Bowie the Goblin King left us about three years ago, but you can still celebrate his birthday by going to see Labyrinth.

The holidays are over and everything feels a bit sleepy. It's a perfect time to nestle in a movie theater and enjoy great new or classic films, like Labyrinth (screening in honor of David Bowie's birthday), Sicilian Ghost Story (an internationally hailed new crime film with a fairy-tale feel), or the thought-provoking documentary The Trouble with Wolves. In addition, the 76th annual Golden Globe Awards will take place this Sunday, so we've noted which nominees you can still see in theaters. Follow the links below to see complete showtimes, tickets, and trailers for all of our critics' picks, and, if you're looking for even more options, check out our film events calendar and complete movie times listings.

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Aquaman
Aquaman is very goofy, and if it was an hour shorter, it would totally be worth your time. As the affably bro-y fishman, Jason Momoa punches CGI monsters and supervillains who wear stupid costumes; he also, in the film’s best moments, flips back his dripping hair and, angling his shirtless torso for maximum gleam, all but winks at the camera as an electric guitar wails. Eagerly and clumsily, Aquaman dispels the joyless grimdark that’s infested other movies based on DC Comics, and director James Wan delivers some genuinely great stuff—a horror-tinged encounter with dagger-toothed wretches from the deep, a psychedelic submarine chase through a fluorescent Atlantis. But he’s hampered by too much plot, dreary politicking that aims for Game of Thrones but lands at Phantom Menace, and a plasticky sheen that cheapens everything from the bad guys’ Power Ranger suits to the digitally de-aged faces of Temuera Morrison, Willem Dafoe, and Nicole Kidman. Aquaman’s super fun when it embraces its silliness—there’s an octopus who plays the drums! there’s an army of cranky crab-men!—but by the end, it just feels bloated and squishy. ERIK HENRIKSEN
Wide release

Ben Is Back
From Academy Award-nominated screenwriter Peter Hedges comes a film about a prodigal son whose return home causes some familial disruption. Will the former addict, played by Lucas Hedges, manage to stay clean? Julia Roberts, playing the boy's mother, was highlighted as one of the best actors of the year by A.O. Scott of the New York Times.
AMC Pacific Place

*Bohemian Rhapsody
I heart Queen. The song this film is named for was on the soundtrack of my youth. But early reactions to the film biopic (that’s more about Freddie Mercury than the British rock band he led) have been mixed to bad. The New York Times’ Kyle Buchanan tweeted that Bohemian Rhapsody “is a glorified Wikipedia entry but Rami Malek plays Freddie Mercury (and wears his wonderful costumes) with incredible gusto.” Our own Chase Burns was not a fan at all. ("The 15-minute long shit I took during the middle of the movie was more nuanced than the straight-washed hagiography peddled in that movie theater.") In sum, enter at your own risk. LEILANI POLK
Meridian 16 & Thornton Place
*Golden Globe nominations:
Best Motion Picture - Drama
Best Actor in a Motion Picture - Drama (Rami Malek)

Bumblebee
Here's a question prompted by the last 30 years of Transformers movies: "Is it even possible to make a good movie out of this shit?" Bumblebee is the answer, and it's a legitimately good one. Nothing about it ever threatens to edge into "great" territory, but it's winsome, earnest and good-hearted, and that's more than enough to make it easily the best movie in the series. The story is largely unimportant—alien-robot puppy-car has to stop a robot-alien car-plane and a helicopter-car alien-robot (voiced by Angela Bassett and Justin Theroux) from Skyping the Decepticons to come burn Earth to a cinder—but most of what works in Bumblebee works on a character level, not a plot one. The novelty of genuinely liking a Transformers movie for its characters (!) might wear off pretty soon, but I'm going to enjoy it while it lasts. BOBBY ROBERTS
Various locations

