Things to do in Los Angeles today

The masters of alfresco rooftop movie viewing have returned for their fourth season of screenings in Hollywood—and its second in 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. Taking full advantage of beautiful city views, RCC promises to offer some of the most unique and incredible movie-going opportunities for film lovers throughout 2018. 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. Crossed out screenings are sold out. [Full disclosure: Time Out is the exclusive ticketing partner for Rooftop Cinema Club.]   Tue, July 10 at LEVEL: Scream Wed, July 11 at NeueHouse: Vertigo Wed, July 11 at LEVEL: Memento Thu, July 12 at NeueHouse: Clueless Thu, July 12 at LEVEL: E.T. the Extra-Terrestrial Fri, July 13 at NeueHouse: Hocus Pocus Fri, July 13 at LEVEL: The Lost Boys Sat, July 14 at LEVEL: Indiana Jones And The Temple Of Doom Sun, July 15 at NeueHouse: Clue Tue, July 17 at LEVEL: The Post Wed, July 18 at NeueHouse: Lady Bird Wed, July 18 at LEVEL: The Royal Tenenbaums Thu, July 19 at LEVEL: The Devil Wears Prada Fri, July 20 at NeueH

The masters of alfresco rooftop movie viewing have returned for their fourth season of screenings in Hollywood—and its second in 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. Taking full advantage of beautiful city views, RCC promises to offer some of the most unique and incredible movie-going opportunities for film lovers throughout 2018. 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. Crossed out screenings are sold out. [Full disclosure: Time Out is the exclusive ticketing partner for Rooftop Cinema Club.]   Tue, July 10 at LEVEL: Scream Wed, July 11 at NeueHouse: Vertigo Wed, July 11 at LEVEL: Memento Thu, July 12 at NeueHouse: Clueless Thu, July 12 at LEVEL: E.T. the Extra-Terrestrial Fri, July 13 at NeueHouse: Hocus Pocus Fri, July 13 at LEVEL: The Lost Boys Sat, July 14 at LEVEL: Indiana Jones And The Temple Of Doom Sun, July 15 at NeueHouse: Clue Tue, July 17 at LEVEL: The Post Wed, July 18 at NeueHouse: Lady Bird Wed, July 18 at LEVEL: The Royal Tenenbaums Thu, July 19 at LEVEL: The Devil Wears Prada Fri, July 20 at NeueH

The best things in life really are free—love, happiness and an evening spent watching movies on a giant inflatable screen at the beach. On select dates from June until August, pack up your folding chairs, grab your kids and head to Long Beach for this unique outdoor screening. Thanks to Alfredo’s Beach Clubs, you can give your babysitter the night off while you and the fam enjoy a host of kid-friendly flicks, like Mary Poppins and The Incredibles. Bring your own picnic, or munch on eats from the nearby snack stand. 

The Beatles put their name to no fewer than five films in their quick decade together, and while Yellow Submarine isn’t the best of them (surely that’s A Hard Day’s Night?), it’s the only one to feature their Sgt Pepper alter-egos in a trippy animated fantasy that feels like a Terry Gilliam-designed album cover come to life. Now that the title track has become a nursery-school standard, you half expect this to be a kids’ cartoon. But it’s weirder and scrappier than that, pitched somewhere dreamlike between childhood and adulthood. Clearly influenced by Lewis Carroll’s Alice stories, Yellow Submarine features a version of the band on the run through a series of hallucinogenic set-pieces involving bad folk called the Blue Meanies who are running riot in the seriously out-there Pepperland. Only The Beatles can help, and so an old sailor pitches up to Liverpool in a Yellow Submarine to collect them and take them on a mission to defeat the Meanies. The fantastical story is happily all over the place, and the handful of songs written especially for the film aren’t especially memorable. But when already-existing songs like Eleanor Rigby, Nowhere Man, All You Need Is Love and Lucy In the Sky With Diamonds kick in, the whole thing soars and makes a strange sort of psychedelic sense. It has flashes of winning silly humor ("What day is it?" "Sitar-day"), and who can resist the submarine turning into a cigarette lighter to the tune of the Hamlet cigar commercial? The Beatles themselves

Upset about moving from a big city to a small town, teenager Zach Cooper finds a silver lining when he meets the beautiful girl, Hannah, living right next door, and makes a quick friend in Champ. But every silver lining has a cloud, and Zach's comes when he learns that Hannah's mysterious dad is in fact R.L. Stine, the author of the bestselling Goosebumps series. As Zach starts learning about the strange family next door, he soon discovers that Stine holds a dangerous secret: the creatures that his stories made famous are real, and Stine protects his readers by keeping them locked up in their books. When Stine's creations are unintentionally released from their manuscripts, Zach's life takes a turn for the weird.

