From Lynch to Tarantino, All of Your Favorite Films are Playing in NYC This Weekend

Toss your beloved DVD collection to the side and head to the theater, because all of your favorite movies are playing this weekend. And no, I doubt I’m being hyperbolic when I say that there is surely a personal classic for everyone screening around the city, and what better way to view your most cherished piece of cinema than in the format it deserves? Whether you’re one for PT Anderson’s evocative ensemble dramas, Terrence Malick’s magic hour murders, David Lynch’s haunting and heartbreaking surrealism, or Quentin Tarantino’s black-humored violence there are plenty of undoubtable masterpieces of film to enjoy, alongside some of the most-acclaimed new movies of the year. I’ve rounded up the best of what’s playing throughout New York City this weekend—so peruse the list, see what you’re in the mood for, go get yourselves some Twizzlers, and head down to the cinema. Enjoy.

Film Forum

The Man Who Knew Too Much
Post Tenebras Lux
Voyace to Italy

Museum of the Moving Image

The Rolling Stones in Gimme Shelter
The Beatles in A Hard Day’s Night
The Who in Quadrophenia


Wild at Heart
Twin Peaks: Fire Walk With Me
The Mother and the Whore


Boogie Nights
Hit So Hard
Deceptive Practice
Serial Mom

IFC Center

Pulp Fiction
Something in the air
Robin Hood: Men in Tights
The Shining
Room 237
The Source Family
Upstream Color
Java Heat
2001: A Space Odyssey

Film Linc

An Oversimplification of Her Beauty
Scatter My Ashes at Bergdorf’s
To the Wonder
Girls in the Band

Angelika Film Center

What Maisie Knew
Stories We Tell
Midnight’s Children

Landmark Sunshine

The Iceman
Love is all You Need
In the House

Take a Look at Terrence Malick’s Elemental Obsessions With ‘Malick: Fire and Water’

Terrence Malcik’s emotionally symphonic world of beauty vacillates between pleasure and pain, divinity and destruction, told through shadows of life that play out like memories rather than moments. And whether or not you were dazzled by To the Wonder, his latest and perhaps most divisive, there’s a undeniable grace there that exists and breathes inside all of his work. My favorite moments in To the Wonder had little to do with the characters, finding transfixed by his portrayal of the physical modern world—from the vacant fields of Oklahoma to the machines that watch over us with loving grace, and the ways in which he uses the camera like a gentle gust of wind to guide us. 

And when it comes to nature, Malick has always had an affinity for the elements of fire and water. For someone whose work plays so heavily with the philosophy and ideals of religion, it would be hard not to see his obsession with these elements as the juxtaposition of heaven and hell. His films are filled with sparks that ignite and liquids that soothe but oddly, To the Wonder was sans those elements in any strong way. 

But now, to indulge in your own obsession with Malick’s auteuristic harmony, you can watch "Malick: Fire & Water’ a brief but interesting super cut of his use of the two elements throughout his oeuvre. The description for the video reads:

Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and late Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Late Malick favors water. In his most recent film, Malick forgoes fire altogether for the first time in his career. Water reigns.

Take a look below.

Malick // Fire & Water from kogonada on Vimeo.

Checking Into the Heartbreak Hotel: What’s Happening This Week on Hulu

Speaking to his work as a filmmaker and his own emotional sensibility, John Cassavetes once said, "That’s all I’m interested in—love. And the lack of it. When it stops. And the pain that’s caused by loss of things that are taken away from us that we really need." His films exposed the painful struggles of love and turmoil loving another causes on the human heart. And in its most overwhelming and passionate form, love is rarely healthy, perhaps no more than an illness from which you’ll never fully recover. And according to the Criterion Collection’s Amour Fou section of films, love is apparently all I am interested in as well. Featuring some of my favorite features from Terrence Malick’s dangerous love story Badlands to Nicolas Roeg’s obsessive psychodrama Bad Timing, to Cassavetes’ soul-crushing A Woman Under the Influence and Liliana Cavani’s darkly erotic The Night Porter, these are films best enjoyed with a glass of whiskey on standby. 

But this week, Criterion and Hulu are showcasing rare films of bad romance that delve into the misguided, corrosive, and often violent nature of love. Ranging from Gus van Sant’s first feature Mala Noche to Keisuke Kinoshita’s rarely seen Snow Flurry, these intense dramas penetrate the soul and illuminate the hardships of love. Get acquianted with these rare and stunning films and decide whom you’d like to break your heart tonight. Enjoy.

Miss Julie

"Swedish filmmaker Alf Sjöberg’s visually innovative, Cannes Grand Prix-winning adaptation of August Strindberg’s renowned 1888 play brings to scalding life the excoriating words of the stage’s preeminent surveyor of all things rotten in the state of male-female relations. Miss Julie vividly depicts the battle of the sexes and classes that ensues when a wealthy businessman’s daughter (Anita Björk, in a fiercely emotional performance) falls for her father’s bitter servant. Celebrated for its unique cinematic style (and censored upon its first release in the United States for its adult content), Sjöberg’s film was an important turning point in Scandinavian cinema."

Mala Noche

"With its low budget and lush black-and-white imagery, Gus Van Sant’s debut feature Mala Noche heralded an idiosyncratic, provocative new voice in American independent film. Set in Van Sant’s hometown of Portland, Oregon, the film evokes a world of transient workers, dead-end day-shifters, and bars and seedy apartments bathed in a profound nighttime, as it follows a romantic deadbeat with a wayward crush on a handsome Mexican immigrant. Mala Noche was an important prelude to the New Queer Cinema of the nineties and is a fascinating capsule from a time and place that continues to haunt its director’s work."

