Author: Amy Diaz

The Many Saints of Newark (R)

A young Tony Soprano is mentored by Dickie Moltisanti in “this thing of ours” in The Many Saints of Newark, a Sopranos prequel/little fan service treat.

Dickie (Alessandro Nivola) is the father of Christopher (as an adult, Michael Imperioli), who was the guy The Sopranos-era Tony Soprano took under his wing in fatherly fashion. Here, we see Christopher’s father serve that role for Tony (William Ludwig as a kid; Michael Gandolfini, son of the late James Gandolfini, as a teen), particularly when his own father, Johnny Soprano (Jon Bernthal), is away in prison. Tony frequently has an easier time relating to Dickie than to his own mother, Livia (Vera Farmiga, going all out), who is, you’ll recall, A Lot.

By the way, that previous paragraph, with all the “this guy is that guy’s father and also related to this other guy” is how this movie feels from the very beginning. In the movie’s opening scene, which sets up the movie’s narration, there was a piece of information that caused me to press pause and then have a whole “wait, he had a kid?” discussion. The Many Saints of Newark often feels like an extended conversation about second and third cousins, where you keep forgetting who everybody is and how they’re connected.

The movie actually gets going in part with Christopher’s grandfather, Dickie’s father, Hollywood Dick (Ray Liotta) returning from Italy with an extremely young new wife, Giuseppina (Michela Di Rossi). Dickie — who appears to still live in the family home with his own wife, Joanne (Gabriella Piazza) — instantly has the hots for Giuseppina and also there’s all sorts of psychological weirdness about his father saying she’s going to have his second set of children while Dickie and Joanne struggle to conceive their own child and some residual anger from Dickie because of his father’s physical abuse (toward him as a kid, toward his mother and now toward Giuseppina). Dickie, we learn, also has a temper.

Through it all, kid Tony seems to go to great lengths to be around Dickie, whose occupation seems to involve the numbers racket and stolen goods. Tony gets in his own small-time trouble: as a kid he gets kicked out of school for setting up a little-kid numbers racket, as a teen he gets busted for buying a stolen test. But there is part of him that seems to want what somebody at some point calls a civilian life — he plays football, he dreams of college.

I’m not saying I want this but there is a version of this project that isn’t a two-hour movie but a three-season HBO show, where side plots like the ambitions of Giuseppina or everything to do with Harold McBrayer (Leslie Odum Jr.), a man whom we first meet working for Dickie but who wants to strike out on his own, get richer development. McBrayer in particular is an interesting character — initially collecting cash for Dickie but deciding to go out on his own: a numbers-running operation in the Black community controlled by him and not the Italian mob. His story intersects with the Newark riots and real-life gangster Frank Lucas. But as presented here, a lot of his story feels kind of stuffed in. “Here are some ideas” is the feel of McBrayer and Giuseppina’s arcs but then the action of the movie is really centered on Dickie. And, my attention was usually on Tony and his growing into the guy we remember from the TV show and all the familiar names associated with that. You know how the post-credits scene of a superhero movie will show a costumed character or mention a first and last name and you know that you’re supposed to know who this person is and understand their significance? That is sort of how this movie is, but for the whole movie (and I say this as someone who watched the entire run of The Sopranos). As was pointed out to me by my movie night companion, a lot of those “hey, that’s Silvio Dante” or “they just mentioned Hesh” aren’t important for the plot of this specific movie. But because this is a Sopranos property, you can’t help focusing on these elements.

All of that said, this movie was fun to watch, even if I seemed to watch it in 10-minute chunks, pausing for frequent “is that the guy who”-type conversations. There are truly horrifying moments, truly funny moments and some solid bits of acting, including from Farmiga and Gandolfini. And like a family gathering full of third cousins and unplaceable children (a nephew? By marriage? Which marriage to whom?), The Many Saints of Newark feels overstuffed and even overwhelming at times but also familiar and enjoyable to spend time with in this limited setting. The movie displays some quality construction and dialogue and reminds you just what a standout, even after the ensuing decades of peak TV, The Sopranos really was. B-

Rated R for strong violence, pervasive language, sexual content and some nudity, according to the MPA on filmratings.com. Directed by Alan Taylor with a screenplay by David Chase & Lawrence Konner, The Many Saints of Newark is two hours long and is distributed in theaters by Warner Bros. Pictures and is on HBO Max until Oct. 31.

