A trio of acclaimed, art-themed films will be screened free to members of the Figge Art Museum on December 4, with the Davenport venue hosting John Deere Auditorium screenings of 2007's My Kid Could Paint That, 2006's The Rape of Europa, and 2013's The Show That Shook the World.

This morning, a New York Times article stated that eBay has seen a 215-percent increase in the sales of chess sets and accessories since the October debut of Netflix's limited series. If it's indeed true that The Queen's Gambit is responsible for the uptick, I wouldn't be surprised if similar sales spikes are soon reported for mod mini-dresses, digital compilations of '60s pop hits, and boyfriends who look like Dudley Dursley from the Harry Potter movies.

Even in its one-joke way, the premise sounded promising: a high-school slasher flick in the guise of a body-switching comedy. (Or perhaps it's the other way around.) Unfortunately, though, the mild fun of writer/director Christopher Landon's Freaky pretty much ends with its set-up, and once that central conceit is established, what transpires is so oddly dull that it's like being disappointed by the same movie twice. I was hoping for Halloween meets Freaky Friday. What we get is closer to Prom Night meets Vice Versa.

Is it possible that, in our pandemic era, the cineplex experience won't be saved by young audiences for presumed blockbusters that may or may not open, but rather by dedicated groups of older moviegoers who are happy with simple stories well and elegantly told?

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Described by the U.K.'s The Telegraph as “serious-minded, informative, and knowledgeable” in its four-star review, the lauded documentary The Gene: An Intimate History co-produced by legendary documentarian Ken Burns – will enjoy a special virtual presentation on November 19 courtesy of the Quad Cities' PBS station WQPT, with the event boasting a post-screening discussion and Q&A with the film's Emmy Award-winning director Jack Youngelson.

No modern horror movie, not even last November's mostly decent sequel Doctor Sleep, should have to be compared to Stanley Kubrick's 1980 masterpiece The Shining. Writer/director Jacob Chase's Come Play, however, is pretty much begging for the comparisons, given that its child lead, in many shots, looks uncannily like the tormented Danny Torrance, and its title – one that instantly conjures images of creepy twin girls in a hotel hallway – all but demands to be followed by “... with Us, Danny.” Needless to say, though, Come Play is not The Shining. Sadly, despite boasting a bunch of fine elements, it's not even Doctor Sleep.

Two short films celebrating American courage, character, and perseverance will enjoy virtual presentations the day before Veteran's Day, with the Moline Public Library hosting November 10 screenings of Fourth Wall Films' A Bridge Too Far from Hero Street and Riding the Rails to Hero Street, a pair of lauded documentaries in the Hero Street series by area filmmakers Kelly and Tammy Rundle.

What's the most subversive thing about Sacha Baron Cohen's anarchic comedy sequel Borat Subsequent Moviefilm? Cohen's jackass journalist, in disguise as Donald Trump, interrupting a Mike Pence speech to offer the vice president Borat's 15-year-old daughter as a gift? Borat, this time in Texas disguised as a rotund country crooner, inspiring a group sing-along about the “Wuhan flu” and chopping up journalists “like the Saudis do”? Rudy Giuliani, in a widely discussed scene, caught on camera tucking in his shirt (or “tucking in his shirt”) while lying on a hotel bed in front of a young female reporter?

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