Film
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Dirty Dancing “That was the summer of 1963-when everybody called me Baby, and it didn’t occur to me to mind. That was before President Kennedy was shot, before the Beatles came, when I couldn’t wait to join the Peace Corps, and I thought I’d never find a guy as great as my dad. That was the summer we went to Kellerman’s.” A deep excitement at hearing these lines in the 1987 Dirty Dancing is where my beloved Roger Ebert and I cross swords. From a well of discontentment that could only belong to someone forced to watch every movie in existence, he enthusiastically disses Dirty Dancing’s “idiot plot,” and moans that the dancing is “over-choreographed.” I’m not without gripes, but who other than Cynthia Rhodes (Flashdance, Staying Alive) could’ve played the troubled Penny, and why should she have to hide her talent? It’s not like ‘80s popular cinema is remembered for its subtlety-the producers had the nerve to litter a killer soundtrack, which includes perhaps the most iconic use of the Ronettes’ “Be My Baby” alongside crap like Patrick Swayze’s “She’s Like the Wind.” (PG-13) RACHEL SHIMP. Central Cinema $6-$8 Monday, February 24, 2014, 7pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Monday, February 24, 2014, 7:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. Central Cinema $6-$8 Monday, February 24, 2014, 9:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). Grand Illusion $5-$8 Monday, February 24, 2014, 10pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Tuesday, February 25, 2014, 7:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. Central Cinema $6-$8 Tuesday, February 25, 2014, 9:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). Grand Illusion $5-$8 Tuesday, February 25, 2014, 10pm
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Dreamland This recent documentary examines Iceland’s hydroelectric and geothermal power sources, and the unsustainable debt that nation accrued before the global financial crisis. (NR). Keystone Congregational Church Free Wednesday, February 26, 2014, 6pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Wednesday, February 26, 2014, 7:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. Central Cinema $6-$8 Wednesday, February 26, 2014, 9:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. Central Cinema $6-$8 Wednesday, February 26, 2014, 9:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). Grand Illusion $5-$8 Wednesday, February 26, 2014, 10pm
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Building Character Local film gadfly Warren Etheredge will lead discussions after each title in this five-night series. First up is the Henry James update What Maise Knew, with Julianne Moore, Steve Coogan, and Alexander Skarsgard. Following are Valentine Road,
Smashed, Ain’t Them Bodies Saints, and Mud. West of Lenin $7-$10 ($25-$35 series) Wednesday, February 26, 2014, 10:30pm
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Rising From Ashes This coming Sunday marks the Cascade Bicycle Club’s 40th Chilly Hilly ride on Bainbridge Island; given such a generally mild winter thus far, some are packing away the Volkls and bringing out the Cervelos to ride. And should you need a little extra motivation if the forecast is freezing rain, tonight’s benefit screening of Rising From Ashes, a recent documentary about the riders of Team Rwanda, will put things in perspective. Produced and narrated by Forest Whitaker, this powerful film unfolds over six years from the time when mountain-bike industry pioneer Tom Ritchey first visited Rwanda. A dozen years had passed since the Hutus’ 1994 genocide against the minority Tutsi, and the country was still in a fragile rebuilding stage. Bicycles, used mainly for transport, were also being raced; and Ritchey brought along his friend and former pro racer Jock Boyer. An 18-year-old trounced the middle-aged pair-and everyone else-in one such race; from that, the idea of a national team was hatched. His life back home a shambles, Boyer stayed behind to coach the squad. His athletes, to put it mildly, are not complainers. His most talented rider, Adrien Niyonshuti, lost six of his brothers and 60 members of his mother’s clan during the genocide; the film follows Niyonshuti’s unlikely path to the London Olympics. All ticket
proceeds tonight benefit the Rising From Ashes Foundation, which supports Rwandan cyclists, and CBC’s own Major Taylor Project, which promotes riding among minority youths. Film producer Peb Jackson will also attend a pre-screening reception. BRIAN MILLER SIFF Cinema Uptown $10-$12 ($50 for early show’s VIP reception) Thursday, February 27, 2014, 6:45pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Thursday, February 27, 2014, 7:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. Central Cinema $6-$8 Thursday, February 27, 2014, 9:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). Grand Illusion $5-$8 Thursday, February 27, 2014, 10pm
