Seattle's movie theaters are definitely feeling the holiday spirit, with events like the Holiday Film Series 2019 at Cinerama and the Beacon's eccentric War on Christmas lineup—plus the Grand Illusion's 49th consecutive engagement of the emotionally wringing It's a Wonderful Life. For non-holiday options, check out the Yves Saint-Laurent/Pierre Bergé documentary Celebration or Bong Joon-ho's Mother. See all of our film critics’ picks below, and, if you're looking for even more options, check out our film events calendar and complete movie times listings. In the South Sound? Check out our guide to the best movies playing in Tacoma this weekend.
Note: Movies play Thursday–Sunday unless otherwise noted
American Matchmaker
This month, watch Yiddish-language films shot in the USA and Eastern Europe that showcase the vibrancy of the Jewish cinematic community. Edgar G. Ulmer (Detour)'s American Matchmaker stars Leo Fuchs, the "Yiddish Fred Astaire," as a dapper bachelor who can't quite seem to get married. Maybe, as the Beacon suggests, we have a case here of the celluloid closet.
The Beacon
Saturday only
A Beautiful Day in the Neighborhood
It’s unusual to witness real cinematic magic these days, but the Fred Rogers biopic A Beautiful Day in the Neighborhood absolutely has it. Director Marielle Heller (Diary of a Teenage Girl, Can You Ever Forgive Me?) wisely avoids the visual slickness one might expect from a Tom Hanks-centric melodrama, instead employing a lived-in style and scene transitions that consist of miniature cities harkening back to the opening of Mister Rogers’ Neighborhood. Hanks is totally committed to Rogers’ appearance and manner, but A Beautiful Day is more about Lloyd Vogel (Matthew Rhys) a fictional journalist profiling Rogers. (Vogel’s work is based on a 1998 Esquire profile by Tom Junod; as is the case with the film, Junrod’s piece sketches a beautiful yet enigmatic image of Rogers.) Where Heller’s film becomes transcendent is in its cinematic pressure points: The striking slowness of the narrative (it’s meant to emulate the pace of Rogers’ show, and you get used to it), the mirroring of Rogers and Vogel in their interview styles and drawn-out reaction shots, and a profound moment of silence that grips your heart like, “Did that really just happen? Why was that so intense?” SUZETTE SMITH
Various locations
Carol
Carol is set in the 1950s, which was not a great time for gay people getting to live the lives they actually deserved. That makes it all the more remarkable that the film doesn't punish its characters by dooming them to misery or early death, like most of the nonhetero narratives Hollywood offers up. If creativity thrives within limits, Carol makes a pretty good case that love can, too—although it certainly shouldn't have to. ALISON HALLETT
Scarecrow Video
Friday only
Celebration
We weren't supposed to see this documentary about Yves Saint Laurent. Director Olivier Meyrou's doc on the famed French fashion designer was filmed in the early 2000s, over the course of two and a half years, while Saint Laurent worked on his final collection. His longtime business partner (and former romantic partner) Pierre Bergé invited Meyrou to produce the doc, but when it premiered, Bergé was apparently shocked by what he saw. What Bergé didn't know was that the documentary would end up being less about Saint Laurent and more about him. Bergé appears as the central figure—the man behind the curtain, assisting and controlling Saint Laurent's hand. He tightly monitors every aspect of Saint Laurent's life, from his meetings with models to his birthday dinners. While Saint Laurent watches his garments move down the runway, the documentary's camera watches Bergé watch Saint Laurent. The New York Times reported that Bergé particularly did not like "the parent-child way the two interacted" in the film. It is not a flattering portrait. CHASE BURNS
Northwest Film Forum
Saturday–Sunday
Daniel Isn't Real
A college student facing a family crisis brings back his sinister childhood imaginary friend in this super-stylized horror thriller that, critics say, gets progressively more assured and interesting as it goes along.