Venom: Let There Be Carnage (PG-13)

The alien symbiote/human goofball partnership that lives inside Eddie Brock accidentally spawns a bigger, redder creature in Venom: Let There Be Carnage.

And, as you may have already heard, there is a mid-credits scene in this movie. On balance, I’d say it’s worth waiting for because you already put on your outside clothes to come to the movie theater anyway and it is a fun little teaser for [redacted].

If you ever watched the late great one-season ABC show Stumptown, you’ll remember the somewhat ratty car that lead character Dex drove — it had a broken tape player that would on-the-nose-ily turn on and it always looked like it was one too-fast turn from coming completely apart. Eddie Brock (Tom Hardy) feels like the human version of this — just barely keeping himself together. And, in truth, that’s what he’s often doing: just barely keeping Venom, the evil-Spider-Man-looking alien symbiote who lives inside him, from popping out and going on some kind of destructive rampage. Eddie talks back to the pestering Venom voice (that only he can hear) who seems to spend a lot of time asking to eat either people or chocolate, or complaining about Eddie’s inability to get back together with his former fiancee Anne (Michelle Williams), who is now dating Dr. Dan (Reid Scott).

But Venom is useful too. When Eddie interviews serial killer Cletus Kasady (Woody Harrelson), it’s Venom who notices some of the drawings on Cletus’ wall and helps Eddie figure out that one of them points to the location of Cletus’ victims’ bodies. This earns Eddie some acclaim — and Cletus’ rage, as the appearance of all the new bodies has the state of California decide to make an exception to its “no more executions” rule just for Cletus. During his final meeting with Eddie, though, Cletus provokes Venom and bites Eddie, getting just enough of that weird alien symbiote-infected blood to grow his own strange creature inside himself, which I think eventually calls itself Carnage.

Unfortunately for Eddie (and everyone else in the city), by the time Cletus/Carnage have broken out of San Quentin, Eddie and Venom have, er, broken up. Eddie doesn’t like how Venom causes thoughtless havoc in Eddie’s life and Venom isn’t cool with how Eddie keeps him from eating human brains (they had bought chickens for Venom to eat but he ended up naming them — Sonny and Cher — and is now too attached).

Cletus and Carnage and Cletus’ long-lost girlfriend Frances (Naomie Harris) — this movie’s villains — are very “meh, whatever” villains. (Ditto a character called Detective Mulligan played by Stephen Graham, who by the end of the movie is less of a character and more just comic book homework.) Is Harrelson appropriately crazy? Sure, he’s pretty good at that kind of character. But I found myself wishing we could just cool it with Cletus and his motivations and his backstory and spend more time with Tom Hardy and his Eddie/Venom duo. Hardy seems to be having a really good time with this/these character/s (Hardy even has a story-by credit). Obviously CGI plays a big part in the look of Venom but the personality seems to come from Hardy letting Eddie be more of a, well, goober and Venom more “immediate reaction of all your worst impulses.” It makes for an overall very watchable, fairly silly — if still quite violent, I was kind of surprised this movie is only a PG-13 — lead character even if everything going on around him is less than thrilling. B-

Rated PG-13 for intense sequences of violence and action, some strong language, disturbing material and suggestive references, according to the MPA on filmratings.com. Directed by Andy Serkis (yes that Andy Serkis) with a screenplay by Kelly Marcel, Venom: Let There Be Carnage is an hour and 37 minutes long and distributed in theaters by Columbia Pictures.

The Addams Family 2 (PG)

The altogether-ooky family hits the road in The Addams Family 2, a rather underwhelming second entry in this rather underwhelming animated adaptation of the Addams Family.

