Hereditary is a masterpiece that will give you the cold sweats.

It's the last week of the Seattle International Film Festival, and your last chance to take part in the nation's biggest film festival. We've got a full guide to help you choose what to see, as well as a list of the best SIFF movies worth watching this week—but there are also non-SIFF movies to check out, like the subtle indie drama Sollers Point, the colorful sci-fi Hotel Artemis, and the terrifying Hereditary. Follow the links to see complete showtimes, tickets, and trailers, and, if you're looking for even more options, check out our complete movie times listings or our film events calendar.

Note: Movies play from Thursday to Sunday unless otherwise noted.

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SMooCH with Jason Isbell, Fred Armisen, Kim Gordon, Ben Gibbard & More Dec. 5th
FREE! Enjoy incredible live performances and take part giving to support patients and families at Seattle Children's Hospital
JINGLE ALL THE GAY! A Very Virtual Queerantine Christmas Edition
Seattle’s most beloved holigay tradition, streaming direct to your living room this December!

American Animals
Based on a true story about a plot to relieve the library at Kentucky’s Transylvania University of its most valuable tomes (including a drool-worthy Havell edition of Audubon’s Birds of America), director Bart Layton’s first foray into scripted filmmaking is an odd mash-up of his usual documentary style and narrative storytelling. Most of the time, the mixture works. The scripted, acted parts of the movie—which make up its bulk—are fully engrossing, and although Layton’s stylistic decisions are colored by familiar Scorsese and Kubrick influences, more often than not, the result is zippy and fun. Layton is also well aware of the countless heist movies that have preceded this one, and the film’s riffs on the genre add levels of unexpected complexity and sadness. These four young thieves were raised on Hollywood-glorified visions of crime, and American Animals exposes the aimlessness and emptiness at the heart of their caper. NED LANNAMANN
AMC Pacific Place

Avengers: Infinity War
Avengers: Infinity War, Marvel’s attempt to put an exploding bow on 10 years of corporate synergy, is a lurching, ungainly colossus of a blockbuster, with far too many characters and storylines stretching across a series of planets that resemble 1970s prog-rock album covers. The thing is, though, while you’re watching it? None of these elements feel like debits. Sometimes, excess hits the spot. Directors Anthony and Joe Russo deserve a huge amount of credit for simply making sure all of Infinity War’s 5,000 performers hit their marks—but they also find room for most of these characters to get an honest-to-god character moment or two. The Russos aren’t exactly stylists, however, and there’s a flatness to the establishing scenes here that feels similar to Marvel’s first wave of films. A little bit of Ryan Coogler’s Black Panther panache would’ve gone a long way. But once the action kicks in, the ridiculous scope of this thing takes over and sweeps away any quibbles. ANDREW WRIGHT
Various locations

Beast has many sources of needling tension, but the most gripping is the relationship between Moll, who’s clearly outgrown the confines of her childhood home, and her cold, authoritarian mother, who treats her daughter like a wild animal that could lash out without proper discipline. That all changes when Moll falls in love with another outcast, the ruggedly handsome hunter Pascal, who gives her the acceptance she’s never received from her family. But when Pascal is named as a suspect in the island’s serial killings, Moll’s feverish devotion becomes a ring of fire that further isolates her. Soundtracked by an angelic women’s choir, the film’s grotesque—but completely riveting and scarily believable—transformation from fairy tale romance to psychosexual horror is captured with striking, incongruent images, like that of dirt sullying a white couch or stuffed into Moll’s mouth. CIARA DOLAN
Meridian 16

Bombshell: The Hedy Lamarr Story
For years, the Austrian-born Hedy Lamarr was known as the hottest, most sophisticated lady in Tinseltown. But Alexandra Dean’s documentary, using archival footage, testimony, and some recently rediscovered interviews with Lamarr, reveals just how shallowly studio executives viewed their scandalous asset. When still a teenager, Hedy Lamarr was quite possibly the first person to simulate an orgasm onscreen. After fleeing a bad marriage in the Third Reich for the safety of Hollywood, she became frustrated with her pigeonholed status as a European sex symbol. She collaborated on a frequency-hopping torpedo signaling system with the American composer George Antheil. While the Navy ignored their idea, their patent inspired technology essential to secure wifi, bluetooth, and military communications. Bombshell is an essential re-examination of the fascinating woman obscured and cheapened by Hollywood mystique. JOULE ZELMAN
Living Computers Museum & Labs
Thursday only