Varsity Theater
Friday–Sunday
Dark Waters
As infuriating and horrifying as the subject matter of Dark Waters is—it’s based on “The Lawyer Who Became DuPont’s Worst Nightmare,” a 2016 New York Times Magazine story about how Robert Bilott (Mark Ruffalo), a corporate lawyer with a history of representing chemical companies, switched sides to reveal DuPont’s decades of catastrophic malfeasance—it is, in many ways, another paint-by-numbers, based-on-a-true-story legal thriller with the genre-mandated tropes: A delicate but driven score that sounds like the same delicate-but-driven score in every other fight-the-power thriller; a righteous speech (in Dark Waters, Tim Robbins gets the big one, and he takes full-throated advantage); and plenty of invectives like “The system is rigged!” and “They’re a titan of industry! They can do whatever they want!” None of that stuff’s bad—it’s pretty much what any lefty who’s excited to see Dark Waters, including me, is happily signing up for—but there’s a catch that elevates this movie to something better than usual. Portland arthouse director Todd Haynes (Far From Heaven, Carol) oversees things here, capturing Dark Waters’ sickening story in chilly blues and jaundiced yellows while knowing exactly how to get the most from his cast. ERIK HENRIKSEN
Meridian 16 & Thornton Place
Elf
In which Will Ferrell plays a grown man who has spent his entire life laboring under the delusion that he's one of Santa's elves. The side effects of this include a deeply ingrained sense of whimsy and a proclivity for concentrated sugars. Zooey Deschanel sings.
Central Cinema
Friday–Sunday
Also playing Sunday at the Holiday Film Series
Everybody's Everything
This Terrence Malick-produced documentary focuses on Gustav Ahr, aka Lil Peep, a rising star just breaking into the mainstream when he died from an overdose at age 21.
Northwest Film Forum
Saturday only
Fantastic Fungi
At its worst, Fantastic Fungi gets too woo-woo wacky for its own good (when the film’s discussion turns to magic mushrooms, the visuals turn into what is, as far as I can tell, just a psychedelic screensaver from Windows 95), but at its best, the doc pairs fantastic time-lapse imagery with a good dose of actual, mind-blowing science. Affable, passionate mushroom researcher Paul Stamets is joined by talking heads Michael Pollan, Andrew Weil, and narrator Brie Larson to examine everything from massive fungal networks that carry signals between disparate, distant plants to the psychological benefits of psilocybin. It’s an uneven trip, but a good one. ERIK HENRIKSEN
SIFF Cinema Egyptian
Ford v Ferrari
If you’re a lover of car-racing movies, you should probably check out Ford v Ferrari—because this film is likely to be one of the last of its kind. A biopic about the late ’60s rivalry between failing racecar company Ferrari and the “wants to be sexy soooo bad” Ford Motor Company, F v F is about how corporations can’t help but crush the passion and innovation they so desperately need. The problem? It’s impossible to ignore the two elephants in this room: The fetishization of white male toxicity and car culture, topics which society is trying to deal with and solve… not celebrate. This makes Ford v Ferrari a very good movie that, a decade ago, would’ve been considered great. Now it feels like a brand-new film that’s already an antique. WM. STEVEN HUMPHREY
Various locations
Frozen II
It starts out with Young Elsa and Young Anna, and, I don’t know, this is just my opinion, but I didn’t think that part was very necessary, necessarily? I thought the story was good. I thought the parts were well thought out and they had some depth to them, if you know what I mean? Like some parts were really sad, and some parts could be interpreted in a lot of different ways. Also, you know how in the first Frozen, there’s like this main song that you know is the main song? In this one, there’s like three or four different songs that could be that main song. There were songs that like Elsa and Anna and Kristoff sang that could qualify for that position. I thought they were fine. SIMON HAM, AGE 12
Various locations
GLAS Presents: Animation Next
See animated stories from "subterranean nightmares to sun-soaked coming of age stories" at this traveling showcase from the GLAS Animation Festival in Berkeley.