After preteen Wednesday Addams (voice of Chloë Grace Moretz) gets annoyed with her family for showing up to her science fair, dad Gomez (voice of Oscar Isaac) decides he must yank his daughter back into the fold with a family road trip. Mom Morticia (voice of Charlize Theron) and younger kid Pugsley (voice of Javan Walton) load up the family’s camper (which has kind of a steampunk hearse carriage/iron lung appearance) and set out for three weeks, along with Thing, Lurch (voice of Conrad Vernon), Uncle Fester (voice of Nick Kroll) and occasionally Cousin It (voice of Snoop Dog).

Right before the family leaves, though, a lawyer named Mr. Mustela (voice of Wallace Shawn) shows up to inform the Addamses that Wednesday might have been switched at birth and might not actually be an Addams. They laugh it off at first, thinking it’s just Wednesday trying to get out of the family trip, but Mustela follows the Addams family as they travel across the county.

Is Wednesday really not an Addams or does this lawyer and his story have something to do with Wednesday’s science experiment, which involved briefly giving Uncle Fester the intelligence of a Rubik’s Cube-solving octopus? When the science fair sponsor, Curtis Strange (voice of Bill Hader), asked Wednesday for her research, she turned him down, but he doesn’t seem like the type to accept “no.” Also, maybe Fester’s transformation wasn’t as “brief” as originally thought, since he suddenly has an irresistible urge to be near water and one of his arms is looking very cephalopod-like.

There is an off-kilter oddball energy to the 1990s live-action Addams Family movies that is missing here. These Addamses are spooky, sure, in kind of a Halloween decoration way, and Wednesday is still trying to kill her brother Pugsley in a way that felt a little too murderous to have me rushing to show this to my young elementary-aged kids. But there’s a gleeful weirdness that made those movies something I always end up stopping to watch if I flip past them. Here, the Addams-ness is rather muted beneath a very standard “family appreciating each other” tale.

Now, that same factor — fewer electrocutions and babies with knives — might make it more palatable/less nightmare-inducing for, say 8-year-olds and up (whereas I felt the first movie in this series was maybe for more like 10-year-olds and older). So the mushiness that makes it a less interesting Addams movie probably does make it a better kids’ movie — which, of course, kids in the audience is really the whole point of this movie. And the overall look of the film is fun in the way that a lot of spooky themed stuff is fun. I feel like kids who generally enjoy monsters and scary stuff (but still need their scary stuff to be not too scary) will enjoy this. C+

Rated PG for macabre and rude humor, violence and language, according to the MPA on filmratings.com. Directed by Greg Tiernan and Conrad Vernon with a screenplay by Dan Hernandez & Benji Samit and Ben Queen and Susanna Fogel, The Addams Family 2 is an hour and 33 minutes long and distributed by United Artists Releasing. It is in theaters and available via Video On Demand.

FILM

Venues

AMC Londonderry
16 Orchard View Dr., Londonderry
amctheatres.com

Cinemark Rockingham Park 12
15 Mall Road, Salem

Chunky’s Cinema Pub
707 Huse Road, Manchester; 151 Coliseum Ave., Nashua; 150 Bridge St., Pelham, chunkys.com

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

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

Regal Fox Run Stadium 15
45 Gosling Road, Newington
regmovies.com

The Strand
20 Third St., Dover
343-1899, thestranddover.com

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

Shows

• The Witch (R, 2015) screening at The Strand in Dover on Wednesday, Oct .6, 7 p.m. Tickets cost $6.

• Night of the Living Dead (1968) screening on Thursday, Oct. 7, at 7 p.m. at Red River Theatres in Concord.

• Hansel & Gretel: Witch Hunters (R, 2013) screening at The Strand in Dover on Thursday, Oct. 7, 7 p.m. Tickets cost $6.

• 21+ Trivia Night for The Nightmare Before Christmas at Chunky’s in Manchester on Thursday, Oct. 7, at 7:30 p.m. Reserve a seat with the purchase of a $5 food voucher.

