Author: Amy Diaz

Eternals (PG-13)

A new group of superheroes assemble in Eternals, a movie introducing a whole new part of the Marvel Cinematic Universe.

And, woo-boy, does this whole new MCU ride come with a lot of backstory and explanation.

The Eternals are super-beings sent to Earth: Sersi (Gemma Chan), Ikaris (Richard Madden), Thena (Angelina Jolie), Kingo (Kumail Nanjiani), Sprite (Lia McHugh), Phastos (Brian Tyree Henry), Makkari (Lauren Ridloff), Druig (Barry Keoghan) and Gilgamesh (Don Lee). They are led by Ajak (Salma Hayak) and they’ve been sent on their Earthly mission by Arishem (voiced by David Kaye), who is the leader of the Celestials. What is a Celestial, you ask, or, heck, what exactly is an Eternal? These characters seem like a work-around for saying “God” and “angels” but, roughly, Celestials are large god-like creatures and Eternals are the angel-ish beings that serve them.

The Eternals arrive on Earth some 5,000 years ago to hunt the Deviants, which look sort of like giant dog-reptile hybrids, if those creatures were made of Play-Doh and glow-in-the-dark necklaces. Deviants somehow travel throughout the U of the MCU and seem primarily motivated by the desire to eat humans (or, I guess, whatever is the dominant being on a planet). Arishem has sent his Eternals team to Earth to kill the Deviants and it takes these supernatural, all-powerful beings from the dawn of human history until 1521 to get them all. And then, having fulfilled their task, they just sorta wait around on Earth to be reassigned, living through the back half of the last millennium, not getting involved in humanity’s bad decisions and also not stepping in during the various Avenger-repelled threats to the planet. While their names and some of their stories are woven into human mythology, they’ve never introduced themselves to any other Marvel characters, except maybe Odin and a very young Thor.

In the present day, these Eternals live in various locations across Earth, not communicating much with each other, and experiencing different levels of interaction with humanity. When we catch up with Sersi, she’s a teacher living in London and dating fellow academic Dane Whitman (Kit Harrington), who openly wonders if she’s a wizard, like Dr. Strange. (In this post-Blip world, it seems the Eternals could probably be somewhat more open with their whole situation.)

Her “just an ordinary hot-lady science teacher” cover is blown when a Deviant, the first she’s seen in hundreds of years, shows up and she and Sprite fight it off, with an assist from Ikaris (Sersi’s ex) who shows up all laser eyes and power-of-flight.

The appearance of a Deviant after all these years — and one who seems particularly strong — plus a recent worldwide earthquake lead Sersi, Ikaris and Sprite to search for the other Eternals and try to convince them to saddle up to save humanity.

Ever cleaned up your house right before company gets there? This isn’t a “put things away neatly” clean up, this is a “throw everything into a laundry basket and jam it in a closet” clean up. Then, later, when you pull out the laundry basket you find just a mountain of Stuff: unmatched socks, markers, random Legos, a box of Cheez-Its, a magazine from four months ago, one shoe, at least three important pieces of mail, that thing you were looking for Monday. On the bright side: You find the hoodie you were wearing two weeks ago and it has an unexpected $20 bill in the pocket. Less good: You find your electric bill and it was due yesterday. That is the experience of watching Eternals: two hours and 37 minutes crammed with a lotta Stuff — some of it good, some of it annoying, some of it just random.

In the “unexpected $20” category? There are visual elements — scenes, some of the CGI, some of the costumes and the way Eternals-related visuals are blended into real-world mythology — that are very pretty and grand in that “I am watching a Marvel movie on the big screen” kind of way.

The gang of Eternals includes some very fun characters, specifically Kingo, who has spent the 20th and 21st centuries claiming to be successive generations of a famous Bollywood acting family. He has a sidekick, Karun (Harish Patel), who knows Kingo’s real identity and is helping him shoot a documentary about the Eternals. Kingo is the character who feels most like the heir to the swagger of “I am Iron Man”-era Tony Stark.

Druig’s superpower includes mind control and he’s essentially made himself into a cult leader — seemingly, a benevolent one. It’s an interesting way to examine the “why don’t the Eternals actively help humanity” question but the movie doesn’t spend a lot of time with him.

Two other solid characters we don’t get enough of: Phastos, who has most embraced having a human life and has the movie’s most genuine-seeming romance; and Makkari, who communicates via sign language, which the movie integrates into the story seamlessly, and maybe has a potential romance of her own.