Northwest Film Forum
Thursday only
Harriet
Aside from the assistance that the formerly enslaved Harriet Tubman got from the Underground Railroad, it’s hard to imagine exactly how she pulled off all her heroics. With Harriet, audiences are given a live-action reimagining of Harriet Tubman’s journey to self-liberation: changing her name, hiding in bales of hay, being chased by dogs, and getting cornered by armed men on a bridge before jumping into the river. Harriet shows how Tubman (Cynthia Erivo) got help from a secret network of safe houses and trusted free Blacks (Leslie Odom Jr. and Janelle Monáe) who stuck their necks out to help her cause. Throughout the film, the only music you’ll hear, gladly, are negro spirituals—songs that enslaved Blacks used to express their sorrow and joy, and to secretly communicate. (Tubman, who was nicknamed Moses, would sing “Go Down Moses” as a signal to enslaved Blacks that she was in the area, and would help anyone who wished to escape.) Harriet doesn’t subject the sensitive viewer to excessive gore or violence (though there is one particularly unsettling scene), because for once, this is a story in the “slave movie” genre about tremendous triumph, leadership, and Tubman’s unwavering faith, both in God and herself. JENNI MOORE
AMC Pacific Place
Thursday only
Holiday Film Series 2019
Enjoy naughty and nice holiday-themed movies on the big screen, like this weekend's Gremlins, Scrooged, White Christmas, and more.
Cinerama
Saturday–Sunday
Honey Boy
Oh, how easily this could’ve gone sideways. There’s nothing more cringingly embarrassing than a privileged white artist depicting their tragic life on film, forcing their audience to wallow alongside them in their self-serving importance. But in Honey Boy—a mostly autobiographical depiction of Transformers star Shia LaBeouf’s scary upbringing as a child actor—there’s so much more. In a dazzling, heartbreaking performance, LaBeouf portrays his real-life father, a recovering addict, Vietnam vet, and frustrated performer who’s in the witheringly humiliating position of being employed by his successful 12-year-old son, Otis (a fantastic Noah Jupe). Running parallel are harrowing scenes featuring an adult Otis (Lucas Hedges), who’s working out some well-earned and very deep shit in rehab while trying to stave off an emotional implosion. Dreamy imagery from director Alma Har’el and cinematographer Natasha Braier brilliantly captures this slow-motion train wreck of a tale that, weirdly enough, supplies a modicum of hope while depicting the toxicity that fathers inflict on their sons—and what results from the poison they inherit. WM. STEVEN HUMPHREY
AMC Pacific Place
Thursday only
The Irishman
A reality-inspired crime epic that spans decades, The Irishman’s heart is Frank Sheeran (Robert De Niro), who “paints houses” for big-shot gangsters; his paint, it should be noted, only comes in blood red. Sheeran’s main employer/benefactor/BFF is the intense, sharp-eyed Russell Bufalino (Joe Pesci), though once Jimmy Hoffa (Al Pacino) enters the picture, Frank’s torn between the sometimes clashing demands of two hard-willed, charismatic men. De Niro’s great (and, thankfully, the distracting, de-aging CGI fades into the background after a while), but this is Pesci and Pacino’s movie: With mania and fury, Pacino rips every scene apart, while Pesci takes a different approach, subtly and slowly building an aging crime boss who’s both heart-achingly soulful and blood-chillingly brutal. Seeing Scorsese masterfully track all this harkens back to Goodfellas and Casino, but the jarring, moving The Irishman is, remarkably, better than both. While the intense focus on Frank & Pals comes at the expense of other characters, like every single woman, the end result is still stunning: A saga that’s horrifying and funny and melancholy, sometimes in different scenes, sometimes all at once. ERIK HENRIKSEN
Crest
Thursday only
It's a Wonderful Life
Shortly after It's a Wonderful Life's 1946 release, James Agee, one of the few American film critics of that era still worth reading, noted the film's grueling aspect. "Often," he wrote, "in its pile-driving emotional exuberance, it outrages, insults, or at least accosts without introduction, the cooler and more responsible parts of the mind." These aesthetic cautions are followed, however, by a telling addendum: "It is nevertheless recommended," Agee allowed, "and will be reviewed at length as soon as the paralyzing joys of the season permit." Paralyzing joys are the very heart of George Bailey's dilemma; they are, to borrow words from George's father, "deep in the race." The sacrifices George makes for being "the richest man in town" resonate bitterly even as they lead to the finale's effusive payoff. Those sacrifices are what make It's a Wonderful Life, in all its "Capraesque" glory, endure. SEAN NELSON
Grand Illusion
Friday–Sunday
Jojo Rabbit
