I’m following up on a post I made last year that explored 2024 re-releases I saw at Alamo Drafthouse. This post is a retrospective of all the re-releases I saw in 2025. While most were at the Alamo, I did see a handful at Film Streams, a local arthouse theater in Omaha. Before we begin, I want to add a disclaimer. I am in no way sponsored by Alamo Drafthouse or Film Streams. I’m just a fan and avid movie buff. I am an Alamo Season Pass holder, so I can see as many films as I want per month (up to once a day).
As a Film Streams member, I may not get free tickets, but I do get discounted tickets, and I feel good knowing I patronized a non-profit. In this season of my life, with few obligations, I should see as many movies as I would like. I love seeing new films, but I also love seeing re-releases, usually because they came out before I was born or when I was too young to see them. That was actually the main reason I subscribed to the Season Pass. I didn’t tally how many new releases I saw in 2025, but I did tally the re-releases. In the past year, I saw 36 re-releases alone. It’s down a bit from the 41 I saw in 2024, but still on par. Given the fact that I took an analog photography class that took up a lot of my time, my dad died, and I started my new job, I still think 36 re-releases (again, not counting new releases) is pretty impressive. I also want to add a clarification: when I say “last year,” I mean 2024. When I say “this year,” I mean 2025. Also, a formal spoiler alert is in effect. With that out of the way, let’s start the retrospective.
Last year, the Alamo had a time capsule theme, selecting important movies from anniversary years. The years they chose were 1999, 1994, 1989, 1984, 1979, and 1974. I assumed, because last year was my first year regularly visiting the theater, that they would continue the trend this year. I was disappointed to learn that they were not continuing that tradition, although they did have one time capsule event for 1975 in the spring. Going back to January, the first re-release I saw was The Curious Case of Benjamin Button. They were doing a series on David Fincher from January through March, showing most of his films. Zodiac was supposed to be the first film I saw that year. However, if memory serves, there was a snowstorm, and I didn’t feel like going out, so Benjamin Button it was. I hadn’t seen the film before, and quite frankly, I wasn’t a fan. I wasn’t a fan of the narrative, the CGI (the old man baby freaked me out), or the pacing. I don’t necessarily have a problem with long films (it was about two hours and forty-five minutes), it’s about how they’re paced and edited. Some long movies move fast; this one moved at a rate equal to molasses.
To celebrate Saturday Night Live’s 50th anniversary, the next event was a Lonely Island-themed one. I love The Lonely Island and the SNL Digital Shorts. In fact, my favorite podcast is “The Lonely Island and Seth Meyers Podcast.” To say I was excited was an understatement. First up was a movie party of Hot Rod, followed by MacGruber, and a movie party of Popstar: Never Stop Never Stopping. I don’t usually attend movie parties, as my Season Pass doesn’t cover them. I would rather pay a normal ticket price and forgo the trinkets, but that wasn’t an option. Thankfully, I had a gift card that covered the cost of one party and part of another. It was fun to see both movies with people who are as big nerds about these movies as I am. To be able to quote it together and laugh together was fun. Funny story: I actually saw Popstar when it was released in the summer of 2016. It came out between my junior and senior years of high school. I was actually the only person in the auditorium, I kid you not. I thought it was one of the funniest films I had ever seen and was upset when it bombed. I do believe it found a cult following, so that makes me happy. Speaking of cult followings, MacGruber! I would have been too young to see this in the theater when it came out, but it also bombed at the box office before finding a second life. I may be biased, but it’s my favorite of the SNL films. It’s horribly dumb, but it makes me laugh, especially the scene where he blows up his own team.
Next up was arguably David Fincher’s masterpiece, Seven. I know I had seen it one time, probably in high school. I remembered the big reveal, but there were so many little nuances I’d forgotten. I was worried I would be disturbed (some of the scenes were disturbing), but the movie genuinely engrossed me. I remember leaving the cinema on cloud nine, thinking, That’s how a great film can make you feel. I can’t remember why, but they were showing Interstellar. I saw it on DVD years ago, but I didn’t remember too much about it, so I thought this would be a perfect opportunity to revisit it. Man, was I wrong. I struggled to stay awake. I think it was because it was an early-afternoon showtime and I was trying to fight post-lunch fatigue while following the complex plot.
Back to Fincher, one last time, I saw The Social Network. I was in sixth grade when it came out. I remember the hype around it, but I was too young to understand it. It’s more than just about the founding of Facebook. It’s about friendship and betrayal. I like to read screenplays in my free time, and I think Aaron Sorkin’s Oscar-winning adapted screenplay is one of the best I’ve ever read. If Seven is Fincher’s masterpiece, then this is his favorite film of mine. How this film lost Best Picture and Director to The King’s Speech, I will never know.