*The Favourite
Greek director Yorgos Lanthimos knows how to get under the skin of emotions and situations in a way that’s surreal, but it makes his observations feel closer to actual truth. The Favourite is a historical period piece that pulls less heady tricks than his previous efforts, its focus on the relationship between two cousins (played by Rachel Weisz and Emma Stone) vying for the favor of Olivia Colman’s sickly Queen Anne in early 18th century England. The actresses churn out incredible performances, hysterically and humorously jockeying for control over each other, the palace, and themselves. Lanthimos still manages to throw in a few strange elements, like the use of a fish eye camera lens and silly dancing sequences, but in a way, it only heightens the characters’ believability. JASMYNE KEIMIG
Various locations
SIFF Cinema Egyptian
*Golden Globe nominations:
Best Motion Picture - Musical or Comedy
Best Actress in a Motion Picture – Musical or Comedy (Olivia Colman)
Best Actress in a Supporting role (Emma Stone and Rachel Weisz)

Gary Winogrand: All Things Are Photographable
American street photographer Garry Winogrand didn't consider himself to be an artist—at least, not at the beginning of his career. He was a photographer, a job that, in the early 1960s, was more of a laborer. Photographing a street moment was like catching a fish. Each day, obsessively, Winogrand would burn through clumsy rolls of film, clicking past busy New Yorkers on the street and taking their pictures. Getting his shots required athleticism; developing his films took patience. It was a blue-collar craft, not an art, according to a new "American Masters" documentary about his life, Garry Winogrand: All Things are Photographable. Director Sasha Waters Freyer gets the biography right. Freyer lets Winogrand be complicated, contradictory, and surprisingly controversial, but the clear lesson is how Winogrand's best photographs turned pedestrian chaos into dance. CHASE BURNS
SIFF Film Center
Friday–Sunday

*Green Book
Green Book tells the supposedly true story of a Black jazz pianist, Dr. Don Shirley (Mahershala Ali), and his white driver, Tony Lip (Viggo Mortensen), as they go on a concert tour through the segregated South in 1962. Although they’re both from New York, they’re from entirely different worlds: Shirley moves through the rarified air of highbrow culture. Tony, on the other hand, is an Italian American stereotype made sentient, a “whattsamattayou” tough guy with a tenderly soft underbelly. Green Book’s biggest red flag is that it’s essentially another Driving Miss Daisy story about how to solve racism in three convenient acts. But the movie’s really nice, and it’s hard to get too mad at it. Ali and Mortensen are both awfully good, and the script, for all its familiarity, is kind of comforting in its shtick-y predictability. NED LANNAMANN
Various locations
*Golden Globe nominations:
Best Motion Picture – Musical or Comedy
Best Actor in a Motion Picture – Musical or Comedy (Viggo Mortensen)
Best Actor in a Supporting Role (Mahershala Ali)
Best Director (Peter Farrelly)
Best Screenplay (Peter Farrelly, Nick Vallelonga, Brian Currie)

*If Beale Street Could Talk
The first English-language film adaptation of a James Baldwin novel, the Barry Jenkins–helmed If Beale Street Could Talk is set in 1970s Harlem. It follows the story of Fonny (Stephan James) and Tish (KiKi Layne), a young and deeply in love black couple torn apart after Fonny is falsely accused of raping a woman and thrown in jail. After learning that she's pregnant, Tish and her family race to clear Fonny's name and get him out of prison before the baby is born so their life together can continue. Okay, yes, I followed the story, and yes, I got teary-eyed and enraged at the appropriate moments. But as I made my way out of the Regal Meridian, I was thinking not about the movie I'd spent a good part of my afternoon watching but about my fucking groceries. Not love, not the carceral state, not actor Stephan James wearing nothing but his boxers, not the souls of black folk, but whether the cucumber in the back of my fridge had spoiled and if I'd need to buy another one. As a Baldwin fan and a Jenkins fan, it seems almost sacrilegious to admit to being unmoved, or worse, bored, by their work—this pairing should be a slam dunk. And although the film is beautifully shot and filled with great performances, ultimately If Beale Street Could Talk lacks that deep gut punch that makes a movie stick. JASMYNE KEIMIG
Various locations
*Golden Globe nominations:
Best Motion Picture – Drama
Best Supporting Actress (Regina King)