The annoying? As mentioned, this movie is two hours and 37 minutes long and ultimately it doesn’t even give us a complete story. (There are “stay tuned until next time”-y credits scenes, two of them, and they’re worth sticking around for.)

Also as mentioned, there are So Many characters here. It’s one thing to have everybody who’s ever appeared in a Marvel movie show up in the big finale of End Game. Here, we have 10 potential lead or near-lead characters that we’re meeting for the first time. That’s a lot of people to learn their personalities and abilities and relationships enough that their scenes and fights (and possibility of deaths) have some resonance. Often we’re focused on Sersi, Ikarus and Sprite — who are fine but aren’t the most compelling characters of the group. And even though they are arguably the leads, we can’t really get to know them because there is just so much story to get through, so many people to include in each scene.

This movie also jams in a lot more romances than you normally get in a Marvel movie. There are at least two love triangles, three active couples and a few more people who seem to be crushing on each other. Yet most of these romances are slight and bloodless, even by Marvel standards.

As for the random: Arishem and the other Celestials look like giant knock-off Transformers. It heightens the unacknowledged goofiness of some of the Celestials-stuff in this movie.

Eternals is the first Marvel entry in a while that feels more like a scene setting for a more interesting movie than it does a fun time in its own right. I liked some of these characters and want to get to know them more — I just wish I could have done it in this movie. C+

Rated PG-13 for fantasy violence and action, some language and brief sexuality, according to the MPA on filmratings.com. Directed by Chloé Zhao with a screenplay by Chloé Zhao & Patrick Burleigh and Ryan Firpo & Kaz Firpo, Eternals is two hours and 37 minutes long and distributed, only in theaters at the moment, by Walt Disney Studios Motion Pictures.

The French Dispatch (R)

Flip through the very Wes Anderson pages of a magazine produced by American expats living in Ennui, France, in The French Dispatch, a very pretty, mostly tasty pastry of a movie.

Or, if A+ lovely, B- yummy petit fours isn’t your thing, think of The French Dispatch as a wind-up music box with multiple compartments and intricate figurines and a slightly tinny song. In both cases, the imperfection is almost part of the charm, like the worn corners of a used coffee table book or a vintage jacket with an artful fading.

The French Dispatch, we’re told in matter-of-fact narration that’s as Wes Anderson as the symmetrical staging and the rhythm of the dialogue, is a weekly magazine that grew out of a Kansas newspaper’s Sunday supplement and that paper’s owner’s son’s desire not to return to Kansas. That man, Arthur Howitzer Jr. (Bill Murray), is indulgent toward his writers, prickly with everyone else, and lives by two pieces of advice: “no crying” and “just try to make it sound like you wrote it that way on purpose.”

The movie, which brings to life an issue of the magazine in some fantastical 1960s France where Ennui is an almost Paris-like city, with strikes and student-built barricades and a river named Blasé, features an enormous cast telling four main stories that are presented as articles in the magazine. Making an appearance, with amounts of screentime varying from minutes to enough to probably justify a supporting actor campaign, are: Owen Wilson, Tilda Swinton, Benicio del Toro, Adrian Brody, Léa Seydoux, Frances McDormand, Timothée Chalamet, Mathieu Amalric and Liev Schreiber. What you might call bit parts are filled in by Jason Schwartzman, Elisabeth Moss, Henry Winkler, Bob Balaban, Christoph Waltz, Ed Norton, Willem Dafoe and Saoirse Ronan. My pick for standout actor here would be Jeffrey Wright, playing Roebuck Wright, the magazine’s food writer, who tells the story of his piece while on a very late 1960s talk show.

Melancholy short stories told joyfully and stylishly is how I would describe this odd creation. I don’t know if it’s “good” per se, but it’s definitely enjoyable. I laughed often and felt great affection for the “Mad Men-era reproduction cigarette case holding thick matte business cards” quality of the whole thing. Here’s how you know if this movie is for you: If I said the words “typewriter for sale” and your first thought is “how much?” or “does it come with typewriter ribbon?” or “sold!” this movie is probably for you. It loves typewriters and paper tacked to things and books as a visual element and phones with rotary dials. If when I said “typewriter for sale” you thought “why?” or even “a what?” and if the words “loving mid-century affectation” hold absolutely no charm for you, then — skip. B

Rated R for graphic nudity, some sexual references and language, according to the MPA on filmratings.com. Directed by Wes Anderson, who also wrote the screenplay (with “story by” credits for Anderson & Roman Coppola & Hugo Guinness & Jason Schwartzmann), The French Dispatch is an hour and 48 minutes long and distributed in theaters by Fox Searchlight Pictures.