The latest from Taika Waititi starts off with a bright, Wes Andersonian whimsiness: Young Jojo (Roman Griffin Davis) joyously bounces about at summer camp, having the time of his life as he frolics and laughs with his second-best friend Yorki (Archie Yates) and his first-best friend, the imaginary Adolf (Waititi). Just one thing: Jojo is at Hitler Youth camp—their campfire activities include burning books—Adolf is Adolf Hitler, and World War II is winding down, with Germany not doing so great. Both because of and in spite of its inherent shock value, Jojo Rabbit—based on a book by Christine Leunens—is just as clever and hilarious as Waititi’s other movies, but as it progresses, the story taps into a rich vein of gut-twisting melancholy. There’s more to the complicated Jojo Rabbit than first appears, and only a director as committed, inventive, and life-affirmingly good-hearted as Waititi would even have a chance of pulling it off. He does, to unforgettable effect. ERIK HENRIKSEN
Various locations
Joker
The first half hour unfolds like a dog-whistle symphony for insecure guys who think they have it bad. Fleck berates his black social worker (Sharon Washington) for not listening to him when she’s obviously doing her best. He fixates on a black single mother (Zazie Beetz) after the briefest sign of camaraderie. Yet there are a series of trap doors throughout Joker that unexpectedly drop its audience into new perspectives. Early on, an obvious foreshadow shifts Fleck onto a new path, and as that plotline plays out, Joker offers some surprisingly rewarding reflections on the relationship between the villain and Batman. (Oh yeah! This is a Batman movie, remember?) Both men, Joker suggests, might be equally deranged, making sweeping moves against the world without regard for those who become collateral damage for their respective manias. SUZETTE SMITH
Meridian 16
Knives Out
Knives Out [is] Rian Johnson's phenomenally enjoyable riff on a murder-mystery whodunit. The less you know going in, the better, but even those familiar with mysteries will likely be caught flat-footed. Things begin in the baroque mansion of famed mystery novelist Harlan Thrombey (Christopher Plummer), who is very, very dead. Through flashbacks, monologues, and the genteel but razor-sharp questioning of investigator Benoit Blanc (Daniel Craig), we meet the rest of the Thrombeys—played by Jamie Lee Curtis, Michael Shannon, Toni Collette, Katherine Langford, and more, with everyone clearly having a goddamn blast—and we hear about a billion motives and a billion alibis. Somebody killed Harlan, and while Benoit Blanc is on the case, Knives Out quickly spirals into unexpected territory. In a time when filmgoing is dominated by familiar franchises, seeing an original movie executed with as much care, glee, and skill as Knives Out feels like an experience that's entirely too rare. ERIK HENRIKSEN
Various locations
'The Last Action Hero' with Andy Iwancio and Derek Sheen
Two terrific local comedians will host this screening of a massive Arnold Schwarzenegger-starring flop.
The Beacon
Thursday only
Light from Light
Jim Gaffigan plays a widower who asks a woman with paranormal abilities (Marin Ireland) to discover whether the ghost of his wife is lingering in the house. This isn't your usual haunting movie—rather than a scarefest, it's reportedly a thoughtful and poignant examination of grief, love, and trauma.
Grand Illusion
Thursday only
Make Way for Tomorrow
Director Leo McCarey was fired from his Hollywood studio for making this uncompromising Depression-era drama about an old couple, played by Victor Moore and Beulah Bondi, who are forced to move in with their selfish children.
The Beacon
Friday only
Part of the War on Christmas
Marriage Story
In 2005, Noah Baumbach wrote and directed The Squid and the Whale, a movie that dug deep into what it feels like to be a kid in a family that's pulled itself past its breaking point. Almost 15 years later, Baumbach's written and directed Marriage Story, a movie that digs deep into what it feels like to be a husband and a wife in a family that's pulling itself past its breaking point. As was the case in Squid and the Whale, the specifics are aggressively upper class: Nicole (Scarlett Johansson) is a big-deal actress, Charlie (Adam Driver) is an acclaimed theater director, and along with their young son Henry (Azhy Robertson), they spend much of Marriage Story at either a bougie apartment in Manhattan or a bougie house in West Hollywood. But once again, Baumbach—within the film's opening seconds, even—drills down to unearth the singular combination of grief, fury, melancholy, and pain that can only come from divorce. Marriage Story is brutal and sharp, but it's also funny and sweet, and captures something that's impossible to put into words: The feeling of life as it changes, and the feeling of stories as they come to an end. ERIK HENRIKSEN
Crest
Merry Christmas, Mr. Lawrence!