Now, we’ve come to the Time Capsule – 1975. First up was Robert Altman’s Nashville. I was intrigued because I had heard that this was one of the greatest films of all time, and I was curious how they all weaved together. Despite an all-star cast, I felt bored for most of the film, and it had a long runtime. Not a good start. Next, in 1975, was Dog Day Afternoon. It’s a solid character study led by a phenomenal Al Pacino. I had seen this a couple of times before. While it was never my favorite film, I thought the cultural significance was worth seeing. Next in the queue was Cooley High. I had never seen this film before. It was okay. This was one I wasn’t keen on seeing, but I decided, what the hell? Being a big SNL fan, I knew Garrett Morris was in the film before the show premiered, so that may have moved the needle. He was good as a teacher.
Finally, for 1975, the piece-de-resistance, Jaws. Believe it or not, I hadn’t seen it before. It was one of those films I knew I would eventually see, but I figured with its 50th anniversary coming up, why not see it on the big screen for the first time? So, that’s what I did. I wasn’t on cloud nine like I was with Seven, but I realized why people liked that movie. It had an outstanding balance of horror and suspense, character-based humor and conflict, and short-term government. What impressed me more was that Steven Spielberg was only 27 years old when he made Jaws, and that was his second movie! I’m 27 now, and I’ve directed zero big-budget thrillers. I’m starting to reassess my life choices here!
We’re into the summertime now. I don’t think it was part of a series; it was a one-off. They showed Stand by Me. It’s a great coming-of-age film and one of my favorite films adapted from a Stephen King work. It was bittersweet seeing it in the theater because it showcased an excellent River Phoenix performance, offering a glimpse of what he was capable of. He had a couple of significant parts after this, but unfortunately, he died too young. It’s bittersweet now, writing this, knowing about the untimely murder of Rob Reiner and his wife, Michelle. On Father’s Day, which happens to fall in Pride Month, the Alamo celebrated by showing The Birdcage. The late greats Robin Williams and Gene Hackman are hilarious, but it’s Nathan Lane who steals the show. Even if you removed the LGBTQ+ elements from the film, it would still be a hilarious picture.
Coinciding with Pride Month and its 20th anniversary, I saw Brokeback Mountain. I had seen it before, but it was a while ago. Watching it again on the big screen with a renewed perspective was a game-changer. I was in elementary school when it came out. I remember all the early memes and the jokes about “I wish I knew how to quit you.” I know it lost Best Picture to Crash, which is now an infamous Oscars moment. When I watched it again, I was blown away. The story blew me away, and the sense of setting, sure, but more so at the two lead performances. It blows my mind that both Heath Ledger and Jake Gyllenhaal were younger than me when they starred in the film. Not only that, but they carried the film, playing the characters for over twenty years. They were able to tap into something that not many actors have. I do think that if the film were released today, the Oscar outcome would be much different.
Going back to the late, great Rob Reiner, in July, they showed a 41st Anniversary Edition of This Is Spinal Tap. I knew this film was the granddaddy of all mockumentaries like Popstar and Waiting for Guffman, but I hadn’t seen this one, so I jumped on the opportunity. They were showing it in preparation for the sequel. I enjoyed the film and recognized the beginnings of many tropes. Some moments made me laugh really hard, but ultimately, I wouldn’t say it was the funniest movie I’ve ever seen. I also understood the significance. That wasn’t lost on me. After this film, I eventually saw the sequel, which was funny but forgettable. I have an Audible subscription, and because of my long commute, I listen to audiobooks on my way home from work. I listened to a new release not long after I saw the sequel. It was called “A Fine Line Between Clever and Stupid.” It was an oral history of Spinal Tap written and read by Rob Reiner, Christopher Guest, Michael McKean, and Harry Shearer. I enjoyed listening and learning about the band’s formation, the making of the movie, how it bombed in theaters but found its audience in a new format called VHS, and how it eventually became a comedy staple. There was also a story about the battle over who owned the rights, and finally, the creators got them back, which allowed them to make the sequel. To top it off, the last hour or so of the audiobook was an oral history of the band Spinal Tap, read by members Nigel, Derek, David, and director Marty DiBergi. It was essentially Christopher Guest, Michael McKean, Harry Shearer, and Rob Reiner riffing as their characters for an hour. That was fun.
