Hi people! What are you doing this weekend? Not poisoning other people with a deadly powder, I hope. Please don't do that. Fucking jerk.

How about watching movies instead? Movies almost never kill gay people and their friends.

Opening today:

The Wrestler, obv. Says Charles Mudede:

I can also go on and on and on about the core humanity of several scenes—when the wrestler is playing video games with a boy; when the wrestler is in a locker room with other wrestlers; when the wrestler is praising the beauty of an aging stripper (Marisa Tomei); when the wrestler, with permanently broken fingers, is placing a delicate pair of reading glasses on a permanently broken nose. In these moments, the particular connects with the universal, with the lasting truths of friendship, dignity, and kindness. These connections (between fallen and the eternal) constitute the film's highest achievement.

Then, in the Things to Avoid at All Cost category, we have two fine entries.

Bride Wars, tackled by Megan Seling:

I’m glad your weddings were booked on the same day and inevitably ruined, you little twits. I’m glad you got dyed orange days before your wedding, Anne Hathaway, and I wish you’d have gotten even fatter, Kate Hudson! You’re both jerks, and I hate you.

And The Unborn, which, it should be noted, Jonah Spangenthal-Lee REQUESTED to review:

Writer/director David Goyer (Blade 2, The Dark Knight) has shown himself to be an at-least-mildly-capable filmmaker in the past, which is why it’s baffling that he managed to cram so many bad ideas (see the film’s ridiculous tagline, “Jumby wants to be born now”) into 90 minutes.

Luckily, there's some great stuff in Limited Runs.

Northwest Film Forum kicks off their 69 series today with Easy Rider and Butch Cassidy and the Sundance Kid.

Paul Constant recommends Azur & Asmar at SIFF Cinema:

Remember back when computer animation always offended the eye? Azur & Asmar seems to come from a universe where Pixar never existed, and it looks as though it evolved from those hideous, nascent years of early CGI. Turns out, though, it’s an ugly duckling story; the weird, alien angles and textures of this movie are beautiful in a way I’ve never quite seen before on a screen. The story, though, is very familiar: Azur is a fairy tale about two brothers (one black, one white) who quest for a genie. Along the way, they learn about racism, class disparity, and interracial romance. The story is way too slow for young children, and the third act is too slow for everyone; it stops with a thud and just sits there for fifteen minutes before the credits. Still, for bored parents of teenagers, fans of multi-culti foreign films, and patient stoners, Azur is a rare beauty, and well worth the dragging preachiness.

But can't quite endorse Tokyo Gore Police at Grand Illusion:

Ruka is a self-mutilating cop who specializes in the field of fighting dangerous mutant serial killers called “engineers.” If you’re a fan of the “what’s-grosser-than-gross?” genre that is Japanese nouveau splattercore, this movie is the grossest: severed arms become chainsaws, giant mutant penises shoot projectiles at cops, and blood repeatedly sprays all over the camera lens; for gore fans, this is the pure stuff, the gore-porn.

The Grand Illusion also has Rashomon; SIFF Cinema has Kirikou and the Sorceress; the Egyptian midnight movie is Wet Hot American Summer; and Central Cinema is showing Moonstruck.

Today and tomorrow, the Seattle Art Museum hosts Projecting Cultures: Native Voices and the Moving Image to accompany their exhibit S'abadeb—The Gifts: Pacific Coast Salish Art and Artists, which Jen Graves wrote about here.

And coming up on Monday, choose between David Schmader's annotated Gigli at Central Cinema, and The Magician at the Paramount's Silent Movie Mondays.

There you go! Have a great, gay, drunk, fun, non-getting-poisoned weekend, all.