Worse things could have happened with the first theatrically released Peanuts movie in 35 years. Unlike poor Charlie Brown himself, it actually connects with the football, though any yardage gained by staying true to Charles M. Schulz’s gentle, somewhat whitewashed vision of small-town childhood is offset by one too many head-bonking 3-D action sequences and a batch of truly dire pop tunes. (Good grief, Flo Rida.) The better stretches involve Snoopy and his red-pen-editor, Woodstock, at the typewriter, along with the never-out-of-fashion message of dreaming your way out of a jam. Charlie—“Chuck” to Peppermint Patty, “Charles” to the more formal Marcie, these are the jokes, people—is still inept with a kite, still the constant target of frowny-trombone adult voices. As ever, he’s fallen for the Little Red-Haired Girl, marshaled into a love object that barely justifies a three-panel comic strip, never mind a feature. But as the film’s wispy narrative (largely conceived by Schulz’s son and grandson) makes stops along the way of a big dance, a terrifying 1,000-word book report and Snoopy’s perpetual warfare against the Red Baron, the movie begins to feel as cozily old-fashioned as Vince Guaraldi’s jazz music. The problem with all of this obeisance to the source (the film even revives the classic Snoopy voice of Bill Melendez, himself dead for seven years) is you begin to feel encased in dirt. Unlike recent, sharp-witted examples like The Lego Movie and Paddington, there’s zero

The best things in life really are free—love, happiness and an evening spent watching movies on a giant inflatable screen at the beach. On select dates from June until August, pack up your folding chairs, grab your kids and head to Long Beach for this unique outdoor screening. Thanks to Alfredo’s Beach Clubs, you can give your babysitter the night off while you and the fam enjoy a host of kid-friendly flicks, like Mary Poppins and The Incredibles. Bring your own picnic, or munch on eats from the nearby snack stand. 

The best things in life really are free—love, happiness and an evening spent watching movies on a giant inflatable screen at the beach. On select dates from June until August, pack up your folding chairs, grab your kids and head to Long Beach for this unique outdoor screening. Thanks to Alfredo’s Beach Clubs, you can give your babysitter the night off while you and the fam enjoy a host of kid-friendly flicks, like Mary Poppins and The Incredibles. Bring your own picnic, or munch on eats from the nearby snack stand. 

The masters of alfresco rooftop movie viewing have returned for their fourth season of screenings in Hollywood—and its second in 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. Taking full advantage of beautiful city views, RCC promises to offer some of the most unique and incredible movie-going opportunities for film lovers throughout 2018. 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. Crossed out screenings are sold out. [Full disclosure: Time Out is the exclusive ticketing partner for Rooftop Cinema Club.]   Tue, July 10 at LEVEL: Scream Wed, July 11 at NeueHouse: Vertigo Wed, July 11 at LEVEL: Memento Thu, July 12 at NeueHouse: Clueless Thu, July 12 at LEVEL: E.T. the Extra-Terrestrial Fri, July 13 at NeueHouse: Hocus Pocus Fri, July 13 at LEVEL: The Lost Boys Sat, July 14 at LEVEL: Indiana Jones And The Temple Of Doom Sun, July 15 at NeueHouse: Clue Tue, July 17 at LEVEL: The Post Wed, July 18 at NeueHouse: Lady Bird Wed, July 18 at LEVEL: The Royal Tenenbaums Thu, July 19 at LEVEL: The Devil Wears Prada Fri, July 20 at NeueH

The Beatles put their name to no fewer than five films in their quick decade together, and while Yellow Submarine isn’t the best of them (surely that’s A Hard Day’s Night?), it’s the only one to feature their Sgt Pepper alter-egos in a trippy animated fantasy that feels like a Terry Gilliam-designed album cover come to life. Now that the title track has become a nursery-school standard, you half expect this to be a kids’ cartoon. But it’s weirder and scrappier than that, pitched somewhere dreamlike between childhood and adulthood. Clearly influenced by Lewis Carroll’s Alice stories, Yellow Submarine features a version of the band on the run through a series of hallucinogenic set-pieces involving bad folk called the Blue Meanies who are running riot in the seriously out-there Pepperland. Only The Beatles can help, and so an old sailor pitches up to Liverpool in a Yellow Submarine to collect them and take them on a mission to defeat the Meanies. The fantastical story is happily all over the place, and the handful of songs written especially for the film aren’t especially memorable. But when already-existing songs like Eleanor Rigby, Nowhere Man, All You Need Is Love and Lucy In the Sky With Diamonds kick in, the whole thing soars and makes a strange sort of psychedelic sense. It has flashes of winning silly humor ("What day is it?" "Sitar-day"), and who can resist the submarine turning into a cigarette lighter to the tune of the Hamlet cigar commercial? The Beatles themselves