Next was Unforgiven. I don’t remember if there was a specific theme, but since this is my favorite Western, I jumped at the opportunity. I do believe, as far as directing goes, this will be remembered as Clint Eastwood’s masterpiece. After that, a film often considered one of the greatest of all time, celebrated its fiftieth anniversary. I am, of course, talking about One Flew Over the Cuckoo’s Nest. I watched it once, probably about seven or eight years ago, in college. I was in a film history and appreciation course with a great instructor (shoutout to Sana, if she is reading this), and she showed us this film. I remember liking it but thinking I wasn’t sure I wanted to watch it again. Despite my hesitation, I knew that for all the re-releases I see on the big screen, it would be dumb to pass this one up. I’m so glad I didn’t. Yes, it was a strict watch, but damn was it good. I see why it swept the Oscars that year and is one of only three films to win the “Big Five.” Like Seven or Back to the Future, last year, this was one I was so happy to see. I was on cloud nine. I practically skipped out of the theater. As a screenwriter, this is how I want an audience to feel after they see a film based on one of my scripts.
The end of summer brought three more films: Clue, The 40-Year-Old Virgin, and Casino. I hadn’t seen Clue before, but I had heard positive things about it. Ultimately, I wasn’t impressed (although it did have a stacked cast). I have to think those who recommended it to me grew up with it. I think if I had grown up with it and it had a nostalgic component, I would have liked it more. The 40-Year-Old Virgin is one of my favorite comedies. They were showing it for its twentieth anniversary, which is crazy to me. I remember being in elementary school, seeing ads, and asking my mom what a virgin is. If I recall, her response was, “I’ll tell you when you’re older.”
As I watched the movie, I had quite a few thoughts. Although Anchorman came out before this, I felt like I was watching Steve Carell leap into superstardom. I was looking at his career from a macro level, thinking ahead to the success he would have on The Office and his eventual transition to dramatic roles, which would earn him an Oscar nomination for Foxcatcher. Other thoughts that crossed my mind were: Paul Rudd hasn’t aged much in 20 years, and “Holy shit, Seth Rogen is only 22!?” Yes, Seth Rogen was only 22 when he made this movie, but he looked at least ten years older. It’s a double-edged sword because now he’s in his early forties, and he’s gone so gray that he looks ten years older than he actually is. Overall, despite a few questionable jokes, the film still holds up. It’s crude as hell, but it’s also romantic and full of heart.
On Labor Day, I saw Casino. I think a lot of people compare it unfavorably to Goodfellas, but it’s not trying to be Goodfellas. Despite having a lot of the same talent in front and behind the camera as Goodfellas, it’s its own film. It takes its time, it’s bloodier, and not as fun. I still like it, but it does pale in comparison to Goodfellas, in my opinion. I can say that and still recognize that they are different films.
This is where Film Streams comes into play. For most of my adult life, people recommended I see movies there. I’m not sure why I was initially so hesitant, probably driving downtown, but I had a great experience. The downtown location is nice, but my favorite is the Dundee location. What finally got me to commit was that they were showing a PTA marathon to coincide with the release of One Battle After Another. Over two weekends, they had several weekend showings of Boogie Nights, Magnolia, and Punch-Drunk Love. Then for two weeks, they showed There Will Be Blood, The Master, and Inherent Vice. On a Saturday, I went to a double feature. The first was Punch-Drunk Love, a sweet film with one of Adam Sandler’s best performances. Later that day, I saw Magnolia. The Alamo showed it last January, but I skipped it because I was sick. I was thankful to have the opportunity again to see it on the big screen. That was a great ensemble, and it contains what I believe to be Tom Cruise’s best performance as an actor, the film he should have won an Oscar for. That Sunday, I caught a matinee of Boogie Nights. That’s one of my favorite movies of all time, and to see it in the theater was icing on the cake. It’s filled with eccentric characters and some of the best needle drops in cinema. It was just a great experience.
I took a quick break from Film Streams to return to the Alamo. They were showing The Breakfast Club for its 40th anniversary. It’s a classic John Hughes film. The script is near perfect, and the cast’s chemistry is remarkable. Judd Nelson, as Bender, steals the show for me. I used to hate his character, but as I got older, I realized how strong a performance that is. Now it’s back to the Alamo on a Friday night to see a 35mm print of There Will Be Blood. This is arguably Paul Thomas Anderson’s magnum opus. I am writing this before the 2026 Oscars, but as of this writing, it’s probably the closest he’s come to winning. This was a two-film race between There Will Be Blood and No Country for Old Men. I knew the film had minimalist dialogue, but to put it in perspective, the first part was so quiet that I could hear it as it passed through the projector. The film also contains, arguably, the most outstanding Best Actor-winning performance of this century by Daniel Day-Lewis.
On that Saturday, I surprised my mom by taking her to the Alamo to see The Sound of Music for its 60th anniversary. I don’t think I had ever seen it in its entirety. It was certainly enjoyable, but it felt odd to me. I think if the film were solely about a nun turned nanny winning over the kids of this strict Captain widower and falling in love, I would have liked it better. I felt like the film added another hour when they stuffed in all the Nazisms. I know it was true to real life, but it seemed forced. That’s my perspective, anyway. I am sure some would disagree.