• The Evil Dead (NC-17, 1981) 40th anniversary screening with intro from Bruce Campbell on Thursday, Oct. 7, at 7:30 p.m. at AMC Londonderry 10, Lowell Showcase Cinemas and Regal Fox Run Stadium 1 via Fathom Events.

• I’m Your Man (R, 2021) screening at Red River Theatres in Concord, Friday, Oct. 8, through Monday, Oct. 11, at 1, 4 & 7 p.m.

• Lamb (R, 2021) screening at Red River Theatres in Concord, Friday, Oct. 8, through Monday, Oct. 11, at 1:30, 4:30 and 7:30 p.m.

• The Conjuring (R, 2013) screening at The Strand in Dover on Friday, Oct. 8, 7 p.m. Tickets cost $10.

• Maleficent (PG, 2014) screening at The Strand in Dover on Saturday, Oct. 9,2 p.m. Tickets cost $6.

• The Nowhere Inn (R, 2021) screening at The Music Hall in Portsmouth on Saturday, Oct. 9, at 7 p.m. Tickets cost $15.

• Hocus Pocus (PG, 1993) screening at The Strand in Dover on Sunday, Oct.10, 2 p.m. Tickets cost $6.

• The White Tiger (1923), a silent film with live musical accompaniment by Jeff Rapsis, at Wilton Town Hall Theatre on Sunday, Oct. 10, at 2 p.m. Admission is free; $10 donation suggested.

• Scream (R, 1996) on Sunday, Oct. 10, at 3 p.m. at Cinemark Rockingham Park, AMC Methuen and Regal Fox Run and at 7 p.m. at AMC Methuen and Regal Fox Run. Also screening Monday, Oct. 11, at 7 p.m. on Cinemark Rockingham Park, Regal Fox Run and AMC Methuen. All via Fathom Events.

Featured photo: Dear Evan Hansen. Courtesy photo.

Dear Evan Hansen (PG-13)

An anxiety-filled teenager stumbles into a family’s tragedy in Dear Evan Hansen, a film adaptation of the Broadway musical.

Evan Hansen (Ben Platt, who originated the role in the stage musical) is starting his senior year of high school with an arm cast, prescriptions to help him manage his anxiety and depression and an assignment from his therapist to write himself a daily letter of affirmation. “Dear Evan Hansen,” he writes himself in the high school library. He can’t seem to find the life-affirming words to say to himself and instead pens a letter wondering if he matters at all, throwing in a mention of Zoe (Kaitlyn Dever), a girl he’s long liked from a far. When he goes to print it out, though, her brother Connor (Colton Ryan) gets ahold of it first. Connor, an angry kid who briefly has a friendly-ish conversation with Evan before he finds the letter, storms off, thinking the letter is just meant to provoke him.

As Evan explains nervously to Jared (Nik Dodani), his one sort-of friend (we’re just family friends, Jared reminds him), he’s afraid Connor will publish his letter online. But instead, he’s called to the principal’s office, where Evan’s mom, Cynthia (Amy Adams), and stepdad, Larry (Danny Pino), ask him about what they assume is his friendship with Connor. Evan very weakly attempts to explain his whole therapist assignment situation but then Cynthia explains that the “Dear Evan Hansen” note is Connor’s last words because he has died by suicide. Evan ends up accepting a dinner invitation to Connor’s family’s house and, unable to bring himself to tell this grieving family that Connor didn’t write the letter, he makes up memories of a friendship between himself and Connor.

This friendship not only brings him into this family — a wealthy, in his mind idyllic version of a family compared to his absent dad and caring but long-hours-working mother, Heidi (Julianne Moore) — and closer to Zoe but wins him support from the kids at school, including high achiever Alana (Amandla Stenberg), who confides in Evan that she too struggles with mental health issues. As Evan is pulled more into these relationships, he finds himself able to deliver, to others at least, the hopeful message that he and, as he learns, other teens need to hear.