The Harder They Fall (R)

Two gangs of outlaws face off over money and old grudges in The Harder They Fall, a smart, funny, electric Western buzzing with strong performances and lyrical writing.

The movie starts with two title cards: “While the events of this movie are fictional…” and “These. People. Existed.” — an explanation that is true in the literal sense (the characters are based on real historical people, according to Wikipedia) and serves as what seems like a statement purpose for the movie: to show Black people as part of the history of the West, despite their absence from classic movie Westerns.

After an Inglourious Basterds-type intro set more than a decade before the principal action and then a scene featuring the first of the movie’s many one-on-one quick-draw gunfights, we get a top-notch credit sequence that introduces the main characters and the movie’s rival gangs. Nat Love (Jonathan Majors), a man who saw his family murdered as a child, leads a gang that robs bank robbers. He is also on a mission to hunt down the men responsible for his parents’ slayings. Nat’s team includes Jim Beckworth (RJ Cyler), a gunslinger very protective of his reputation for being the fastest draw, and Bill Pickett (Edi Gathegi) as well as, eventually, Stagecoach Mary (Zazie Beetz), Nat’s saloon-owning ex, and her gunslinger Cuffee (Danielle Deadwyler). Beckworth and Pickett learn they’ve inadvertently stolen money meant for Rufus Buck (Idris Elba), leader of his own gang of thieves and gunslingers including Trudy Smith (the always wonderful Regina King) and reputed fastest-gun Cherokee Bill (Lakeith Stanfield). Rufus Buck has been in prison but is, er, let’s just say, out now. He heads to Redwood City, a town whose future is in question due to the double-dealing of Escoe (Deon Cole), a former associate of Rufus’. Rufus needed the stolen money to shore up his hold on Redwood.

Rufus wants the money Nat stole, Nat wants Rufus — the last living man involved in his parents’ deaths. And then there’s Marshal Bass Reeves (Delroy Lindo), a U.S. Marshal who doesn’t appreciate the terms of the end of Buck’s prison sentence. He is looking to take down Rufus.

The aesthetics of this movie are note-perfect. The look of this movie is crisp — not cartoony, not quite real, but just spot on at all times with a laugh-out-loud bit of set design brilliance in the middle of the movie. The score and soundtrack are equally sharp, with a style that blends hip-hop, reggae, classic Western riffs, gospel and, I don’t know, awesomeness. This movie knows what it wants to be and all the elements of it serve the story and the tone with impressive exactness.

Likewise, The Harder They Fall features spot-on performances. Everybody seems to understand what they’re doing, what the movie needs them to do and how to walk the line between the high theatrics of the action and the dialogue (which has a really lovely quality that balances what you might think of as “Western” with an almost song-lyric-poetic element — all stylized in just the right way) and creating characters with layers and emotional lives. Of course King and Elba are great and fun and great fun but so are Beetz, Majors, Lindo and Stanfield. Everybody makes the most of what the movie gives them.

As we get into the thick of Big Movie Season, The Harder They Fall feels like the kind of movie that could get lost in theatrical releases. But this smart, highly entertaining Western is worth seeking out. A

Rated R for strong violence and language, according to the MPA on filmratings.com. Directed by Jeymes Samuel with a screenplay by Jeymes Samuel and Boaz Yankin, The Harder They Fall is two hours and 10 minutes long and distributed by Netflix, where it is streaming.

FILM

Venues

The Flying Monkey
39 Main St., Plymouth
536-2551, flyingmonkeynh.com

The Music Hall
28 Chestnut St., Portsmouth
436-2400, themusichall.org

Red River Theatres
11 S. Main St., Concord
224-4600, redrivertheatres.org

Wilton Town Hall Theatre
40 Main St., Wilton
wiltontownhalltheatre.com, 654-3456

Shows

• The Big Parade (1925), a silent film with live musical accompaniment by Jeff Rapsis, on Wednesday, Nov. 10, at 6:30 p.m. at the Flying Monkey. Tickets start at $10.

• The Four Horsemen of the Apocalypse (1921), a silent film with live musical accompaniment by Jeff Rapsis, on Thursday, Nov. 11, at 7 p.m. at the Colonial Theatre in Keene (thecolonial.org). Tickets $15 (free for veterans).