On that Sunday, I saw a double feature of Inherent Vice followed by The Master—two vastly different movies led by Joaquin Phoenix. I admit, I dozed off during Inherent Vice, so I had to watch it again later. The Master, while I find it a bit boring, sees Joaquin Phoenix and Philip Seymour Hoffman deliver their best performances of their careers. I think Phoenix should have won for this performance over Joker, and Hoffman should have earned his second win over Christoph Waltz in Django Unchained. For it to be Hoffman’s final nomination is appropriate, but also bittersweet. He allegedly took his first drink in several years at the wrap party for this film, which led to his relapse and ultimately, his untimely death. Because this left only three PTA films, excluding the upcoming One Battle, I watched the remaining films and wrote a series about them, which you can read here.
My last trip to Film Streams this year (for a re-release) was for a morning showing of Juno. I see a lot of movies with my brother, so it was nice to see one with my sister, since it is one of her favorites. It’s a touching and wickedly clever film with some of the most unique dialogue. Now, we’ve reached December. The first film of the month is Kiss Kiss Bang Bang at the Alamo. I’ve never seen it. It’s set at Christmas time. Val Kilmer just died, and this is Robert Downey Jr.’s first fundamental role on his comeback, plus it’s got Michelle Monaghan, and Shane Black makes it. I figured, why not? It wasn’t really my cup of tea, but it did have funny moments. It was interesting watching the film, knowing two things. First was that Robert Downey Jr. would blow up with Iron Man, become the world’s highest-paid star, and eventually win an Oscar for Oppenheimer. Second was that Val Kilmer would have cancer, lose his ability to speak, and eventually pass away too young.
As we approach the holiday season, I saw the 25th anniversary re-release of The Grinch. Growing up, I had seen the film a few times, but it wasn’t my favorite. In fact, Jim Carrey as The Grinch actually scared me. As an adult, I still wasn’t a fan. I hoped my perspective would change, but it didn’t. I was actually more impressed by what Jim Carrey went through during this film. For those who don’t know, Carrey felt like he was being buried alive under all the prosthetics and yak fur. He was so uncomfortable that he offered to return the $20 million he earned for the role. Instead of letting him quit, producer Brian Grazer brought in a Navy SEAL who taught Carrey torture resistance techniques. That’s a resilient producer, if you ask me. I took a slight detour one evening to Marcus Theaters to see Christmas Vacation. This is a Christmas favorite that I somehow had never seen on the big screen. Actually, I know how. Alamo always has this as a movie party, and they fill up quickly. I’m sorry, but I won’t pay $20 to sit in a crowded theater to watch a movie I could stream at home. I did pay $6 to see it in a nearly empty theater, which I think was the better deal.
We’re finally at the home stretch. After Christmas, I saw three films on three consecutive days: December 28, 29, and 30th. First up was the noir classic Night of the Hunter. The film follows a preacher turned convict as he sets his sights upon two young children whose father robbed a bank and hid the money, in the hopes of finding the loot. I hadn’t seen the film before, but the image of Robert Mitchum leaning into the light with “love” tattooed across one knuckle and “hate” along the other is one of cinema’s most iconic. I was glad I saw it, but it wasn’t for me. After that was The Apartment starring Jack Lemmon and Shirley MacLaine, directed by Billy Wilder. It follows a company man who lets his superiors use his office for trysts, but his rapid climb up the corporate ladder is threatened when he falls in love with the same woman his boss loves. Both Lemmon and MacLaine are delightful, and the movie was fun. You could make arguments for some winners, but this is one of the few genuine comedies to win Best Picture at the Academy Awards. The only true comedy in the sixty-five years since The Apartment to win Best Picture was Annie Hall, all the way back in 1977. Finally, we ended the year with When Harry Met Sally. I say “we” because I surprised my mom by taking her. I know what you’re thinking. It’s a weird movie to see with your mom. It is, but I had seen it before, and it is one of her favorites. The film is fine, but if we’re being honest, I wouldn’t have seen it without her. This time, it was knowingly bittersweet because Reiner had been murdered at this point.
Well, that’s my year with re-releases. I appreciate you taking the time to listen to my journey. As we look forward to 2026, the Alamo is holding an “in memoriam” selection featuring actors who died in 2025. Titles being shown include Reservoir Dogs (Michael Madsen), Reds (Diane Keaton), and Val Kilmer (Real Genius). As of this writing, I’ve already ventured out to see Three Days of the Condor, starring Robert Redford. However, we’ll have to talk about that next year.