Labyrinth
It’s looking like we’re never going to stop mourning and celebrating David Bowie’s life and art. And why should we? They brought/bring too much joy to quit now. These days, we need all the spacey, upliftingly melancholy folk, glammed-up, funked-up rock, Eno-assisted dirges, graying-around-the-temples drum & bass, etc., that we can stuff into our beleaguered earholes. (The paranoia-inducing “Panic in Detroit” will never cease being my anthem.) Central Cinema brings Jim Henson’s 1986 musical dark fantasy Labyrinth (starring Bowie as the Goblin King) back to the big screen for a run of showings. DAVE SEGAL
Central Cinema
Friday–Sunday

*Mary Poppins Returns
Undisputed, inarguable fact: Emily Blunt is an international treasure. If the makers of Disney’s Mary Poppins Returns did nothing else right, the casting of Blunt as the “practically perfect” magical nanny was a stroke of inspired genius. Unfortunately, it’s a fool’s game to try to force lightning to strike in the same place twice, which is why Blunt’s performance—which is easily equal to that of the great Julie Andrews—is the best thing about Mary Poppins Returns. That isn’t to say the film is a poorly considered waste of time. The story of a now grown-up Michael Banks (played by an excellent and heartbreaking Ben Whishaw), who’s raising his three children (played by bland bars of soap) following the death of his wife while desperately trying to hang on to his childhood home adds an affecting layer not seen in the original. The problem lies in slavishly trying to re-create something that’s practically perfect—if one aspect isn’t right, magic just ain’t gonna happen. WM. STEVEN HUMPHREY
Various locations
*Golden Globe nominations:
Best Motion Picture – Musical or Comedy
Best Actress in a Motion Picture – Musical or Comedy (Emily Blunt)
Best Actor in a Musical or Comedy (Lin-Manuel Miranda)

Mary Queen of Scots
Mary Queen of Scots is the latest effort to bring 16th-century British historical drama into the millennial age, and for better and worse, it bears many of the hallmarks of such an effort: It's got two legitimate movie stars at its core, with Saoirse Ronan as the titular monarch and Margot Robbie as her cousin Elizabeth I. Maybe it's just Westeros withdrawal talking, but I got a consistent sense that Mary and Elizabeth's rivalry compares to the one between Daenerys and Cersei on Game of Thrones. Mary, despite (or because of?) her Catholicism is the warmer, more progressive ruler, while the famously virginal, always tense Elizabeth, pox-afflicted and slathered in white face paint, resembles no one so much as a meth-addicted Harley Quinn in RenFaire garb. Toss in some hipster-worthy facial hair, a dollop of rough sex, and some nontraditional casting, and, even without dragons, Mary Queen of Scots should help tide you over until Game of Thrones returns in April. MARC MOHAN
Meridian 16 & AMC Seattle 10

Mississippi Records American Tour 2019
Portland’s Mississippi Records is one of the finest music retailers in the Northwest, as well as being a label that excels in the excavation of phenomenal old and not-so-old recordings from around the globe. On this night, owner Eric Isaacson will present A Cosmic and Earthly History of Recorded Music According to Mississippi Records, which, I imagine, will serve as a highlight reel for its fascinating discography (it includes releases by Philip Cohran, Jessie Mae Hemphill, and Abner Jay). Also on tap: director Cyrus Moussavi’s short films depicting musicians from around the world, a DJ set, and a wide-ranging audiovisual lecture by Isaacson. DAVE SEGAL
Northwest Film Forum
Saturday only

