The best things to do in Los Angeles this week

The masters of alfresco rooftop movie viewing have returned for another season of screenings in Hollywood and Downtown L.A. Known for excellent film choices and a steady supply of snacks and booze, Rooftop Cinema Club is your snazzy, comfortable and less stressful alternative to other outdoor movie screenings. You don’t even need to bring your own blanket or camping chair—Rooftop Cinema Club provides you with your very own comfy lawn chair, as well as blankets on request for the ultimate cozy experience. And instead of listening to the movie over loudspeakers, you’ll get a set of wireless headphones so you never have to miss a word.

It isn’t summer in L.A. until the first cemetery screening brings hoards of movie-lovers to Hollywood Forever, toting folding chairs, picnic blankets, snack spreads and lots of booze. Each year, Cinespia brings classic cult favorites to the hallowed resting place of such Hollywood greats as Rudolph Valentino and Bugsy Siegel. This year’s first batch of screenings includes The Neverending Story, Drive, Almost Famous and Casablanca. Angelenos line up for hours to partake in the concept—and to enjoy DJ sets, dance parties, sleepovers and more magical mischief otherwise strictly forbidden behind the cemetery gates. It’s an L.A. rite of passage, a quintessential summer experience and one of the best film venues in the city. Just be sure to get your ticket early, arrive early (doors open at 6:45pm), pee early... it’s getting a bit overcrowded, to say the least.

It isn’t summer in L.A. until the first cemetery screening brings hoards of movie-lovers to Hollywood Forever, toting folding chairs, picnic blankets, snack spreads and lots of booze. Each year, Cinespia brings classic cult favorites to the hallowed resting place of such Hollywood greats as Rudolph Valentino and Bugsy Siegel. This year’s first batch of screenings includes The Neverending Story, Drive, Almost Famous and Casablanca. Angelenos line up for hours to partake in the concept—and to enjoy DJ sets, dance parties, sleepovers and more magical mischief otherwise strictly forbidden behind the cemetery gates. It’s an L.A. rite of passage, a quintessential summer experience and one of the best film venues in the city. Just be sure to get your ticket early, arrive early (doors open at 6:45pm), pee early... it’s getting a bit overcrowded, to say the least.

The masters of alfresco rooftop movie viewing have returned for another season of screenings in Hollywood and Downtown L.A. Known for excellent film choices and a steady supply of snacks and booze, Rooftop Cinema Club is your snazzy, comfortable and less stressful alternative to other outdoor movie screenings. You don’t even need to bring your own blanket or camping chair—Rooftop Cinema Club provides you with your very own comfy lawn chair, as well as blankets on request for the ultimate cozy experience. And instead of listening to the movie over loudspeakers, you’ll get a set of wireless headphones so you never have to miss a word.

Scorsese's fast, violent, stylish mobster movie is a return to form, De Niro, and the Italian-American underworld. But in following, from '55 to the late '70s, the true-life descent into big-time crime of Henry Hill (Liotta), he and co-writer Nick Pileggi seem less concerned with telling a lucid, linear story than with providing sociological evidence of an ethically (ethnically?) marginalised society united by the desire to make a fast buck. Because Hill and the older 'good fellas' he first falls in with as an awestruck kid - De Niro, Pesci, Sorvino - exist almost totally on the surface, we watch shocked and beguiled but never come to care. The camera and cutting style is as forcefully persuasive as a gun in the gut, so that we are not enlightened but excited by the cocky camaraderie, bloody murder, and expansive sense of 'family' on view. Still, the movie excites the senses in a way few film-makers even dream of, and its epic sweep and brilliantly energetic film language rest on a cluster of effortlessly expert performances.

Tackling Harper Lee's novel, Stanley Kramer would have hit us over the head with a hammer, so perhaps we can be grateful that Mulligan merely suffocates with righteousness. The film sits somewhere between the bogus virtue of Kramer's The Defiant Ones and the poetry of Laughton's Night of the Hunter, combining racial intolerance with the nightmares of childhood, born out of Kennedy's stand on civil rights and Martin Luther King's marching. In Alabama in the early '30s, Peck is a Lincoln-like lawyer who defends a black man (Peters) against a charge of rape, while next-door oddball Duvall scares the shit out of Peck's kids. It looks like a storybook of the Old South, with dappled sunlight and woodwormy porches, and Peck is everyone's favourite uncle. But screenwriter Horton Foote does less well by Harper Lee's novel than Lillian Hellman did by Foote's The Chase for Arthur Penn. That movie really was a pressure-cooker; this one is always just off the boil.

The only Yuletide favourite to pivot around an attempted suicide, Capra’s post-war fable is a fascinating melange of social and personal impulses and the questionable charms of home. James Stewart is impeccable as George Bailey, the Bedford Falls boy-next-door whose dreams are continually deferred by the demands of family and national upset: rather than exploring and building new worlds, he runs a building society, marries and raises children. Mapping his frustrations and joys onto the contours of recent US history, It’s a Wonderful Life puts individual and group interests in tension. Denied the opportunities for individualist enterprise that are the stock in trade of American cinematic heroism, George is pulled towards communal effort and self-effacement. Yet the film’s bravura fantasy sequence, imagining the hellishly licentious Bedford Falls that would exist without George, makes the grandest possible case for the importance and uniqueness of individual agency—Battleship Potemkin this ain’t. Funny, compelling and moving.