Albert Brooks, 1991
PG; 111 minutes

“This is definitely Brooks's day in court, and he makes comic heaven of it.” —Desson Thomson, Washington Post

George Cukor, 1940
NR; 112 minutes

“Miss Hepburn has accomplished the thing she set out to do with both movie and stage play. She has made the showmen who labeled her box-office poison eat their words and rue the day they were ever so uncomplimentary.” —Katherine Howard, Fort Worth Star-Telegram

Billy Wilder, 1954
PG; 113 minutes

“It's a Cinderella story that gets turned on its head, a satire about breaking down class and emotional barriers, and a confrontation between New World callousness and Old World humanity.” —Derek Adams, Time Out

Bong Joon Ho, 2019
R; Korean with English subtitles; 132 minutes

“Though we largely root for the Kims, Bong doesn't allow anything as simple as rich versus poor, good versus bad. No wonder this movie speaks to global audiences—it's a parable about our capitalist world.” —Larushka Ivan-Zadeh, Metro Newspaper (UK)

Jonathan Lynn, 1985
PG; 94 minutes

“Like a well-oiled machine, Clue uses slapstick and situational humor to tell a rather pointed story.” —Wesley Lovell, Cinema Sight

Barry Sonnenfeld, 1991
PG-13; 105 minutes

“More than merely a sequel of the TV series, the film is a compendium of paterfamilias Charles Addams's macabre drawings, a resurrection of the cartoonist's body of work. For family friends, it would seem a viewing is de rigueur mortis.” —Rita Kempley, The Washington Post

Tod Browning, 1931
NR; 75 minutes

Cowtown Movie Classics returns to the Modern with a special presentation of Dracula (1931), the film that sparked the monster movie craze of the 1930s–1940s and turned Bela Lugosi into an immortal cultural icon.

Pioneering horror director Tod Browning (Freaks) created this first sound adaptation of Bram Stoker’s legendary vampire novel, which sees the ancient aristocrat (Lugosi) sail from his crumbling castle in Transylvania to fog-drenched London in search of new blood.

Mel Brooks, 1974
PG; 108 minutes

“This black-and-white parody of the Karloff classic is the most cinematically assured, coherent and (relatively speaking) tasteful of Brooks's films.” —Paul D. Zimmerman, Newsweek