Nagisa Oshima's David Bowie-starring war drama portrays the homoerotic love-hate relationship between a New Zealander POW and the Japanese director of the camp, played by composer and actor Ryuichi Sakamoto. Truly a brutal, unusual, hypnotic choice for a holiday movie screening.
The Beacon
Saturday only
Part of The War on Christmas
Mir Kumen On
This Polish-made, Yiddish-language documentary is bound to provoke complicated feelings in the modern viewer. Set in a socialist, Jewish-run sanatorium for poor children suffering from tuberculosis, it reveals a world that was utterly destroyed in the Holocaust just a few years later—and a future that could have been had not genocide wiped out Poland's Jewish communities.
The Beacon
Part of The Jewish Soul: Classics of Yiddish Cinema
Thursday only
Mother
If you were to categorize Mother, you could do worse than "murder mystery." When Do-joon (Won Bin) is accused of murdering a schoolgirl, his mother (a terrific Kim Hye-ja) takes it upon herself to clear his name at any cost. This is a standard, boilerplate premise, but Bong dodges conventional noir trappings whenever he can, for better or worse. The mystery in Mother is almost beside the point: Answers come languidly as Kim's detective work brings her into circles of lawyers, policemen, and a teenage girl who modifies cell phones with spinning plastic poop antennas. The resulting film is a collection of arresting moments, one that's slow in pace and scattershot in structure. Whether you consider Mother a mess or a masterpiece, by the last reel, one thing is (still) clear: Bong is an extraordinarily unique filmmaker to spend two hours with. DAVE BOW
Northwest Film Forum
Sunday only
Mystery Science Theater 3000: Santa Claus
There’s no better holiday date for nerds than this Mystery Science Theater 3000 screening of Santa Claus, an astonishing Christmastime disaster that came out of Mexico in 1959. The plot, loosely: Santa Claus lives in an ice castle. Mrs. Claus is nonexistent but sometimes Merlin appears to help the man out… if you know what I mean. Also, the Devil sends a demon to fight Santa. Yes, a demon. Happy holidays! CHASE BURNS
SIFF Film Center
Friday–Sunday
Mr. Arkadin
Orson Welles cast himself as the title's mysterious financial tycoon who hires a sleazy opportunist to investigate his (Arkadin's) own past—but why? When people start dying, the adventurer suspects that Arkadin knows more than he's letting on. This film exhibits in numerous versions and is usually regarded as an interesting oddity.
The Beacon
Saturday–Sunday
Part of The War on Christmas
Nocturnal Emissions: 'The Masque of the Red Death'
Dark-minded burlesque maven Isabella L. Price and Clinton McClung of Cinebago Events will return with their cheeky, sexy, macabre series Nocturnal Emissions, which prefaces an unusual horror classic with "phantasmagoric" burlesque performances and other fun. The final film will be the campy Vincent Price vehicle The Masque of the Red Death in December, preceded by burlesque by Price and Val Challah and comedy by Emmett Montgomery.
Northwest Film Forum
Thursday only
Pain and Glory
Pedro Almodóvar has long warmed his filmography with flickers of details from his personal life, but Pain & Glory brings us closer to the flame. In it, we look in on Salvador Mallo (Antonio Banderas), a filmmaker in self-imposed exile due to a creative decline and a variety of physical ailments. Banderas stifles his melodramatic tendencies to subtly and powerfully reveal Mallo’s agonies and evolution. ROBERT HAM
SIFF Cinema Uptown
Thursday only
Parasite
Parasite is director Bong Joon-ho at his very best. It's a departure from the sci-fi bent of his recent movies, though it's no less concerned with the state of society today. Set in Seoul, South Korea, the families and class issues at play reflect our global era, in which the disparity between the haves and have-nots seems to be widening. Parasite follows the Kim family, who secretly scam their way into the lives of the wealthy Park family. Slowly and methodically, the Kims begin to drive out the other domestic workers at the Park residence, each time referring another family member (who they pretend not to know) for the vacant position. And so the poorer family starts to settle comfortably into the grift—until a sudden realization turns their lives upside down. The resulting film offers an at turns hilarious and deeply unsettling look at class and survival, its essence echoed in the environments the characters inhabit. JASMYNE KEIMIG
Various locations
Pink Flamingos
Even if you’ve never seen John Waters’ Pink Flamingos, you’ve probably heard of it. It’s the 1972 film where the late, great Divine gleefully chokes down dog shit on camera. It’s still one of the most transgressive scenes ever put to film. It’s just one of a bunch of great bits in a weird, colorful gem.
