Four movies you should see this weekend instead of “X-Men: Apocalypse”

So, yeah, “X-Men: Apocalypse” is pretty rough. Here are four movies you can see on yet another rainy weekend instead:

The-Lobster-Cannes-Image-1023x575“The Lobster” Greek director Yorgos Lanthimos is going to find a whole new audience with this feature, not to mention perhaps giving Colin Farrell yet another lease on life.  Lanthios’s romantic dystopia, which screened last year at Fantastic Fest, is on its way to be being one of the year’s best regarded films. 

“The Lobster” is playing at select area theaters.


belladonna-of-sadness“Belladonna of Sadness” A gloriously trippy, long-lost anime classic, the 1973 film  “Belladonna of Sadness” is a the final film of the adult-themed Animerama trilogy produced by anime and manga god Osamu Tezuka. Directed by Tezuka’s frequent collaborator Eiichi Yamamoto (“Astro Boy,” “Kimba the White Lion”), “Belladonna” is a tale of assault and revenge, of brutal lords and the Devil. It is not for the faint of heart. Recently, the film was restored using the original 35mm camera negative and sound elements; the new cut contains over eight minutes of new weirdness. As 1970s as it gets and showing at the Alamo Drafthouse Ritz this weekend.


THE THIRD MAN, Joseph Cotten, 1949
This dude right here. (Joseph Cotten in “The Third Man”

“The Third Man” (3 p.m. Saturday, Paramount Theater) and “Citizen Kane” (5 p.m. Saturday, Paramount Theater) Of course these are both films featuring Orson Welles — in the former, he had one of the greatest cameos of all time and the latter is still, yes, still, to this day, one of the best American movies ever made. But you should see them both this weekend and you should see them both for my man Joseph Cotten.

That guy’s early résumé as a brilliant supporting player is unreal: between ’41 and ’43” the guy was in “Citizen Kane” and “The Magnificent Ambersons” for Welles and essayed a hall of fame psychopath  in Hitchcock’s “Shadow of a Doubt.” “The Third Man” was in ’49.  In “Kane,” he is the moral center, the voice of integrity and decency when Kane’s will-to-power starts to overwhelm. In “The Third Man,” he is our POV, a classic noir everyman caught in a chaotic post-war Europe. Never less than a professional, reportedly a very classy guy, Cotten remains one of my all-time favorite screen presences.


Author: Joe Gross

Joe Gross has covered books, movies, music and culture for the American-Statesman since 2002. He tweets at @joegross.

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