On Her Shoulders
Filmmaker Alexandria Bombach is behind this documentary about Yazidi genocide survivor Nadia Murad, who was taken prisoner by ISIS at age 19, while upwards of 600 fellow villagers (including six of her brothers and stepbrothers) were rounded up and killed. She was forced into slavery, along with 6,700 Yazidi women, though she ultimately escaped and has since become an outspoken activist and champion of her people, sharing her story and bringing awareness to the Northern Iraqi plight. It’s a heavy burden to bear—hence the title of the doc— but one that has earned her recognition: In 2018, she and Denis Mukwege were jointly awarded the Nobel Peace Prize for “their efforts to end the use of sexual violence as a weapon of war and armed conflict.” LEILANI POLK
Northwest Film Forum
Friday–Sunday

On the Basis of Sex
On the Basis of Sex is a fictionalized telling of Supreme Court justice Ruth Bader Ginsburg’s time attending law school, teaching at Columbia University, and then trying some of her early game-changing cases. That’s one heck of a premise for a film, so I hate to write the following: It is not very good. Okay, it’s fine. It wanted to be great, but it’s corny and just... bleh. As a look at the revolutionary life of a powerful woman, On the Basis of Sex pales in comparison to the superior documentary RBG. Ginsburg is appreciated, and she will never not be cool. But that doesn’t make this movie good. Ginsburg’s life is one of those great examples of real life being better than fiction. If you need to spend two hours at the Church of Ruth, On the Basis of Sex isn’t the best place to worship. ELINOR JONES
AMC Pacific Place & Thornton Place

Pan's Labyrinth
Pan's Labyrinth picks up scraps and notions from scattered fairy tales—fear of sexual maturity, thirst for rules and the righteous urge to subvert them, doubtful reconciliation with death—and weaves them into an original fantasy of furious power. After suffering through the many "fractured" adaptations that neuter their source material in the guise of updating it, I was beginning to worry that the primeval richness of fairy tales would have to be reserved for theater. Pan's Labyrinth chalked out an alternate route, and proved me wrong. ANNIE WAGNER
Central Cinema
Friday–Sunday

*Ralph Breaks the Internet
The sequel to Wreck-It Ralph is Disney's strangely savvy and grown-up (but still fun-for-kids) take on the viruses, ads, social media networks, videos, and snake pits of idiocy on the web. Charles Pulliam-Moore of i09 wrote, "In its accurate depiction of the highs and lows the internet has to offer, Ralph Breaks the Internet also casually, and perhaps unavoidably, draws attention to something else about the ever-flattening global culture we’re all swimming in—and how Disney owns the rights to way, way too much of it."
Various locations
*Golden Globe nomination:
Best Animated Film

Seattle Arabian Nights 2019
Seattle Arabian Nights Festival shows short films from around the globe—from Uzbekistan to Iran to Lebanon—that shed light on the art and diversity of the Arab world. The program includes Shokir Kholikov's "Tea," Arastoo Mafakheri's "White House," Rami Al Rabih's "The Dance," and many others.
Northwest Film Forum
Saturday only

*Shoplifters
The family in Shoplifters lives in a small home in some forgotten quarter of Tokyo. The father is unable to work because of an accident at a construction site. The mother was laid off from a crummy job at a factory. The mother's sister works in the sex industry. The children shoplift to make ends meet. The family's only sure source of income is the grandmother's pension transferred to her from her dead husband. (The grandmother also has a taste for gambling.) One day, the family adopts a stranger—a girl from an abusive home. She is a runaway. She joins the family and soon also learns the art of shoplifting. There is a good reason why Shoplifters won the Palme d'Or at this year's Cannes Film Festival. It is a carefully and beautifully crafted work that appears to be about one thing (the strong bonds of family life), but is really about something else—the way a city forces us to invent our lives. CHARLES MUDEDE
SIFF Cinema Uptown & AMC Seattle 10
*Golden Globe nomination:
Best Motion Picture – Foreign Language

