraway Tree is very British, probably why I enjoyed it, though I imagine that might make it a tougher sell to American audiences i.e. parents. And yet, it’s generally on par with Terry Gilliam’s more fantastical films like Baron Munchausen and Time Bandits with so many zany characters and fun, colorful sequences that belay any perceived “British-ness.” Jennifer Saunders plays Polly’s mother, who is disapproving of her daughter and grandkids’ new lifestyle, and it was equally wonderful to see Monty Python alum Michael Palin, though he only appears for one scene. Rebecca Ferguson shows up as Mrs. Snap, a movie that allows her to do a little singing, and even though Garfield also gets to sing an original song, this is still not a musical. Maybe some of these characters would have had more importance if I was familiar with the books, but I do love how they’re introduced and how they just don’t care about anything besides just being themselves.
Even without knowing the source material, this is a movie that I can highly recommend to parents with young daughters, since The Magic Faraway Tree is just a joyous and delightful fantasy film with nothing too scary for the youngest of kids.
Rating: 7.5/10
Unfortunately, it does not look like Black Bear wants critics (or anyone) to see its new R-rated comedy SPA WEEKEND, but that’s not really a problem since most regular audiences don’t seem to care much for most of Black Bear’s output anyway, so what’s another bomb for this distributor that seems to be flailing? Written and directed by Jon Lucas and Scott Moore, the duo who wrote The Hangover and then wrote and directed Bad Moms and Bad Moms Christmas, this is a comedy in the vein of Girls Trip or Joy Ride that has three friends planning a spa weekend when they’re joined by their trainwreck of a friend. It stars Leslie Mann, Isla Fisher, Michelle Buteau, and Anna Faris, all very funny ladies, so maybe Black Bear thinks that the trailer and title will be enough to sell it for a nationwide release. I just watched it, mainly cause I wanted to figure out which of the friends was the trainwreck, since most of them have played said role before. (Spoiler: It’s Fisher.) The trailer looks funny enough, though I’m not quite sure whether Black Bear can get this into more 2,000 theaters, which is really what it would need to have any sort of impact. Also, if the movie was any good, they would have run it at as a Monday Mystery Movie. Either way, the premise alone could net it somewhere in the $3 to $4 million range.
Lastly, Focus Features is releasing the sci-fi thriller HOT SPOT moderately into 400 theaters. Directed by Agnieszka Smoczynska (The Lure), it stars Andrzej Konopka as a detective investigating a murder in a future world of sentient A.I., also starring Noomi Rapace, and yeah, if it sounds just a little bit too much like Blade Runner, then you probably nailed it. I’ve only seen about 20 minutes of this movie, and that was more than enough for me. It’s another one of Focus’ attempts to make headway into the international film market, but it’s unlikely to do much better than its previous attempts. This will end up outside the top 10 with half a million or even less.
Two movies that I liked (and reviewed) are planned on getting a wider expansion this weekend after a platform release on August 7, and so far, it feels like A24’s TONY, starring Dominic Sessa, will come out on top with its nationwide release, probably in more than 1,000 theaters. I also liked Jane Schuenbrum’s TEENAGE SEX AND DEATH AT CAMP MIASMA, starring Hannah Einbinder and Gillian Anderson, which Mubi is supposed to expand wider this weekend, although this is only expanding into ~500 theaters, which means it might have a tougher time getting into the top 10 with roughly $1.5 million.
BOX OFFICE PREDICTIONS 08/21/2026
Box Office Data Provided by The-Numbers.com
1. Spider-Man: Brand New Day (Sony) - $37.4 million -47%
2. Insidious: Out of the Further (Sony) - $22 million N/A
3. The Odyssey (Universal) - $15.4 million -35%
4. PAW Patrol - The Dino Movie (Paramount) - $12 million -42%
5. The End of Oak Street (Warner Bros) - $10 million -52%
6. Mutiny (Lionsgate) - $8.4 million N/A
7. Tony (A24) - $4.4 million
8. Spa Weekend (Black Bear) - $3.8 million N/A
9. The Magic Faraway Tree (Vertical) - $3.1 million N/A
10. Toy Story 5 (Disney/Pixar) - $1.6 million -40%
– Hot Spot (Focus Features) - $500k N/A
Opening in New York and L.A. this weekend is Alex Ullom’s IT ENDS (Neon), a high-concept thriller I mostly saw at Film at Lincoln Center’s “Scary Movie XIII” last year – subway delays caused me to miss the first half hour – but I did get to watch the whole thing recently, and that was a far more satisfying experience. It follows four long-time friends who are merely travelling to a restaurant for dinner when they end up on a long road through the woods. When they try to stop the car, they’re assailed by a mob of people, forcing them to continue driving, seemingly forever, as this road (despite the film’s title) does not seem to have an end, and they’re never getting tired or hungry, even as this journey seems to go along for days and weeks and longer.