Snow Flurry

"A generation-spanning drama from 1959 that partly concerns the fallout from a couple’s failed suicide pact, shot in wonderfully expressive widescreen and color."

Double Suicide

"Many films have drawn from classic Japanese theatrical forms, but none with such shocking cinematic effect as director Masahiro Shinoda’s Double Suicide. In this striking adaptation of a Bunraku puppet play (featuring the music of famed composer Toru Takemitsu), a paper merchant sacrifices family, fortune, and ultimately life for his erotic obsession with a prostitute. Criterion is proud to present Double Suicide in a stunning digital transfer, with a new and improved English subtitle translation."

Pale Flower

"In this cool, seductive jewel of the Japanese New Wave, a yakuza, fresh out of prison, becomes entangled with a beautiful and enigmatic gambling addict; what at first seems a redemptive relationship ends up leading him further down the criminal path. Bewitchingly shot and edited, and laced with a fever-dream-like score by Toru Takemitsu, this gangster romance was a breakthrough for the idiosyncratic Masahiro Shinoda. The pitch-black Pale Flower (Kawaita hana) is an unforgettable excursion into the underworld."


"This lush, Technicolor tragic romance from Luchino Visconti stars Alida Valli as a nineteenth-century Italian countess who, during the Austrian occupation of her country, puts her marriage and political principles on the line by engaging in a torrid affair with a dashing Austrian lieutenant, played by Farley Granger. Gilded with ornate costumes and sets and a rich classical soundtrack, and featuring fearless performances, this operatic melodrama is an extraordinary evocation of reckless emotions and deranged lust, from one of the cinema’s great sensualists."


"Julien Duvivier’s film, starring Merle Oberon as a woman looking back on a life of doomed affairs."

See More of the Criterion Collection’s Release of Terrence Malick’s ‘Badlands’ With ‘Three Reasons’

Enigmatic genius and Zoolander enthusiast, Terrence Malick made his directorial debut in 1973 with the poetic, stunning, and dangeous love story of a young girl and her boyfriend who set out on a Midwestern killing-spree. And although he had penned a short film and a handfull of feature-length scripts by this point, Badlands marked Malick’s first directorial effort outside of AFI—where he attended after declining to not finish his post-Harvard philosophical PhD. With his first foray into writing and directing, Malick crafted a film haunted by westerns of the past but infused with a new American sensibility, where nightmare and dream collide in a world that would establish his rural and romantic visual aesthetic for years to come.

Made on a shoe-string budget with so little money that Malick and his crew couldn’t afford to watch dailies, Michael Almereyda describes Badlands as:

A terrifically restrained, persuasive performance, and worth savoring—a glimpse of the visionary filmmaker, twenty-eight years old, at the start of an unconventionally brilliant career, before he took the Kubrickian high road and disappeared into a strict vow of silence and invisibility, allowing no further cameos, interviews, photographs, or even the slightest public evidence that his films emanate from a knowable human source. Pay no attention to that man behind the curtain. This edict, we can hope, allows the wizard to get on with the more essential business of living his life and making his movies. Still, here he is in Badlands, plain as day. The worried, humble man carrying the rolled blueprint can seem, at this juncture, to be looking back at us and through us, like the figures locked in Holly’s stereopticon, like the mysteries and miracles unfolding throughout Malick’s best work—a presence on the way to becoming an absence, offering intimations of a future that will engulf us all. 

And with the film’s Criterion release this month, the Collection has debuted their Three Reasons video for Malick’s now classic film that weaves between the inherent beauty in nature around us and the evils of man.

Terrence Malick Curates a Summer Film Series With ‘Zoolander’ & ‘Badlands’

So I have always held a personal theory that Terrence Malick doesn’t watch movies, or more so, he’s just not really a movie person. I mean, just cannot imagine ol’ Terry cozying up with a serious work cinema—a enormous piece of philosophical text, sure, but On the Waterfront? No. I’ve always just assumed he was a dude who went to Harvard, became a Rhodes scholar, and figured that conveying these inexplicable ideas onto a page or publishing translations Heidegger’s Vom Wesen des Grundes as The Essence of Reasons wasn’t enough and if there was a medium to get his ideas across, it was the touch of film.

And since earning his MFA in 1969, he’s done just that. His films are whisper to the heart and the mind unlike anything else—so, who cares what movies he loves, right? Well maybe, because in recent years it’s been slowly revealed just how anathema his interests tend to be from the person we perceive him to be—and it’s pretty hilarious. We learned with the DVD extras from The Thin Red Line that he edited the film while listening only to Green Day and as of last year, we heard a splendid rumor that Malick was Zoolander‘s biggest fan. And now, it looks like that has been confirmed.

As part of the Philbrook Musuem of Art’s "Films on the Lawn" series, Malick will be the first guest curator in Tulsa—and who better to watch films on a lawn with, right?! So naturally, the first film in the line-up: Zoolander. He’s also included Preston Sturges The Lady Eve, John Huston’s Beat the Devil, and of course, his own classic Badlands

You can see more details at Tulsa World but for now, just sit back and imagine Terrence Malick in one of his corn husk shirts cackling in the grass at magic hour as Zoolander plays on high. Amen.