Scarecrow Video
Saturday only
Queen & Slim
Queen & Slim may be the best—and is almost certainly the Blackest—film of 2019. One of the most striking things about the movie is that it’s intentionally absent of the white gaze. The directorial debut of Melina Matsoukas, it’s also the first film-length screenplay written by Lena Waithe, who knocked bestselling author James Frey’s original story idea out of the park after also making the jump from acting and writing on TV. Queen and Slim (Jodie Turner-Smith and Daniel Kaluuya) are ordinary law-abiding citizens who, after an okay Tinder date, get pulled over by a racist cop who decides to create a life-or-death altercation over a missed turn signal. After the unreasonably angry cop escalates the situation, unnecessarily searches the car, and shoots Queen in the leg, Slim ends up grabbing the cop's gun and killing the officer in self-defense. The two decide they have no choice but to evade law enforcement to survive. At the film’s heart are powerful, too-true themes about Black people’s constant search for freedom, even in modern society. In Queen and Slim’s case, their entire trip together is a relentless quest for freedom, and they have a really good run until the bitter—and iconic—end. JENNI MOORE
Various locations
Richard Jewell
Clint Eastwood directs this based-on-a-true-story movie about an amateur security officer who, despite his heroic actions saving lives at the Olympics, is accused of terrorism. It's being called "a decent portrait of an injustice" (Gary M. Kramer, Salon.com) and "the most Clint Eastwood-y Clint Eastwood movie imaginable" (Bill Goodykoontz, the Arizona Republic), but has been marred by its false portrayal of a real-life journalist, Kathy Scruggs, as a devious and sexually manipulative woman, notably showing her offering to trade sex for a news tip. Scruggs is dead and can't defend herself. Not cool. JOULE ZELMAN
Meridian 16 & Thornton Place
Friday–Sunday
Tammy and the T-rex
Denise Richards and Paul Walker star in this 1994 comedy, in which cheerleader Tammy (Richards) discovers that the brain of her boyfriend (Walker) has been transplanted into the body of a robotic tyrannosaur. You should see this movie because it's ridiculous and terrible and you need your brain flash-evaporated once in awhile. JOULE ZELMAN
Grand Illusion
Friday only
The Two Popes
Popes Benedict (Anthony Hopkins) and Francis (Jonathan Pryce) argue over doctrine and politics in 2013 in this film by acclaimed director Fernando Meireilles (City of God).
Crest
Friday–Sunday
Waves
The third feature-length film from writer-director Trey Edward Shults, Waves furthers Shults's obsession with the forces that keep families together and those that tear them apart. It follows a suburban black American family in Florida, at the center of which is Tyler (Kelvin Harrison Jr.), a successful student athlete who's balancing schoolwork, partying, training, and hanging with his girlfriend, Alexis (Alexa Demie). He's under immense pressure—especially from his father, Ronald (Sterling K. Brown), whose dogged protectiveness of his family goes too far for their own well-being. The first half of Waves follows Tyler and the consequences of pushing past his physical limits; a shoulder injury threatens to sideline his wrestling dreams and deteriorate his relationship with Alexis. The second half shifts the focus to his sister, Emily (played by Taylor Russell with dazzling effect), who is left to deal with the fallout of her brother's explosive behavior, both in her family and in the greater community. The film's use of careening cinematography—its spinning, dizzying opening sequence; the greenness of the greens; the low, urgent movement of the camera—seems to almost-just tip the story over into disarray before righting itself and soldiering on. JASMYNE KEIMIG
SIFF Cinema Egyptian & Ark Lodge Cinemas
Thursday only
The White Reindeer
This gorgeous Scandinavian horror film, shot in Finnish Lapland in 1952, is probably your only chance all year to watch a movie about a sexually repressed vampire reindeer shapeshifter.
The Beacon
Saturday–Sunday
Part of the War on Christmas
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