Never take pity on a film critic. Instead, let it suffice to say that I look forward to you seeing Hereditary and then joining me on several sleepless nights peering into dark corners and gnawing your fingernails off. A harrowing story of unthinkable family tragedy that veers into the realm of the supernatural, Hereditary takes its place as a new generation's The Exorcist—for some, it will spin heads even more savagely. As with so much inspired horror, from Rosemary's Baby to 2014's psychologically acute The Babadook, the movie gets its breath and a palpable sense of unraveling identity from a fearless female performance, this time by Toni Collette, the revered Australian actor capable of sustained fits of mania. (To watch her in The Sixth Sense or Velvet Goldmine is to only get a taste of how deep she goes here.) Collette plays Annie, an artist who constructs uncannily realistic dioramas: miniature rooms that embody the film's theme of a larger, malevolent entity playing with human toys. We zoom into those rooms, where Annie is keeping it together after the recent death of her by-all-accounts severe mother. Dressed in funeral blacks are her husband, Steve (Gabriel Byrne), her oldest child, Peter (Alex Wolff), a teenage stoner, and distracted young Charlie (the awesomely concentrated Milly Shapiro, a Tony winner for Matilda: The Musical). Something is wrong with Charlie. Every head cock, tongue cluck and eerie stare into the middle distance will have you more concerned. "Wh

Superheroes may save the world, but parenthood requires skills far more advanced than extendable limbs. Brad Bird’s Incredibles 2—Pixar’s most spirited sequel since Toy Story 3—lovingly expresses this certainty through a bighearted familial portrait wrapped in ’60s-inspired design. But the film’s disarming appeal lies in its simpler moments of domesticity, in which the members of the all-superhero Parr family lift each other up and fight for relevance in a world of indifference. Still underground with criminalized superpowers and a destroyed home, Mr. Incredible (Craig T. Nelson), Elastigirl (Holly Hunter), and their children, Violet, Dash and the explosive baby Jack-Jack, quietly live in a dingy motel. Their luck turns when a pair of wealthy siblings—the naive Winston and brainy inventor Evelyn (Bob Odenkirk and Catherine Keener)—offer them a chance to restore the Supers’ reputation. While the sensible Elastigirl serves as the fearless face of the mission, Mr. Incredible hilariously Mr. Moms his way through the kids’ homework, boy troubles and newly emerging superpowers. When the state-of-the-art villain Screenslaver disturbs the picture, the entire crew, including the previous film’s charismatic ice maker Frozone (Samuel L. Jackson), joins the good fight. Incredibles 2 comes supercharged with timely, sophisticated themes around societal apathy and gender parity. While slightly overplotted in its finale, the sleek sequel still glows with grown-up wit, with craft and humor

A mercurial and explosive film, Blindspotting nimbly parses conflicts about race, rent, incarceration and gentrification. The film is set in bustling and bristling Oakland—a landscape that churns with spoken word as well as tensions between long-time residents and gentrifying tech hipsters. The protagonists are played by its eloquent screenwriters, Daveed Diggs (of Hamilton and Black-ish fame) and Rafael Casal. They portray Oakland natives who work at a removals company. Miles (Casal) is loyal to his friends and territorial to a fault; despite the moderating influence of his wife (played with memorable conviction by Jasmine Cephas Jones, Diggs’s Hamilton co-star), Miles’s hair-trigger fury is often ignited by instances of hipster encroachment. Soft-spoken parolee Collin (Diggs) dodges violence and tries to mitigate the chaotic leanings of his best friend. But early in the film, Collin witnesses a terrifying incident that threatens his post-incarceration plans. Blindspotting is a remarkably suspenseful film. Scenes swerve from hilarity to high tension, but the suspense is in service to a conscientious goal. Gun-filled sequences—despite set-ups worthy of Scorsese, Park Chan-wook or Antoine Fuqua—don’t often culminate in the expected bloodshed. It’s not perfect, and some of its mundane conversational episodes fall flat. But for the most part, the dialogue remains deft and the plot twists invigorating. This film engenders empathy for characters Hollywood often neglects, and it

A father-son drama for anyone who finds There Will Be Blood too cozy in its depiction of paternal love, Custody is a bleakly intimate and terrifically sad look at a splintered family in freefall. The only thing that isn’t moving about French director Xavier Legrand’s depiction of a bitter custody battle is the eerily still camera keeping its characters under a steady gaze. It’s unblinking in a Dardenne-ish way and often hard to watch, with the emotional toll playing on its characters’ faces. The ending is a floorer too. Legrand has spun out his own Oscar-nominated short, Just Before Losing Everything, into a domestic drama that boils with pain and anger. Reprising their roles are Léa Drucker and Denis Ménochet as a couple tussling for custody of 11-year-old Julien (Thomas Gloria). Their daughter (Mathilde Auneveux), on the cusp of adulthood, has a chance to escape the shadow of their abusive, needy dad. The spiky, sensitive Julien isn’t so lucky, forced to spend afternoons in his lunkish father’s almost comically small van.  Once a child actor himself, Legrand coaxes a heartbreaking turn from Gloria as a kid trapped in an impossible situation. His father, despite claiming to be a reformed character, is clearly a ticking time-bomb. Mum is simply fraught. You’re left wondering how the courts could have let this combustible situation happen. Maybe just this once, society is to blame. 