I know that time and Joss Whedon have made this comparison uncool, but during the first half of this movie especially I found myself thinking that the “Earshot” episode of Buffy the Vampire Slayer had delivered the basic message of this movie so much cleaner and more succinctly. The “every single person … is ignoring your pain because they’re too busy with their own” speech from that 1999 episode (which, if it makes it better, was written by Jane Espenson, according to Wikipedia) delivered to one high schooler by another gets to what I feel like this movie wants to convey. That, and that you, the “you” of all of teenagerdom, are not alone, which this movie conveys through at least two or three songs.

Here, these messages are delivered often by or to or around Ben Platt — and, look, it’s a musical, I can suspend disbelief regarding a lot of things, including an actor’s age (which has been a subject of internet chatter since the trailer was released). But Platt isn’t just about a decade older than the character he’s playing, he reads as considerably older, both older than his character and older than the other “kids” in the “high school.” In reality, he isn’t all that much older than most of the other main teen-playing actors, but his whole vibe creates something different in this character, something more predatory and, frankly, creepy than what seems to be intended, which, I think at least based on the songs, is more a kid who is sad and lost and so lacking in confidence that he sort of falls into something he doesn’t understand the harm of and can’t handle. I never felt entirely certain who I was supposed to root for, and if always thinking Evan Hansen was awful is what I’m supposed to feel then he makes for a very unappealing central character.

So there’s all that, creating a real “yeesh” in the middle of the movie that I could never quite get away from. But there are also some nice elements here. Moore and Adams both give real depth to their characters as moms dealing with sons they don’t know how to help. Their difficulties, their grief and frustrations are well-portrayed, even though the movie doesn’t give them a whole lot of independent character development. I also like how Dever (who has pretty much been excellent in everything I’ve seen her in) is able to give us the struggle of Zoe to reconcile the crappy parts of her relationship with her brother with her memories of them as kids.

While I don’t think I’ll be shelling out for the cast album, Dear Evan Hansen has some nice songs, that work in the moment. I didn’t love all of the choreography and camera work here, but it was interesting and it was able to break free from the “stuck on the stage”-iness that can hamper some musicals.

With its premise that I feel like it doesn’t entirely do justice to and its whole “this could easily be a horror movie” thing, Dear Evan Hansen is pretty solidly not for me. But I could see a world in which fans of the musical (of which there clearly are plenty; it was nominated for multiple Tonys, according to Wikipedia) might enjoy this adaptation. C

Rated PG-13 for thematic material involving suicide (which, for real-world help: the number for the National Suicide Prevention Hotline is 1-800-273-8255), brief strong language and some suggestive references. Directed by Stephen Chbosky with a screenplay by Steven Levenson (from the stage play with music and lyrics by Justin Paul and Benj Pasek and book by Steven Levenson), Dear Evan Hansen is two hours and 17 minutes long (and oh boy is it ever) and is distributed in theaters only at the moment by Universal Studios.

The Eyes of Tammy Faye (PG-13)

The life of the televangelist Tammy Faye Bakker gets the biopic treatment in The Eyes of Tammy Faye, a feature film that shares that title with a 2000 documentary about Bakker (who by then was Tammy Faye Messner).

I forgot, until rewatching the trailer for that doc (available for rent or purchase), how deeply weird it could be, with its puppets reading title cards and its talking head interviews with Tammy herself. Tammy Faye died in 2007 and really by that point did seem like someone whose life and on-screen personality were so much bigger and stranger than the late 1980s collapse of the TV evangelist network she fronted with her then-husband Jim Bakker.

Here we much more specifically stick to Tammy Faye (Jessica Chastain) from roughly the early 1960s, when she first met Jim Bakker (Andrew Garfield) at bible college, through the end of their religious entertainment and real estate empire. After an initial glimpse at child Tammy Faye, eager to be a part of the church community where her mother, Rachel (Cherry Jones), played piano, we see maybe-20-ish Tammy become instantly attracted to Jim, whom she watches honing his tight five on the prosperity gospel in class. The teacher is not impressed by his “God wants you to be rich” shtick but it fits with Tammy’s “just spreadin’ joy” approach to religion. The two quickly get married and decide to hit the road as traveling preachers, with Tammy finding a crowd-pleasing gimmick in puppetry.