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Building Character Local film gadfly Warren Etheredge will lead discussions after each title in this five-night series. First up is the Henry James update What Maise Knew, with Julianne Moore, Steve Coogan, and Alexander Skarsgard. Following are Valentine Road,
Smashed, Ain’t Them Bodies Saints, and Mud. West of Lenin $7-$10 ($25-$35 series) Thursday, February 27, 2014, 10:30pm
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Dirty Dancing “That was the summer of 1963-when everybody called me Baby, and it didn’t occur to me to mind. That was before President Kennedy was shot, before the Beatles came, when I couldn’t wait to join the Peace Corps, and I thought I’d never find a guy as great as my dad. That was the summer we went to Kellerman’s.” A deep excitement at hearing these lines in the 1987 Dirty Dancing is where my beloved Roger Ebert and I cross swords. From a well of discontentment that could only belong to someone forced to watch every movie in existence, he enthusiastically disses Dirty Dancing’s “idiot plot,” and moans that the dancing is “over-choreographed.” I’m not without gripes, but who other than Cynthia Rhodes (Flashdance, Staying Alive) could’ve played the troubled Penny, and why should she have to hide her talent? It’s not like ‘80s popular cinema is remembered for its subtlety-the producers had the nerve to litter a killer soundtrack, which includes perhaps the most iconic use of the Ronettes’ “Be My Baby” alongside crap like Patrick Swayze’s “She’s Like the Wind.” (PG-13) RACHEL SHIMP. Central Cinema $6-$8 Friday, February 28, 2014, 5pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Friday, February 28, 2014, 7:30pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Friday, February 28, 2014, 7:30pm
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The Golden Age of Italian Cinema From 1963, The Organizer stars Marcello Mastroianni as an idealistic professor sent to organize oppressed textile-factory workers in Turin. (NR). Seattle Art Museum $63-$68 (series) Friday, February 28, 2014, 9:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). Grand Illusion $5-$8 Friday, February 28, 2014, 10pm
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Building Character Local film gadfly Warren Etheredge will lead discussions after each title in this five-night series. First up is the Henry James update What Maise Knew, with Julianne Moore, Steve Coogan, and Alexander Skarsgard. Following are Valentine Road,
Smashed, Ain’t Them Bodies Saints, and Mud. West of Lenin $7-$10 ($25-$35 series) Friday, February 28, 2014, 10:30pm
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Building Character Local film gadfly Warren Etheredge will lead discussions after each title in this five-night series. First up is the Henry James update What Maise Knew, with Julianne Moore, Steve Coogan, and Alexander Skarsgard. Following are Valentine Road,
Smashed, Ain’t Them Bodies Saints, and Mud. West of Lenin $7-$10 ($25-$35 series) Friday, February 28, 2014, 10:30pm
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Bastards SIFF continues its Monday night “Recent Raves!” series with Claire Denis’ recent French crime tale. Her cryptic approach only adds to the film’s creeping sense of unease, as a man commits suicide on a rainy night, and his brother-in-law Marco (Vincent Lindon) quits his job as a ship’s captain in order to come home and sort things out for his deeply damaged sister (Julie Bataille) and niece (Lola Creton). Marco moves into a huge, empty apartment across the hall from a prominent businessman (Michel Subor), who lives with trophy mistress Raphaelle (Chiara Mastroianni) and their young son. The hints that emerge about this world grow darker as the movie goes on-and are, in fact, about as dark as a family nightmare can get. For a movie obsessed with how difficult it is to see the truth (and how reluctant people are to acknowledge it), it is fitting that surveillance cameras and other recording devices are an almost-unnoticed fact of life-culminating in the last, terrible sequence. <b>(NR)</b> ROBERT HORTON. SIFF CINEMA UPTOWN $6-$11 Saturday, March 1, 2014, 4:15pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Saturday, March 1, 2014, 7:30pm
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Neshoba: The Price of Freedom Pegged to Black History Month, this documentary relates the tragic story of how Civil Rights activists James Chaney, Andrew Goodman, and Michael Schwerner were slain in Neshoba County, Mississippi in 1964. (NR). New Freeway Hall $2 Saturday, March 1, 2014, 8pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Saturday, March 1, 2014, 9:40pm
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Building Character Local film gadfly Warren Etheredge will lead discussions after each title in this five-night series. First up is the Henry James update What Maise Knew, with Julianne Moore, Steve Coogan, and Alexander Skarsgard. Following are Valentine Road,
Smashed, Ain’t Them Bodies Saints, and Mud. West of Lenin $7-$10 ($25-$35 series) Saturday, March 1, 2014, 10:30pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). The Neptune $5-$8 Sunday, March 2, 2014, 3pm