Two people—a man and his teen daughter—adopting a simpler life in the backwoods of America may sound like the beginnings of a Bon Iver concept album, but in the hands of co-writer/director Debra Granik (Winter’s Bone), it forms the crux of a smart, heartfelt examination of outsiderdom in a society that doesn’t just prize conformity, but demands it. For a small story, it tackles some pretty big themes, gauging America’s reactionary social climate through the eyes of father Will (Ben Foster) and his daughter Tom (Thomasin McKenzie), living outdoors in the misty Oregon rainforest.  Like a Bear Grylls family outing spun wildly out of control, the pair forage for food, nursing fuel supplies and essentials scrapped together with money Will makes selling painkilling meds to fellow veterans. As the title implies, the duo is ever-wary of betraying their presence to the authorities. It’s a hardscrabble rural existence that’ll be semi-familiar to anyone who’s seen Granik’s Ozarks-set drama Winter’s Bone, although here there’s an element of choice and, initially, an air of quiet satisfaction at sticking it to The Man. Of course, it doesn’t last: they’re soon sucked back into the system and processed by social workers whose uncomprehending kindnesses only rub salt in the wounds.   Unlike Sean Penn’s Into the Wild, another film that explores the quiet radicalism of disappearing off the grid, there’s no big emotional swells here. Leave No Trace is a more hushed, contemplative movie. Grani

Kayla is exactly the wrong girl to be posting YouTube videos about "confidence" or "being yourself," but you'll absolutely love her for trying. As played in the sweetly sympathetic Eighth Grade by then-13-year-old Elsie Fisher (hatching a guileless, emotionally exposed performance that could be underrated due to the film's documentary-like rawness), Kayla is a heartbreaking flow of awkward ums, likes and circular brain farts. She turns the act of speech into an alien process. As the lens widens out, Kayla's shyness comes into sharper view: the post-it notes dotting her mirror reminding her to practice small talk and jokes, and Fisher's own inchoate physicality—a pimply, round face that contains hints of the pre-flame-out Lindsay Lohan. Writer-director Bo Burnham's debut feature tracks Kayla during her final week of middle school, a transitional moment fraught with anxiety. If his episodic building blocks are a touch familiar, Burnham can't be beat for mouth-breathing naturalism, steering Eighth Grade into the squirmy company of Kids, Catherine Breillat's Fat Girl and Welcome to the Dollhouse (all of them tougher movies, but about real teens, as is this). A birthday pool party becomes Kayla's slow-motion nightmare, as she's surrounded by soda-swigging peers who are nonetheless further down the road of maturity. Caught in the act of practicing blow jobs on a banana by her single dad (Josh Hamilton, who nails a tricky climactic monologue), she flings the fruit at his chest, whi

A cooler-than-thou band of criminals, a smoothly executed grand heist, flawless costumes. Expanding on the handsome attributes of the Ocean’s franchise with a radiant cast and sufficient NYC groove, ‘Hunger Games’ director Gary Ross’s ‘Ocean’s 8’ gives glossy multiplex entertainment a good name. Fully loaded with Anne Hathaway’s (often underutilised) comedic chops – her cunning movie-star character is the film’s secret weapon – and various high-profile cameos (Heidi Klum, Anna Wintour, Kim Kardashian, you name it), it packs in ample carats of glitz beyond its diamonds and sequinned designer gowns.Sandra Bullock plays Debbie Ocean, an ex-con proudly filling the shoes of her brother Danny (George Clooney, here only in spirit). She masterminds a complex scheme to steal a majestic Cartier necklace at New York’s elite fundraiser the Met Gala. Among her recruits are former associate Lou (an impeccably-suited Cate Blanchett) and the eccentric fashion designer Rose Weil (Helena Bonham Carter), who’s yearning to resurrect her waning career by dressing the impishly seductive Daphne Kluger (Hathaway) for the exclusive event. Also in the squad are Mindy Kaling’s jewellery connoisseur, Sarah Paulson’s Vogue insider, Awkwafina’s sly con and the ultra-charismatic hacker Nine Ball (Rihanna, like you’ve never seen before.)‘Ocean’s 8’ sticks to the formula, though Ross never quite matches the breezy vigour of the Soderbergh-directed trilogy, but the jokes land and there’s a satisfying twist to