The long-term relationship between these four friends is what keeps things interesting with the quiet and stoic James (Phinehas Yoon) countered by the more boisterous Tyler (Mitchell Cole), who has a background in the military. The one woman is Akira Jackson’s Day, with Noah Toth’s Fisher being the nerdier prankster of the group. It does take a little time to get used to the characters and their dynamics, which may be why I was able to enjoy the film more once I actually watched the first 20 to 30 minutes.
As things progress over the film’s short run time, we learn more about their relationship and personalities.
Ullom is quite a capable filmmaker, able to keep things interesting even with the film’s high concept premise that mostly focuses on four characters in a Jeep for 90 minutes. In some ways, It Ends is very much in the vein of the recent Neon release Exit 8, but it also reminded me of other recent horror movies like The Long Walk and Passenger. As with The Long Walk, when the movie shares the mileage the car has travelled, it causes the viewer to become more slack-jawed.
If any of those movies mentioned above are to your liking, then It Ends is worth sticking with, as it goes into unexpected directions, mostly in terms of the character dynamics while dealing with this sort of situation. It will be interesting to see where Ullom goes next after this.
Rating: 7.5/10
Emmanuel Courcol’s French family dramedy THE MARCHING BAND (Greenwich Entertainment) is finally being released after having premiered at Cannes over two years ago without ever having had much of a festival run. It’s opening at least in New York at the Agelika (along with a few other movies), though it will expand to other cities, including L.A., starting August 28. It follows a world-famous conductor who discovers that he has a brother, whom he never knew about, who works in a school cafeteria and plays trombone in a local marching band. Not sure if I’ve seen any of Courcol’s other movies, but this is one of the movies I do hope to get to eventually, and if I do, I’ll write about it on my Letterboxd.
Franz Kafka is the subject of the biopic FRANZ (Cohen Media Group) from Polish filmmaker Agnieszka Holland (Green Border), not to be confused with the other Polish filmmaker with a similar name mentioned above. Opening in select cities on Friday, it stars Idan Weiss as the older Kafka with Peter Kurth playing his father, Hermann. In New York, it’s opening at the Quad Cinema and uptown at Film at Lincoln Center.
Dark Sky Films is releasing Emily Bennett and Justin Brooks’ cult thriller BLOOD SHINE (Dark Sky Films), in select theaters, specifically the Cinema Village in New York, beginning Friday, as well as on digital platforms. Also opening at the Cinema Village is Chris Zuhdi’s neo-noir conspiracy thriller NINE BLACK CATS (Skytrain Films), which stars Hannah Brantley and MC Dillon as a waitress and a police officer who are investigating a nightclub murder that involves a glowing blue powder. Blood Shine, which I reviewed heren, stars Bennett as Clara, a woman living at a remote cabin in upstate New York, who has an encounter with a horror filmmaker, which leaves him chained up in the attic of her house.
Other movies out this weekend…
TO USE A MOUNTAIN
NEVER STOP CHASING
LEARNING TO FLY (Unreasonable Studios/ Wild State)
HOW TO DIVORCE DURING WAR (Zeitgeist Films/Kino Lorber)
THE REPERTORY ROUNDUP
One thing of note on the repertory side is that the original The Fast and Furious will be getting a 25th-anniversary rerelease in theaters across the country beginning on Friday.
Over at the FILM FORUM in New York’s West Village, the popular arthouse is beginning a three-week “Coppola” retrospective, focusing on the filmography of Oscar winner Francis Ford Coppola, who has had a bit of a spotty career over the past decade or so, his last movie Megalopolis finally being released after decades of trying to get it made. Coppola’s entire filmography will be shown in a combination of 35mm prints and DCPs, including many rarities including his early horror film, Dementia 13 in a Director’s Cut. John Schlesinger’s Billy Liar and Stanley Kwan’s Center Stage will continue at least through Thursday, and then next Tuesday’s “NYC In Transit” offering is Tracking Shots: Films from the New York Transit Museum Archives, a series of shorts about the NYC transit system.
Over near me at the METROGRAPH, we’re getting close to the end of the July/August series with the last new series, “The Most Taboo of Red Meats,” based around the Eckhart Schmidt’s 1972 cannibalism thriller, Der Fan, which actually won’t screen this weekend. But Julia Ducornau’s Raw (2016) will screen late night on Friday, as will Nobuhiko Ôbayashi’s House (1977), and then Jack Hill’s Spider Baby (1967) will screen late night on Saturday, with Marina de Van’s In My Skin (2002) screening on Sunday night. I have a feeling this series will not be for the faint of heart or weak of stomach.
