Each week repertory films will be presented on 35mm prints and DCP in The Charles’ original 362 seat theatre. There are three showings of a movie each week.
| Rosemary’s Baby | Thursday, October 5 |
| An Autumn Afternoon | Saturday, October 7 |
| Midnight Cowboy | Thursday, October 12 |
| Gaslight | Saturday, October 14 |
| The Wicker Man | Thursday, October 19 |
| The Plot Against Harry | Saturday, October 21 |
| A Nightmare on Elm Street | Thursday, October 26 |
| Imitation of Life | Saturday, October 28 |
| The Man Who Fell to Earth | Thursday, November 2 |
| Fox and His Friends | Saturday, November 4 |
| But I’m a Cheerleader | Thursday, November 9 |
| Stage Fright | Saturday, November 11 |
| Lupin III: The Castle of Cagliostro | Thursday, November 16 |
| The In-Laws | Saturday, November 18 |
| Freaks and Dracula | Saturday, November 25 |
| The Decline of Western Civilization | Thursday, November 30 |
| Me and My Gal | Saturday, December 2 |
| Hedwig and the Angry Inch | Thursday, December 7 |
| Cries and Whispers | Saturday, December 9 |
| Flash Gordon | Thursday, December 14 |
A supremely intelligent and convincing adaptation of Ira Levin's Satanist thriller. About a woman who believes herself impregnated by the Devil (in the guise of her husband), its main strength comes from Polanski's refusal to simplify matters: ambiguity is constant, in that we are never sure whether Farrow's paranoia about a wit more »
Yasujiro Ozu's exquisitely tender and sad final movie, An Autumn Afternoon, from 1962 – now rereleased – is filmed in soft colour. The critic must hesitate before invoking the cliche "watercolour", although the final scenes are likely to be watched through a swimmy blur of tears. Ozu's great repertory player Chishu Ryu plays Shu more »
The newly restored ‘Midnight Cowboy’ is one of the great films about the transition to the gritty ’70s. ‘A sometimes amusing but essentially sordid saga of a male prostitute in Manhattan’ was Variety’s harsh judgment at the time, but its stature has grown and grown since then. Director John Schlesinger and screenwriter Waldo Sal more »
George Cukor carefully avoids the obvious effects in telling this story of a husband (Charles Boyer) attempting to drive his wife (Ingrid Bergman) insane; instead, this 1944 film is one of the few psychological thrillers that is genuinely psychological, depending on subtle clues—a gesture, an intonation—to thought and character. more »
This 91-minute 4K ‘final cut’, shorter than the director's cut but longer than the original theatrical release, is the strongest version, paring back the early exposition and deepening the mystery. Woodward’s brilliantly measured performance tells you everything you need to know about this buttoned-up policeman and his inner tur more »
A two-bit New York Jewish racketeer, Harry Plotnick is released after a l2-month 'vacation' to find his affairs in disarray. The Mob has muscled in on his turf, the tax man is auditing his books, a parole officer is hovering, and his sister's staying over...all this before Harry has even crashed into his ex-wife's car and met a more »
There have been so many sequels and homages/rip-offs of Wes Craven’s career reboot that it’s easy to forget how novel, and good, it was. A slasher (Robert Englund) who attacks his victims when they’re asleep and dreaming gave Craven an uncommonly creative canvas to work with, and within the limits of a modest horror budget, he m more »
For his last Hollywood film, released in 1959, the German director Douglas Sirk unleashed a melodramatic torrent of rage at the corrupt core of American life—the unholy trinity of racism, commercialism, and puritanism. The story starts in 1948, when two widowed mothers of young daughters meet at Coney Island: Lora Meredith (Lana more »
"....Taking only the bare bones of Walter Tevis’s comparatively straightforward sci-fi novel, visionary British director Nicolas Roeg creates something far more slippery and elliptical, a film as much about the fading of the counterculture, wealth-induced apathy and the contagiousness of American culture as anything intergalacti more »
One of Fassbinder's excellent melodramas. The director himself plays a working-class man who wins a small fortune on the lottery and is destroyed by men who befriend him on Munich's gay community. It's his usual vision of exploitation and complicity hidden under the deceiving mantle of love, but Fassbinder's precision, assured s more »
The aptly misleading title (the theme is flawed assumptions) refers to the refusal of teenage golden girl Megan (Lyonne) to agree with her bible-bashing parents that she's gay. Denial seals her fate: heterosexual conversion therapy under the neurotic tutelage of Mary (Moriarty) and Mike (RuPaul) at True Directions reform school more »
It’s a murder mystery set in the stage world of London, and almost every scene features some sort of deception, from theatrical performance to bald-faced lying. Even the director, it turns out, isn’t to be trusted. The issues aren’t satisfactorily resolved, but Hitchcock seems to be exploring the ways in which various falsehood more »
"The feature directorial debut of animation’s great Hayao Miyazaki, 'The Castle of Cagliostro' is now considered an anime classic...The action-packed heist film, co-written by Miyazaki and Haruya Yamazaki, opens with Lupin III and his partner Daisuke Jigen zipping away from a successful job robbing a major casino, only to discov more »
Never mind the remake, this is the real deal, a formula comedy raised to heights of hilarity by the kind of off-beam lunacy which probably wouldn't get past the studio suits these days. Bergman's screenplay melds odd-couple and fish-out-of-water templates, as their children's forthcoming wedding brings together maverick undercov more »
Tod Browning’s pre-Code cult classic Freaks casts actual carnival performers as the members of a traveling troupe unnerved when a mercenary trapeze artist (Olga Baclanova) cynically woos and marries a wealthy dwarf (Harry Earles). There’s an essential empathy to Browning’s film, despite its chilling denouement. Browning’s semina more »
A seminal document of the West Coast punk scene of the late ‘70s and early ‘80s, Penelope Spheeris’ film captures interviews and often-searing performance footage from bands like X, the Germs, the Circle Jerks, and Black Flag. (As well as tedious also-rans like Catholic Discipline, lest you think it was all bitchin’.) The most h more »
A baby-faced Spencer Tracy stars as a wise-cracking cop in this pre-Code jewel about life and love on the New York City waterfront. There’s a plot involving his crush on a diner waitress (Joan Bennett) and tangles with local gangsters, but Raoul Walsh film is almost more of a hangout comedy—you get as much out of the peripheral more »
A young East German boy flees Soviet-era communism to become a rampaging trans rock star (John Cameron Mitchell) barnstorming the American heartland in pursuit of his former lover/protégé (MIchael Pitt). Arguably the only rock musical to get the rock all the way right, the film version of Mitchell and Stephen Trask’s stage show more »
Ingmar Bergman convened three of his great actresses (Liv Ullman, Harriet Andersson, and Ingrid Thulin) to play sisters who come together when one is dying of cancer. Cocooned in a red-walled mansion with a maid (Kari Sylwan), they confront mortality and their relationships with each other. One of Bergman’s most intense films, i more »
Based on a 1930s comic strip, this Dino De Laurentiis-produced one-off was light-years ahead of the MCU’s hero-in-tights hegemony and waaay more campy fun. Bland blond Sam Jones plays Flash, a quarterback turned adventurer forced to rally a colorful space empire against the evil Emperor Ming (Max Von Sydow). The score by Queen m more »