• Spencer (R, 2021) screening at Red River Theatres in Concord Friday, Nov. 12, through Sunday, Nov. 14, at 1, 4 & 7 p.m.

• The French Dispatch (R, 2021) screening at Red River Theatres Friday, Nov. 12, through Sunday, Nov. 14, at 1:30, 4:30 & 7:30 p.m.

• Gojira (1954) the Japanese-language kaiju film introducing Godzilla, will screen with subtitles at Wilton Town Hall Theatre on Friday, Nov. 12, and Saturday, Nov. 13, at 7:30 p.m.

• Judgement at Nuremberg (1961) will screen at Wilton Town Hall Theatre on Friday, Nov. 12, and Saturday, Nov. 13, at 7:30 p.m.

• The Littlest Rebel (1935) starring Shirley Temple and Bill “Bojangles” Robinson, will screen at Wilton Town Hall Theatre on Saturday, Nov. 13, at 2 p.m.

• Hot Water (1924) starring Harold Lloyd, a silent film with live musical accompaniment by Jeff Rapsis, on Sunday, Nov. 14, at 2 p.m. at Wilton Town Hall Theatre. Admission free; $10 donation suggested.

• Sunflowers (2021) screening at Red River Theatres in Concord on Wednesday, Nov. 17, at 6 p.m.

• Warren Miller’s Winter Starts Now at The Music Hall, Thursday, Nov. 18, at 7:30 p.m.; Friday, Nov. 19, at 6 and 9 p.m.; Saturday, Nov. 20, at 4 & 7 p.m. Tickets start at $28.

Featured photo: Eternals. Courtesy photo.

Last Night in Soho (R)

A present-day young woman with a romantic view of 1960s London suddenly finds herself traveling there nightly in Last Night in Soho, a not-the-best but not-the-worst ghosty story from director Edgar Wright.

Eloise (Thomasin McKenzie) loves 1960s London fashion and the 1960s music her grandmother Peggy (Rita Tushingham) listens to. Stories of London are also tied up in Eloise’s mom (Aimee Cassettari), who died by suicide when Eloise was little but whom Eloise still appears to communicate with, such as when Eloise sees her smiling mother just before Peggy brings Eloise the letter saying she’s been accepted into a London fashion school.

Peggy doesn’t know that Eloise is still seeing her mom, but she she worries that the stress of the big city will get to Eloise. Eloise does get a little freaked out when the taxi driver’s chatter gets a little too friendly and she doesn’t quite fit in with her roommate at the school dorm, Jocasta (Synnove Karlsen), who instantly establishes herself as a queen bee.

When Eloise sees an ad for a studio apartment, she decides to move out on her own and is, at first, delighted by the space. In addition to an in-the-thick-of-things location, the apartment gives Eloise a psychic connection to a young woman who lived there decades earlier. When Eloise goes to sleep, she finds herself entering the life of Sandie (Anya Taylor-Joy), a blonde with ambitions to be a singer. She goes to swanky clubs, wearing beautiful clothes, and she meets Jack (Matt Smith), a handsome man who offers to help her get gigs. Eloise is quickly enamored with this new life, even if it is somebody else’s that she’s sort of virtual-reality-ing her way into. In the waking world, she buys herself a coat like Sandie’s at a vintage shop, starts designing a dress for a class similar to one of Sandie’s cocktail dresses and even gets Sandie’s haircut. Some of Sandie’s flirting abilities even rub off on Eloise, who is slowly making a friend in classmate John (Michael Ajao).

But then Eloise sees some darker scenes from Sandie’s life and starts to wonder if all of these “ghosts” really are in the past or if there are dangers that have carried into the present — and if a mysterious older man (Terence Stamp) who hangs out at the bar where Eloise works is one of those dangers.

Many of the elements of Last Night in Soho are extremely fun — from Eloise’s whole 1960s mod thing (which reminded me of the 1990s swing revival) to everything about the catty Jocasta character. I like the relationship Eloise has with whatever her abilities are — she just sort of accepts that she is seeing ghosts, but she doesn’t entirely know yet how to interpret what she’s seeing. This character could have seemed extremely daffy and fragile but McKenzie makes her seem more just uncertain and sheltered but also aware of her naivete.

The movie also has a delightful-to-see supporting character, which I won’t spoil except to say I was both happy to get to spend time with this person and then sad when I realized it might be the last new role I see that person in.