Deadpool 2
Everything you could possibly want from a sequel to Deadpool is in place: the relentless breaking-down of the fourth wall; Deadpool’s twisted, self-flagellating humor and his snipes at pop culture, the X-Men franchise, characters in the franchise, the death of characters in the franchise. There are perfectly choreographed, partially slow-motion, and hilariously absurd CGI-augmented (and in some cases fully initiated) fight sequences; gratuitous and non-too-serious violence and carnage...Basically, Deadpool spends a lot of time wallowing in his own self-pity, the boundaries of his mutant-ness are tested, and once he figures out what he’s supposed to be doing—keeping a soldier from the future, Cable (Josh Brolin), from killing 14-year-old Russell Collins—the action re-starts in earnest. LEILANI POLK
Various locations

First Reformed
Don’t make the mistake I made at the Telluride Film Festival when I skipped this unexpected magnum opus from the writer of Taxi Driver and Raging Bull. Paul Schrader’s latest film is a return to form. Infused with elements from his Calvinist upbringing and 1950s art-house cinema (check out his newly reissued book Transcendental Style in Film on Bresson, Ozu, and Dreyer), First Reformed revolves around the Reverend Ernst Toller (portrayed with devastating restraint by Ethan Hawke). He is a former military chaplain ministering to a tiny congregation in upstate New York, and he can’t get past the deep grief and spiritual isolation caused by the ill-fated death of his enlisted son. When congregant Mary (Amanda Seyfried) asks him to counsel her troubled (and radical environmentalist) husband, Toller discovers his church’s distinguished financial savior is an amoral corporate polluter, and he becomes obsessed with saving a world he believes is destroying itself. The film also stars Cedric the Entertainer as a mega-church pastor and Toller’s overseer. CARL SPENCE
Meridian 16 & AMC Pacific Place

A Fistful of Dollars
The first installment of Sergio Leone's seminal "Dollars Trilogy" introduces Clint Eastwood as wandering cowboy who sees a chance to make some serious money in a Mexican border town run by warring families. Among the attractions, other than Eastwood's cigar-gripping mouth: Ennio Morricone's score, the plotline adapted from Akira kurosawa's Yojimbo, and the beautiful Spanish and Italian landscapes masquerading as Mexico.
Central Cinema

If you’re not comfortable with the very real possibility that you’ll be drenched in sweat and cowering in the fetal position by the end of Hereditary, perhaps this is one cinematic experience you should skip. But you’d be missing out—writer/director Ari Aster’s feature debut might be one of the most beautiful and nauseating horror movies ever made. Hereditary centers on miniaturist artist Annie Graham (an Oscar-worthy Toni Collette), whose family is rattled by mysterious events following the death of her reclusive mother. Her daughter, tween outcast Charlie (Milly Shapiro), is apparently grieving the hardest of them all—she spends her free time making dolls out of dead pigeons and always looks like she’s got a category five hurricane brewing inside her head. Hereditary is brilliant—the whole thing hums with cold electricity that’s guaranteed to unsettle your soul. Aster gracefully illustrates humanity’s ancient fear of predestined fate in a setting, and with a family unit, that feels deeply rooted in reality. It’s also a powerful reminder of the horror genre’s underutilized potential as a source for empathy—proof that it’s possible to uncover great truths about the human condition, so long as we’re willing to kneel down in the dirt and pick apart the rotting carcasses of our worst fears. Like Hereditary, it’s gross, but it’s worth it. CIARA DOLAN
AMC Pacific Place & AMC Seattle 10