Sicilian Ghost Story
The film, which received a 10-minute standing ovation at last year's Cannes Film Festival, and is set in the mid-1990s, is really about a 12-year-old girl, Luna (Julia Jedlikowska), who falls in love with a 13-year-old boy, Giuseppe (Gaetano Fernandez). The girl comes from a middle-class family. The boy comes from an upper-class family. Then he disappears. He stops coming to school or riding his dark horse near the Sicilian village. Where is he? Luna loses her mind looking and longing for him. Her heart is broken. She throws herself into a lake. But there is more to the story. The missing boy's father is tied to the Mafia. And so, on the surface, Sicilian Ghost Story is just another crime movie. But the work was filmed not like a thriller but like a terrifying fairy tale. It is the fairy-tale mood that makes this movie special. There is the old and twisted tree deep in the woods, where all that shines is a sinister sun. There are the pagan ruins by the sea with all of their monster-sized bones and long-forgotten dead. There is the wizard-like man fucking the witch-like woman in a crumbling house that has a basement filled with funereal water. Even the girl's mother seems evil, emerging sometimes from a sauna like a bride of Satan emerging from a room in hell. CHARLES MUDEDE
Grand Illusion
Friday–Sunday

*Spider-Man: Into the Spider-verse
Mashing up the bombast of Marvel with the glory days of Pixar, Spider-Verse feels decidedly different—funnier, weirder, more daring—than most American animated movies. This is almost a meta, post-modern take on Spider-Man: Instead of being all about Peter Parker, Spider-Verse stars Miles Morales (excellently voiced by Shameik Moore), a kid who also gets bit by a creepy spider and also gets creepy spider-powers. But Miles—a Afro-Latino teenager who, for all his cleverness and heart, feels out of place at his fancy Brooklyn school—not only has a different perspective on the whole "great power, great responsibility" thing, but has his own obstacles to becoming a hero. Luckily for Miles, a whole slew of other spider-people from alternate dimensions show up to help him out. This is a big, fun blockbuster, but it's also the rare big, fun blockbuster that dares to have a strong point of view and a fresh, exciting personality. As Spider-Verse dazzles and twists, thumping to a hip-hop soundtrack and glimmering with every color in the universe, it captures the thrill, smarts, and irreverence that mark Spider-Man's best stories. ERIK HENRIKSEN
Various locations
*Golden Globe nomination:
Best Animated Film

The Trouble with Wolves
This documentary is mostly set in Montana and concerns the growing conflict between ranchers (capitalists) and wolves (nature). The wolves were reintroduced to Yellowstone National Park about 20 years ago to balance the ecosystem. But nature cannot be contained. The wolf packs increased, and they began hunting and killing cattle. The ranchers hate the wolves because they are literally eating their profits. What side should you take? Capitalism or nature? CHARLES MUDEDE
Northwest Film Forum
Friday–Sunday

*Vice
A damning, decades-spanning portrait of former Vice President Dick Cheney, Vice is a far cry from the genial comedies Adam McKay used to make, like Anchorman and Step Brothers. Instead, it’s an angry, messy, overbearing, and frequently brilliant film—one that's indulgent in ways that are simultaneously admirable and irritating. At worst, it feels like a mashup of Oliver Stone's and Michael Moore’s worst tendencies. At its best, though, Vice is an elaborate juggling act of ideas and techniques, including broad comedy, documentary footage, propaganda, fourth-wall-busting, vicious satire, expository narration, and reworked Shakespeare. It’s impressive. It’s also exhausting. NED LANNAMANN
Various locations
*Golden Globe nominations:
Best Motion Picture – Musical or Comedy
Best Actress in a Supporting Role (Amy Adams)
Best Actor in a Supporting Role (Sam Rockwell)
Best Director (Adam McKay
)

Also Playing:
Our critics don't recommend these movies, but you might like to know about them anyway.

Dr. Seuss's The Grinch

Escape Room

Holmes and Watson

The House That Jack Built

The Mule

Second Act

Welcome to Marwen

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