Their show, with its kid-grabbing puppets and parent-captivating humor and messages, is exactly the kind of four-quadrant entertainment that Pat Robertson (Gabriel Olds) is looking for at his Christian Broadcasting Network. The couple goes to work for him and makes a nice living — but Robertson’s living is nicer, Bakker realizes. Tammy meanwhile is not thrilled with how pregnancy and a new baby has pushed her off the air. They decided to go it on their own, starting their Praise The Lord network and earning big off the contributions of their audience.

But there is no “enough” for Jim, whom the movie shows constantly trying to expand the PTL’s reach with an amusement park and real estate. Along the way, Tammy doesn’t realize (or maybe has decided not to realize) the financial troubles the couple is getting themselves deeper and deeper into but she does realize that there are serious troubles in her marriage.

This movie seems to have one strongly held belief and that is that Jim Bakker is a real jerk. The movie paints him as manipulating and gaslighting Tammy Faye, shows him being cruel to her and shows him leeching off her talent to bolster his house-of-cards empire. Is Tammy an earnest dupe who doesn’t understand her husband’s dodgy business dealings? Is she sort of a willing dupe who doesn’t understand because she doesn’t want to understand? Is she a True Believer who is on a mission from God? Is “True Believer” another bit of stagecraft, like the sparkly clothes and the loud makeup, that she puts on because it gains her affection? I’m not really sure where the movie comes down on all of these issues or what it wants us to come away believing about her. I feel like it presents us sort of an appetizer sampler of Tammy Faye’s life and who she is and lets us pick whether we think the jalapeño poppers of “making up for childhood hurts” or the mozzarella sticks of “a natural-born performer whose skills didn’t have a lot of outlets in the deeply religious mid-century rural South” are the true centerpiece of the dish.

This movie feels like it was constructed by figuring out the makeup and costumes first, with everything else built off that. Everybody looks and sounds the part (or enough of the part) that you can believe who they are. But I didn’t get a sense that the movie went much deeper than that. The Eyes of Tammy Faye absolutely sells us on the idea that Tammy Faye is deserving of a biopic, but doesn’t offer a clear picture of who it thinks she is. B-

Rated PG-13 for sexual content and drug abuse, according to the MPA on filmratings.com. Directed by Michael Showalter with a screenplay by Abe Slyvia, The Eyes of Tammy Faye is two hours and six minutes long and distributed by 20th Century Studios in theaters.

Copshop (R)

A police officer at a lonely Nevada police station finds herself in the middle of a shootout in Copshop, the dusty, 1970s-vibed Western you want when you want some popcorn and escapism.

Officer Val Young (Alexis Louder — ladies and gentlemen, meet action movies’ newest badass) gets punched breaking up a rowdy wedding party fight at a local casino and arrests the puncher, Teddy Murretto (Frank Grillo), a man who wasn’t actually part of the wedding. And, as Young figures out pretty quickly, he wanted to get arrested. Perhaps he figured even the bored, shifty and generally annoyed officers at this small station were safer company than the likes of Bob Viddick (Gerard Butler), a man also arrested that night. Bob appears to be falling down drunk — but of course that’s just his way of getting into the same small cell block as Teddy. Though locked up, Bob proves pretty quickly that he can still get to Teddy. But they both learn that Bob wasn’t the only person hired to take Teddy out. But, whatever the workplace politics of Teddy, Bob and their criminal bosses, no-nonsense Val isn’t having any of it.

Everything in this movie feels very intentional. The movie appears to be set in roughly the now but it plays with what feels like a throwback sensibility — a little bit 1970s stylized police and Western tales, a little bit 1990s indie crime tales with a violent sense of humor. And it manages to do this — and play with some very stylized camera shots — without tipping into Quentin Tarantino territory.