Other elements of Last Night in Soho feel underbaked. Sandie’s story builds to high drama, but then it resolves sort of too fast. Am I saying I wished the movie had been longer? No? But maybe added to and then edited down again, with some of the choppier bits of the story smoothed out. B-

Rated R for bloody violence, sexual content, language, brief drug material and brief graphic nudity, according to the MPA on filmratings.com. Directed by Edgar Wright with a screenplay by Edgar Wright & Krysty Wilson-Cairns, Last Night in Soho is an hour and 56 minutes long and distributed by Focus Features.

Army of Thieves (TV-MA)

A group of quirky criminals attempts to crack three of the toughest safes ever created in Army of Thieves, a prequel to Army of the Dead focused on Matthias Schweighöfer’s Dieter.

In this movie, the zombie apocalypse has only just begun in Las Vegas, so while Dieter is worried about zombies and even having nightmares about them, he’s still working his boring job in an idyllic-seeming German town and eating his sad work sandwich under a tiny awning in an alleyway. Then he meets Gwendoline (Nathalie Emmanuel), who has watched his YouTube videos about safe-cracking and believes he just might have the ability to tackle the safes built decades earlier by a man named Hans Wagner. Like the Gotterdammerung, the safe Dieter faces in Army of the Dead, Wagner built three other safes named after parts of Richard Wagner’s Ring Cycle. These safes are supposed to be impossible to crack and if someone tries and fails, the safe is supposed to lock forever.

Gwendoline wants to hit all three safes, which are set to be decommissioned soon. Tens of millions of dollars await all the members of the team if they succeed; those members include hacker Korina (Ruby O. Fee), getaway driver Rolph (Guz Khan) and muscle/crazy guy/Gwendoline’s boyfriend Brad Cage (Stuart Martin). But for Gwendoline and for Dieter, the real prize is in being about to meet the challenge of Wagner’s creations.

For Interpol agent Delacroix (Jonathan Cohen), his grand challenge is finding and catching Gwendoline. He quickly realizes that her plan is to go after all the safes and he is determined to catch her in the act — even though, as his fellow agents point out, there’s this whole zombie apocalypse thing, which might arguably be a bigger deal.

Maybe having absolutely no expectations for this thing after the “good ideas but long and sort of scattered” Army of the Dead helped because I kind of enjoyed this. Not loved it, not “wheeeee!” the whole time, just had some fun, some of the time. As this movie itself points out, the machinations of a heist in a heist movie, with its sleight of hand and misdirection and wigs, is always fun and we get a couple of examples of those in this movie. I also enjoyed the group dynamic. Everybody on this team is some kind of oddball and portrayed as such but with a light touch. Dieter is an excellent “talented dork” character, having gained his criminally useful safe-cracking skills from a love of puzzles and a childhood spent as an outsider.

The performances here also bring a good energy to this endeavor, which is peppy despite an over two-hour runtime. Emmanuel is the movie’s big star; I know her mostly from supporting roles on Game of Thrones and in the Fast and Furious movies but here she shows her ability to really carry off the blend of action, humor and general bad-assery that is needed for an action movie lead. Surely there’s some spy thing, some Marvel movie that can capitalize on this.

Army of Thieves feels like a perfect “let’s just watch something fun” movie that doesn’t require too much attention or brain power and delivers a reasonably good time. B-

Rated TV-MA. Directed by Matthias Schweighöfer with a screenplay by Shay Hatten, Army of Thieves is two hours and nine minutes long and is available on Netflix.

Paranormal Activity: Next of Kin (R)

A young woman makes a documentary about her search for her biological mother in Paranormal Activity: Next of Kin, a universe expansion sidequel/reboot thing.

It also took me a minute to remember that the intentional documentary as setup for a horror film was the premise of 1999’s The Blair Witch Project, not 2007’s original Paranormal Activity, which was largely home video camera footage. Here, Margot (Emily Bader) and her friend Chris (Roland Buck III) are making a documentary about an Amish family that she believes is related to her. Margot was adopted and all she initially knows about her birth mother comes from some hospital security footage showing her leaving baby Margot in a doorway. Now, 25-ish Margot has found Samuel (Henry Ayres-Brown), a 20-something Amish man that 23andMe says is related to her. Samuel, living apart from his family during his rumspringa, agrees to meet up with Margot and travel with Margot and Chris to the Baylor family farm, where Margot can learn more about her mother. The film team is joined by Dale (Dan Lippert), a big doofy sound guy, and a van loaded with equipment.