“Going Up The Country” screens 1987’s Withnail and I on Friday and Sunday, as well as Satyajit Ray’s 1970 film, Days and Nights in the Forest (1970) on Saturday. Andrei Tarkovsky’s 1972 sci-fi film Solaris will screen Thursday afternoon as part of “New Museum Presents: New Humans,” and if you didn’t have a chance to see the 1967 Disney animated classic The Jungle Book last Sunday, you’ll have another chance this Sunday AND you can also see Steven Spielberg’s E.T. the Extra-Terrestrial on Sunday morning, too.
“In Her Shadow” will screen Amenabar’s The Others (2001), starring Nicole Kidman, one more time on Friday afternoon (I’ll be there!) as well as Robert Zemeckis’ What Lies Beneath (2000), starring Harrison Ford and Michelle Pfeiffer on Friday and Saturday. The 2014 anime When Marnie Was There from Hiromasa Yonebayashi screens on Saturday and Sunday. On Sunday, you can see a more recent movie with Céline Sciamma’s 2021 film Petite Maman.
“Like the Wind: Lensed by Christopher Doyle” mostly with repeat showings of movies that have already screened over the past few weeks. Same goes for “This Night Has Opened My Eyes,” though if you have never seen the Martin Scorsese-directed comedy After Hours from 1985, you can see that on Sunday. That’s one of my favorite movies.
“Gary Oldman: The Protean Man” has a few new offerings this weekend in Christopher Nolan’s The Dark Knight (2008), Tony Scott’s True Romance (1993), and Francis Ford Coppola’s Bram Stoker’s Dracula (1992), all starring Oldman in a variety of roles.
IFC CENTER is down to its final screenings of Michael Mann’s Manhunter: The Final Cut this weekend, just on Friday and Saturday near midnight, but Greg Araki’s Mysterious Skin and the Korean zombie film Train to Busan will continue to play in their respective anniversary rereleases. This weekend’s Friday and Saturday “midnight movies” are Battle Royale, the horror film Jawbreaker, Martin Scorsese’s The Departed, and The Panic in Needle Park.
PARIS CINEMA is beginning its own “Big & Loud!” series with 70mm screenings and movies that take advantage of the theater’s Dolby Atmos configuration. It begins on Friday with screenings of Back to the Future, the Wachowskis’ Speed Racer, the original 1961 West Side Story in 70mm, and David Fincher’s Fight Club. On Saturday, they’re screening the 1951 animated Alice in Wonderland, Lawrence of Arabia, James Cameron’s Aliens, and Ridley Scott’s Blade Runner: The Final Cut. Sunday is Barbie, as well as Aliens again, the 70mm standby 2001: A Space Odyssey, and Fincher’s Panic Room. More stuff on MOnday including Fight Club (again), Die Hard, Michael Mann’s Manhunter: The Final Cut, and George MIller’s Mad Max: Fury Road. A few repeats on Tuesday, as well as Damien Chazelle’s Babylon, and then more repeats on Wednesday with the addition of Charlize Theron in Atomic Blonde. Thursday is Die Hard, Michael Mann’s Heat, and a 70mm screening of PT Anderson’s Boogie Nights.
The “See It Big: 70mm” series also continues at MUSEUM OF MOVING IMAGE will screen Laurence of Arabia on Friday and Sunday and Kenneth Branagh’s Hamlet (which I walked out of when it played at Lincoln Center) on Saturday afternoon.
Over in Brooklyn, the NITEHAWK CINEMA’s “The Class of ‘96” has two sold-out screenings of Steve Buscemi’s Trees Lounge with Buscemi there in person for QnAs. Interestingly, “Trees Lounge” is also the name of the bar at PROSPECT PARK. Over the weekend, you can see the Coens’ classic Fargo on Saturday and Sunday at noon, and then on Monday, Miss Malice’s presentation of the Wachowskis’ Bound is already sold out, as is the Tuesday screening of David Cronenberg’s Crash. WILLIAMSBURG is showing the animated The Hunchback of Notre Dame on Saturday and Sunday as part of the same series, and then, Michael Bay’s The Rock on Monday night. Williamsburg is also screening Franky Perry’s 1969 film Last Summer on Saturday and Sunday as part of “Recent Restorations.” Next Wednesday’s “Anime After Dark” offering is Rintaro’s The Dagger of Kamui from 1985.
ROXY CINEMA is continuing its “2006 Movies” through the weekend with more screenings of Jason Statham’s Crank and Adam Sandler’s Click.
QUAD CINEMA’s “John Huston: Hollywood Maverick” will conclude next week with the classic Roman Polanski film, Chinatown, screening from Tuesday through Thursday.
FILM AT LINCOLN CENTER will end its run of a new 4k of Jane Campion’s The Piano on Thursday.
Other repertory theaters in town and just outside…
BAM (BROOKLYN ACADEMY OF MUSIC)
That’s it for this week. Next week, it’s COYOTE VS. ACME against Ridley Scott’s latest, the apocalyptic thriller THE DOG STARS, starring Jacob Elordi, Josh Brolin, and Margaret Qualley. Plus a bunch of other movies, as well.
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