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The Telephone Book In this 1971 porno, a hippie chick falls in love (or something) with an obscene phone caller. So naturally she tries to find him; various sex-capades ensue. (NR). The Neptune $5-$8 Sunday, March 2, 2014, 3pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Grand Illusion $5-$8 Sunday, March 2, 2014, 7:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Sunday, March 2, 2014, 9:40pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Varsity Theatre $5-$8 Monday, March 3, 2014, 4:30pm
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Getting Back to Abnormal Paul Stekler, one of four co-directors behind this new doc, talks about following an eccentric New Orleans politician around the city in the wake of Hurricane Katrina. (NR). Northwest Film Forum $6-$11 Monday, March 3, 2014, 6pm
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Independent of Reality One of the pioneers of the Czechoslovak New Wave, Jan N<011B>mec’s reputation fell in the shadow of the more internationally celebrated
Milos Forman, Ivan Passer, V<011B>ra Chytilova, and Ji<0159>i Menzel. His poetic, impressionistic style defied the state dictates of social realism, and his 1966 satire A Report on the Party and the Guests-not in this six-film series but available on DVD-incurred the wrath of the authorities. Forbidden from making films, N<011B>mec went into a 15-year exile that ended only after the Iron Curtain fell. This retrospective begins tonight with his debut feature, Diamonds of the Night (1964), a Holocaust drama about the nightmarish ordeal of two young men who escape a transport train en route to a concentration camp. His contribution to the 1966 anthology film Pearls of the Deep (7 p.m. Sun.), a showcase for young Czechoslovak filmmakers, is gentler, a bittersweet portrait of old age and the harmless lies of an adventurous life. The series also includes his 2009 Ferrari Dino Girl (7 p.m. Tues.), which incorporates documentary footage of the 1968 Soviet invasion that N<011B>mec shot at great personal risk, then smuggled out of the country; 40 years later, he returned to retrace his escape route, interpolating old and new footage of that perilous journey. (Through Wed.) SEAN AXMAKER Northwest Film Forum $6-$11 Monday, March 3, 2014, 7pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Monday, March 3, 2014, 9:40pm
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The Last Bath Made in Seattle in 1973 by a collective associated with the old Apple Theater, this is evidently a home-brewed porno unavailable on video. (NR). Showbox Market $5-$8 Monday, March 3, 2014, 10pm
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The Sprocket Society’s Saturday Secret Matinees The 1949 serial Batman & Robin will be screened in weekly installments. February’s surprise features will have a “tough guys” theme. (NR). Grand Illusion $5-$8 individual/$35-$56 pass Tuesday, March 4, 2014, 2pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Varsity Theatre $5-$8 Tuesday, March 4, 2014, 4:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Tuesday, March 4, 2014, 9:40pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Tuesday, March 4, 2014, 9:40pm
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Woody Allen in the ‘80s Running Friday-Sunday, 1989’s Crimes and Misdemeanors came out a few years before the Mia Farrrow split and scandal. Allen’s reputation was still sterling, and the drama’s dark themes of jealousy and violence actually anticipate much of his work over the next 20 years. (Match Point being the most obvious example.) Anjelica Huston is the inconvenient mistress who needs killing, and Martin Landau the upright doctor who organizes the crime. Meanwhile, Allen is a poor schmuck working for a TV star (Alan Alda), with Farrow the romantic prize between them. Morality, or its absence, is the subject of this dark but occasionally comic picture. Bad deeds go unpunished, while nice guys finish last to arrogant buffoons. Alda explains his commercially successful formula to Allen thusly: “If it bends, it’s funny. If it breaks, it isn’t.” What Crimes illustrates conversely is that morality can more arbitrary and flexible than the rabbis tells us. Sometimes it only bends without consequence, and that can be tragic. (Allen’s 1988 drama Another Woman, with Farrow and Gena Rowlands, runs Sunday-Wednesday; see the GI website for showtimes.) BRIAN MILLER. Varsity Theatre $5-$8 Wednesday, March 5, 2014, 4:30pm
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Harold and Maude Hal Ashby’s 1972 countercultural touchstone may now seem somewhat adrift, since that dominant, Nixon-era culture has disappeared. Suicidal Bud Cort falls for lively Ruth Gordon, each of them learning valuable life lessons along the course of their, ahem, romance. (They don’t actually bridge the 60-year January-December age gap by having sex.) One indication of how times have changed is the score by Cat Stevens, as he was then known. Another is how Cort, then dressed like a dweeb of his era, could almost pass for a Williamsburg hipster today. (PG) BRIAN MILLER. The Paramount $6-$8 Wednesday, March 5, 2014, 9:40pm
