With predictions of sunny skies and mid-80s temperatures, Saturday’s free 4Knots Music Festival at the South Street Seaport is looking better and better. Although Re-TROS had to cancel and won’t be coming from Beijing as scheduled, the rest of the lineup — Mac DeMarco, Those Darlins, Speedy Ortiz, Radkey, Nude Beach, Dead Stars, Crazy Pills, the Viet Cong, and headliners Dinosaur Jr. — is set to fill two stages with sounds ranging from raucous punk to sensitive singer-songwriter guitar pop to a whole lot in between from 1:00 till 8:00. During that time, you can grab eats in the 4Knots Food Truck Courtyard, where you will find Papaya King, the Crepes Truck, Softee Xpress, Shanghai Sogo, Nuchas, twi-ny fave Uncle Gussy’s, and Yankee Doodle Dandy’s. If you feel like turning the beat around and are still ready to party as the sun sets, head to Webster Hall on Eleventh St. for the joint Brooklyn Hip Hop Festival/4Knots After-Party. The Village Voice cohosts this combined affair as well, featuring California rapper Ab-Soul and two special guests, newcomers Jarren Benton and YC the Cynic, in addition to online music curators DJ Meka and Low Key. Although the 4Knots Music Festival is free, the after-party isn’t: Tickets will run you thirty bucks.
4KNOTS MUSIC FESTIVAL SET TIMES
1:00 — Dead Stars, Front/Row Stage
1:30 — Radkey, Pier 16
2:00 — Crazy Pills, Front/Row Stage
2:30 — Speedy Ortiz, Pier 16
3:00 — Juan Wauters, Front/Row Stage
3:30 — Viet Cong, Pier 16
4:00 — Nude Beach, Front/Row Stage
4:30 — Those Darlins, Pier 16
5:30 — Mac DeMarco, Pier 16
7:00 — Dinosaur Jr., Pier 16
Director Francis Lawrence’s modern-day update of Richard Matheson’s classic 1954 novel, I Am Legend, is a tense, nonstop thriller, liberally adapted by screenwriters Mark Protosevich (The Cell) and Akiva Goldsman (I, Robot). While the book was a claustrophobic masterpiece, the film opens things up dramatically, with Robert Neville (Will Smith), the last survivor of a supposed cancer cure that turned into a deadly virus, riding the streets of New York City every day in a fancy car with his dog, Sam. In addition to hunting wild game that leaps through Midtown, Neville, an army scientist who is still searching for an antidote in his makeshift basement laboratory, kills cells of infected vampiric beings that have more in common with the violent creatures of 28 Days Later than the slow-moving zombies of Night of the Living Dead. Every night Neville barricades himself and Sam into their apartment overlooking Washington Square Park and dreams of the events that brought him to this point, centered on his desperate attempt to save his wife (Salli Richardson) and daughter (Willow Smith, Will’s real-life daughter). I Am Legend was actually filmed in New York, with pivotal scenes shot in and around Madison Square Park, Grand Central Terminal, the South Street Seaport, and a barren Park Ave., lending it a stark, frightening reality. Smith excels as Neville, his eyes quickly shifting from hope to disappointment, from promise to pain, and Lawrence (Constantine, The Hunger Games: Catching Fire) does a marvelous job of translating the book’s inner monologue into a postapocalyptic visual nightmare. I Am Legend is screening July 12 at one of the film’s locations, the South Street Seaport, as part of the “Front/Row Cinema: See/Change” series, which continues Wednesday and Saturday nights through August 31. For a day-by-day listing of free summer movie screenings throughout New York City, go 
It’s hard to believe that the Hays Code, a set of standards initiated by two religious figures and named after chief censor Will H. Hays, was enacted and enforced, to varying degrees, in Hollywood from 1934 all the way up to 1968. One of the best examples of the racier pre-code films is William A. Wellman’s rarely screened 1931 doozy, Night Nurse. The first of five collaborations between Wellman and Barbara Stanwyck, Night Nurse, based on Dora Macy’s 1930 novel, stars Stanwyck as Lora Hart, a young woman determined to become a nurse. She gets a probationary job at a city hospital, where she is taken under the wing of Maloney (Joan Blondell), who likes to break the rules and torture the head nurse, the stodgy Miss Dillon (Vera Lewis). Shortly after treating a bootlegger (Ben Lyon) for a gunshot wound and agreeing not to report it to the police, Lora starts working for a shady doctor (Ralf Harolde) taking care of two sick children (Marcia Mae Jones and Betty Jane Graham) whose proudly dipsomaniac mother (Charlotte Merriam) is being manipulated by her suspicious chauffeur (Clark Gable). Wellman pulls out all the stops, hinting at or simply depicting murder, child endangerment, rape, alcoholism, lesbianism, physical brutality, and Blondell and Stanwyck regularly frolicking around in their undergarments. It’s as if Wellman is thumbing his nose directly at the upcoming Hays Code in scene after scene. Although far from his best film — Wellman directed such classics as Wings (1927), The Public Enemy (1931), A Star Is Born (1937), Nothing Sacred (1937), Beau Geste (1939), and The Ox-Bow Incident (1943) — Night Nurse is an overly melodramatic, dated, but entertaining little tale with quite a surprise ending. Night Nurse is screening July 11 as part of the Rubin Museum’s Cabaret Cinema series “Movie Medicine: A Film Series about the Healing Factor in Cinema,” being held in conjunction with the “Bodies in Balance: The Art of Tibetan Medicine” exhibition, and will be introduced by Edna Igoe of the New York Professional Nurses Union. The series continues July 18 with Woody Allen’s Sleeper, introduced by psychotherapist Maggie Robbins, July 25 with Arthur Hiller’s The Hospital, introduced by Dr. Kenneth Perrine, and August 1 with Michael Powell and Emeric Pressburger’s Black Narcissus, introduced by award-winning editor Thelma Schoonmaker.