Hotel Artemis
Most genre films have an oddball character or two thrown in for color. "I'd like to see a movie that's just about THEM," one occasionally thinks. Hotel Artemis is that movie, and it's just as good as it sounds. The ensemble of eccentrics on offer are the clientele and staff of the titular hotel—an exquisitely dilapidated art-deco section of an otherwise abandoned building in the middle of a cyberpunk-y, riot-filled, near-future Los Angeles. The staff consists of a fast-talking shut-in mob doctor, the Nurse (Jodie Foster), and her enormous orderly, Everest (Dave Bautista, enormous). The guests, of which there can be only four, include a conflicted bank robber in a beautiful suit, Waikiki (Sterling K. Brown); a glamorous French assassin, Nice (Sofia Boutella, as required by law); and a shitbird arms dealer, Acapulco (Charlie Day). The ostensible plot hooks here are (1) who will fill the Artemis's last bed as the riot approaches, and (2) the imminent arrival of the hotel's ruthless mob boss owner, the Wolf King of Malibu. But Hotel Artemis is more of a loose game of pool than a tightly wound clock, content to bounce its characters off of one another and see what happens. Artemis justifies spending time in a weird, fun world—a world that's usually only briefly visited by conventional protagonists. BEN COLEMAN
AMC Pacific Place

Life of the Party
Life of the Party is more than serviceable—it’s wonderful! Melissa McCarthy plays Deanna, the fortysomething mom of a college senior, and when her husband unceremoniously dumps her for a blonde real-estate agent, she decides to go back to college at the same school as her daughter. The whole plot seemed obvious. Then there was a funny line. And then another. And then another fantastic supporting cast member rolled in with some subtly hilarious shtick. And before I knew it, I was doubled over laughing about... pretty much everything? What the hell? ELINOR JONES
Varsity Theatre

Mad Max: Black & Chrome Edition
When this film came out in May of 2015, I called it the greatest film of its kind ever made. The only thing time has done to alter that assessment is make me wonder if maybe “of its kind” was unnecessarily equivocal. Now, George Miller’s mega-masterpiece of style as substance is presented in a black-and-white print (which Miller says is how he truly envisioned the film) that promises a whole new way of seeing the miracle of its kineticism. SEAN NELSON
Ark Lodge Cinemas
Thursday only

On Chesil Beach
I have two words on why you should see this film: Saoirse Ronan. She is radiant; she is a chameleon-like actor. Maybe you forgot she was in Atonement, The Grand Budapest Hotel, and Loving Vincent. She was even in Lady Bird?! Based on Ian McEwan’s novella and directed by Dominic Cooke, longtime artistic director of the Royal Court Theatre, this is a film about British sex in the 1960s, just before the sexual revolution. On Chesil Beach is the story of Florence and Edward, young university graduates getting married without ever having slept in the same bed together. Billy Howle (Dunkirk) stars as the hapless husband-to-be. When they meet on their wedding bed, things do not go as planned and everything they’ve been keeping together emotionally for their entire lives unravels with devastating consequences. CARL SPENCE
AMC Pacific Place & AMC Seattle 10

A Quiet Place
This rural horror starring director John Krasinski and Emily Blunt is a fun, brawny horror flick with a surprisingly sugary heart and an ingenious gimmick. Human civilization is basically kaput and giant scythe-hand stealth-crab anthropoids roam the earth. They’re blind, but their huge, opalescent inner ears alert them to the presence of prey from miles off. A Quiet Place begins well after the creatures’ conquest. A man, his pregnant partner, and their son and daughter live in silence on an isolated farm, every aspect of their existence adapted to minimize noise: sand-covered trails, sign language, light and smoke signals, even cloth game pieces. But despite their ingenuity, the family must take increasingly drastic measures to protect themselves even as the pre-adolescent daughter, who’s deaf, rebels against her father. Their everyday yet all-important routines are a neat device for ramping up tension during the exposition. At the preview screening, we were all flinching when a lamp upended, shushing a character who cried too loudly. But it’s during the moments of crises—particularly when Blunt starts giving birth at a very inconvenient time—that Krasinski really shows he can twist your nerves in a way that shuts down your critical faculties. JOULE ZELMAN
Meridian 16 & AMC Pacific Place