At first the family, represented by Jacob (Tom Nowicki), who we eventually learn is Margot’s biological grandfather, doesn’t want these outsiders hanging around. But he decides to let them stay and Margot and Chris try to uncover more about Margot’s mother from the fairly tight-lipped community. But along with the usual cultural differences between these filmmaker kids and the Amish farmers, Margot and Chris start to notice oddities — a middle-of-the-night meeting of torch-carrying farmers, odd noises from the supposedly uninhabited attic — that hint at something spookier.

At one point late in the film, Dale and Chris debate whether the Baylor family really is Amish at all, or just using it as a cover. But to what end, Chris asks. And that was kind of my feeling about the whole movie: to what end does the movie make any of the choices it does — from elements as large as the use of the documentary to set the plot in motion to smaller details, like specific creaks and “there was something else in the room” that don’t make much sense once you find out the nature of the Scary Thing.

Especially earlier on, the Paranormal Activity movies did a good job of letting its characters use video technology to freak themselves out; I remember watching (in the second one maybe?) footage of a pool cleaner for a while. Scary pool cleaner footage. Next of Kin feels like it has a lot more “things” happening, not just one small element of spookiness per scene, but the result is that the movie often gets in its own way and doesn’t offer a clear idea of why it’s showing us what it’s showing us. C

Rated R for violence and bloody images and language throughout, according to the MPA on filmratings.com (actually, the rating seems largely swear-word based, with some goriness shoved in at the end). Directed by William Eubank with a screenplay by Christopher Landon, Paranormal Activity: Next of Kin is an hour and 38 minutes long and is distributed by Paramount Pictures on Paramount+.

FILM

Venues

Bank of NH Stage
16 S. Main St., Concord
225-1111, banknhstage.com

The Music Hall
28 Chestnut St., Portsmouth
436-2400, themusichall.org

O’neil Cinemas
24 Calef Hwy., Epping
679-3529, oneilcinemas.com

Red River Theatres
11 S. Main St., Concord
224-4600, redrivertheatres.org

Shows

• A Nightmare on Elm Street (R, 1984) part of the Film Frenzy $5 Classics series at O’neil Cinemas with multiple daily screenings through Thursday, Nov. 4.

• French Dispatch (R, 2021) on Thursday, Nov. 4, at 7 p.m. and Friday, Nov. 5, through Sunday, Nov. 7, at 1:30, 4:30 and 7:30 p.m. at Red River Theatres.

• Spencer (R, 2021) on Thursday, Nov. 4, at 6:30 p.m. and Friday, Nov. 5, through Sunday, Nov. 7, at 1, 4 and 7 p.m. at Red River Theatres in Concord.

• The Bolshoi Ballet — Spartacus, a broadcast presentation captured live, Sunday, Nov. 7, at 12:55 p.m. at the Bank of NH Stage in Concord. Tickets $15.

• The Big Parade (1925), a silent film with live musical accompaniment by Jeff Rapsis, on Thursday, Nov. 10, at 6:30 p.m. at the Flying Monkey. Tickets start at $10.

• Hot Water (1924) starring Harold Lloyd, a silent film with live musical accompaniment by Jeff Rapsis, on Sunday, Nov. 14, at 2 p.m. at Wilton Town Hall Theatre. Admission is free; $10 donation suggested.

• Warren Miller’s Winter Starts Nowat The Music Hall in Portsmouth, Thursday, Nov. 18, at 7:30 p.m.; Friday, Nov. 19, at 6 and 9 p.m.; Saturday, Nov. 20, at 4 & 7 p.m. Tickets start at $28.

• National Theatre Live No Man’s Land,a broadcast of a play from London’s National Theatre, screening at the Bank of NH Stage in Concord on Sunday, Nov. 21, at 12:30 p.m. Tickets cost $15 ($12 for students).

Singin’ in the Rain

See Gene Kelly, Debbie Reynolds, Cyd Charisse and Rita Moreno in 1952’s musical film Singin’ in the Rain on Wednesday, Nov. 10, at 10 a.m. at the Rex Theatre (23 Amherst St. in Manchester; palacetheatre.org, 668-5588), a Senior Movie Mornings screening. Tickets cost $10.

Featured photo: Last Night in Soho. Courtesy photo.