This movie is also very intentionally (maybe even impeccably?) cast. Everyone brings a kind of griminess to their characters — none more so, of course, than Butler, whom I have seen deservedly praised in other reviews for his work here. His Bob Viddick is both a precise and professional assassin and kind of a sweaty, hairy mess and it all works great. And then there is Louder, who just leaps off the screen as the confident but capable enough to justify the confidence young officer. Get this woman a John Wick-style franchise!

Copshop feels like real effortless fun, like exactly the kind of movie you’re hoping for when you go to a midday matinee, as I did in the reopened and newly named Apple Cinemas in Hooksett (which is the new owner of the old Cinemagic; both the Hooksett and Merrimack locations are now back in operation). Improbable shootouts and the nuttiness of a not-the-good-guy Gerard Butler performance — now this is why you go to the movies. B

Rated R for strong/bloody violence and pervasive language, according to the MPA on filmratings.com. Directed by Joe Carnahan with a screenplay by Kurt McLeod and Joe Carnahan, Copshop is an hour and 47 minutes long and distributed by Open Road Films. It is screening in theaters.

FILM

Venues

AMC Londonderry
16 Orchard View Dr., Londonderry
amctheatres.com

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

Cinemark Rockingham Park 12
15 Mall Road, Salem

Chunky’s Cinema Pub
707 Huse Road, Manchester; 151 Coliseum Ave., Nashua; 150 Bridge St., Pelham, chunkys.com

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

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

Regal Fox Run Stadium 15
45 Gosling Road, Newington
regmovies.com

The Strand
20 Third St., Dover
343-1899, thestranddover.com

Shows

• Ferris Bueller’s Day Off (PG-13, 1986) part of the Film Frenzy $5 Classics series at O’neil Cinemas in Epping with multiple daily screenings on Thursday, Sept. 30.

• Composer Amy Beach, a documentary about the NH composer, screened at Bank of NH Stage in Concord on Thursday, Sept. 30, 7 p.m. Tickets cost $12.

• 21+ Trivia Night for Harry Potter and the Deathly Hallows at Chunky’s in Manchester on Thursday, Sept. 30, at 7:30 p.m. Reserve a seat with the purchase of a $5 food voucher.

• The Lost Leonardo (PG-13, 2021) screening Friday, Oct. 1, and Sunday, Oct. 3, at 4 & 7 p.m. and Saturday, Oct. 2, at 5:30 & 8:30 p.m. at Red River Theatres in Concord.

• The Eyes Of Tammy Faye (PG-13. 2021) Friday, Oct. 1, and Sunday, Oct. 3, at 12:30, 3:30 & 6:30 p.m. at Red River Theatres in Concord.

• Blue Bayou (R, 2021) Friday, Oct. 1, and Sunday, Oct. 3, at 1 p.m. and Saturday, Oct. 2, at 2:30 p.m. at Red River Theatres in Concord.

• Dracula (1931) and Frankenstein (1931) double-featuring on Saturday, Oct. 2, at 1 p.m. at AMC Londonderry, Cinemark Rockingham Park 12 and Regal Fox Run Stadium 15 via Fathom Events.

• National Theatre Live Follies, a broadcast of a play from London’s National Theatre, screening at the Bank of NH Stage in Concord on Sunday, Oct. 3, at 12:30 p.m. Tickets cost $15 ($12 for students).

• Week of Witches see films daily at The Strand in Dover Sunday, Oct. 3, through Sunday, Oct. 10. One ticket to all 8 films costs $25.

• Spirited Away (PG, 2001) at Cinemark Rockingham Park, AMC Methuen 20 and Lowell Cinema Showcase on Sunday, Oct. 3, at 3 p.m. (dubbed); Monday, Oct. 4, at 7 p.m. (subtitled), and Wednesday, Oct. 6, at 7 p.m. (dubbed) via Fathom Events.

Featured photo: Dear Evan Hansen. Courtesy photo.