American troops landed on the beaches of Normandy on June 6, 1944.
And for the 75th anniversary of the Normandy Invasion, “Saving Private Ryan” is back in Omaha theaters for two nights.
Released in 1998, “Saving Private Ryan” begins with troops landing on Omaha Beach before a squad of troopers led by Capt. Miller (Tom Hanks) is tasked to find the last surviving brother from the Ryan family.
Directed by Steven Spielberg, the film won five Oscars, including best director and best cinematography.
“Saving Private Ryan” will screen at Twin Creek, Oakview and Majestic on Sunday, and at Oakview again on Wednesday.
Learn about farming, meet a farmer at Dundee Theater
“The Biggest Little Farm” is a documentary about John and Molly Chester, who traded their city life for the farm.
On Saturday at Dundee Theater, One Farm will be at the theater to talk about local farming, and they’ll also sell local produce.
Sign up for the Go newsletter
This complete guide of local music, movies, dining and entertainment will have you weekend ready.
‘Child’s Play’ double feature coming to Alamo Drafthouse
A new “Child’s Play” is coming to theaters later in June.
In anticipation of the new film, Alamo Drafthouse La Vista will screen a double feature of “Child’s Play 2” and “Child’s Play 3” in 35 mm. The films will start at 9 p.m. Saturday.
Alamo La Vista will also screen Buster Keaton’s “The General” at 6:45 p.m. Sunday.
Alamo Midtown will screen “The Martian” at 6 p.m. Thursday, and a discussion of the film and the novel it’s based on will take place with Omaha Public Library staff after the film. Alamo Midtown will also screen “The Adventures of Priscilla, Queen of the Desert” at 7 p.m. Monday and John Waters’ “Female Trouble” at 7 p.m. Wednesday.
1 of 32
32. “Indiana Jones and the Kingdom of the Crystal Skull”
The only movie in the director’s 50-year filmography that I would describe as loathsome — a pandering and geriatric greatest hits album so rotten it somehow manages to get a bad performance out of Cate Blanchett.
Possibly the most forgettable and anonymous movie Spielberg ever made.
Another groundbreaking technical marvel from Spielberg, and yet it’s an undeniably awkward and lifeless handling of Roald Dahl’s material.
29. “The Adventures of Tintin”
Spielberg followed “Jaws” and “Close Encounters” with a slapstick comedy set in the days following the Pearl Harbor attack.
Spielberg makes a Frank Capra film, and the results are decidedly mixed.
Why did he have to play Creedence Clearwater Revival in the Vietnam sequence?
25. “The Lost World: Jurassic Park”
Why did she have to take the baby T. rex into the RV?
I’m sure this isn’t as good as I remember, but the movie has such a nostalgic hold on me that I refuse to be critical about it.
23. “The Sugarland Express”
Spielberg’s rambling but worthwhile second film is an outlaw road movie starring Goldie Hawn.
Spielberg makes a John Ford movie, and an often-pretty-good one at that.
21. “Indiana Jones and the Temple of Doom”
A very young Christian Bale stars as a British boy who becomes a POW in a Japanese internment camp. Better than it got credit for at the time.
The magnificent alien attack of the first half gives way to wheel-spinning and compromise.
Sometimes I miss the clean simplicity of Spielberg’s early films, when he could just make a movie about a driver being terrorized by a tanker truck.
In 1985, Spielberg took a hard right turn from the popcorn entertainment of “Raiders” to tell the story of an oppressed black woman in rural Georgia in the early 20th century.
Not his best historical epic, but it does feature some of the most affecting moments in Spielberg’s filmography; namely, the “Give Us Free” scene.
I don’t know why people can’t see this Cold War spy yarn as the dryly funny comedy of manners that it is.
This historical drama, which follows Abraham Lincoln’s (Daniel Day-Lewis) efforts to get the 13th amendment passed, could have been dull as dirt in the hands of another director. But Spielberg and his excellent cast imbue the film with life and intelligence.
One of the better Philip K. Dick adaptations, and one of the better Tom Cruise vehicles, and one of the better futuristic sci-fi movies of the past few decades.
11. “Catch Me If You Can”
Spielberg took Tom Hanks and Leonardo DiCaprio back to the ‘60s to make jaunty entertainment, and the director and his stars nailed every note of it.
Spielberg’s best post-9/11 film is a brutally effective action movie about the Israeli government’s revenge campaign against the plotters of the Munich massacre at the 1972 Olympics.
9. “A.I. Artificial Intelligence”
You might think that Spielberg’s continuation of Stanley Kubrick’s robot movie is among the former filmmaker’s worst, that it’s not among his strangest, darkest and most visually ingenious movies. I can’t tell you that you’ll like the film better upon revisiting it; I can only tell you that your opinion of the film is wrong.
8. “Close Encounters of the Third Kind”
Still sculpting Devil’s Tower out of mashed potatoes after all these years.
7. “Raiders of the Lost Ark”
No big deal, just rebooting the long-defunct pastime of the matinee adventure serial while also offering the quintessential example of it.
When Spielberg is firing on all cylinders, he can push popular entertainment into new and heretofore-unheard-of realms of pleasure.
5. “Indiana Jones and the Last Crusade”
Maybe just a hair better than “Raiders,” if only for Harrison Ford and Sean Connery’s father-son banter and that terrific River Phoenix prologue.
There was a time when Spielberg didn’t set out to make a good shark movie or a good Holocaust movie or a good WWII movie: He set out to make the best shark/Holocaust/WWII movie ever made, and he more often than not achieved his aim.
3. “E.T. the Extra-Terrestrial”
Still his highest-grossing film, still the modern template for the family-friendly blockbuster, still makes me cry so hard I pull a muscle every time I watch it.
Save maybe Hitchcock and Howard Hawks, no one was better than Spielberg at employing exquisite craft in the service of a crowd-pleasing B-movie. With “Jaws,” he invented the summer blockbuster and changed film forever, and he did it all with a broken shark.
There are few films of greater importance, and there are few films that are so lovingly, ingeniously, painstakingly perfect in concept and execution. This is his magnum opus, the grand statement from one of the most naturally gifted storytellers in the history of the medium.