All hail Ruth Bader Ginsburg. Better known as “RBG” to her fans (and “Bubby” to her grandkids), at 85 years old, the US Supreme Court justice still has a fierce intellect, a duty to the law, and an immense inner and physical strength. Over the long course of her career, RBG repeatedly defended the rights of everyone to live free from bias, but, as Supreme Court correspondent Nina Totenberg says, Ginsburg “quite literally changed life for women.” And she’s still doing it. With intimate interviews with family and friends, as well as RBG herself, the film captures the life of a woman with a heart none of us wants to stop ticking. KATIE HERZOG
Various locations

Shriek! Cruising
Evan J. Peterson and Heather Bartels curate this film and community education series that examines the role of women and minorities in horror films. Have a drink and watch Cruising, William Friedkin (The Exorcist)'s thriller starring Al Pacino as an undercover cop chasing a serial killer in San Francisco's gay BDSM community. This edition of Shriek! has temporarily been renamed Slash! and will be hosted by the Gay Uncle himself, Jeffrey Robert. Discuss whether the film is exploitative and homophobic, or whether it's still great (the Gay Uncle will defend it).
Naked City Brewery & Taphouse
Sunday only

Sollers Point
In what Variety called "an honest song of self-defeat and squandered promise and finding yourself at the end of your youth with nothing to show but a rap sheet and a dog who really belongs to your ex," Matthew Porterfield's low-key drama follows an ex-prisoner returning to his hometown to try to pick up the threads of his life. Despite the influence of family and friends, the protagonist, played by McCaul Lombardi, has run-ins with a vaguely white-powery gang. The film has been criticized for its aimlessness, but it also boasts beautifully observed and acted scenes, particularly with Jim Belushi as the protagonist's father and Zazie Beetz as his ex.
Grand Illusion

Solo: A Star Wars Story
Much like its plot, Solo shouldn’t work. It doesn’t work. It wins anyway. Boy and Girl try to con their way out of their shitty lives. Boy gets away, and vows to return for Girl. Instead, he gets caught up in a freewheeling life of crime with a giant dog, a cranky thief, a well-dressed gambler, and a robot-rights activist droid. That last bit sounds sorta heavy for Star Wars, right? It is. Solo has the tonal consistency of a detuned piano, and it’s constantly throwing around interesting-but-unexamined ideas and characters, which pop up every few minutes and then are never seen again. But for those seeking weightless escapism with enough gags, winks, and in-jokes to fill the Millenium Falcon’s cargo hold, not to mention laboriously Marvel-esque, overly connected worldbuilding? You’re gonna have fun.
Various locations

Three Colors: Red
The last and perhaps the best-loved of Krzysztof Kieślowski's "Colors" trilogy, Red, starring the future César and Étoile d'Or winner Jean-Louis Trintignant (Amour) and Irène Jacob, is a redemptive story about a cynical retired judge who spies on his neighbor and a young model who befriends him after nursing his run-over dog back to health. Roger Ebert called it an "anti-romance," and most critics have called it a masterpiece.
Thursday only

Upgrade is a sort of schlock action sci-fi thriller that’s heavy on the viscera and light on the introspection. Written and directed by Australian Leigh Whannell, who helped write the original Saw short with James Wan, it stars Prometheus’s Logan Marshall-Green as “Grey Trace,” a beardy mechanic who makes a living restoring classic muscle cars even though it’s the future. He doesn’t understand these kids with their bleeping and blorping, their sexting and their self-driving AI cars, and that suits him just fine. Until the day he becomes the victim of a seemingly random act of brutality at the hands of cackling thugs straight out of The Crow. That’s when Eron, a boy genius who’s on the spectrum, makes Grey an offer he can’t refuse: to cure Grey’s disability with a microchip implanted in his spine. A chip that will not only restore him, but just might give him special powers. Upgrade becomes a sort of poor man’s RoboCop meets a basic cable Black Mirror. Whannell doesn’t have Paul Verhoeven’s gift for satire, but he does have a horror director’s facility for visceral gore and suspenseful compositions. VINCE MANCINI
AMC Pacific Place

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Our critics don't recommend these movies, but they're major Hollywood films.

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