now in the­aters

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Tim Bur­ton’s unin­spired foray into Won­der­land fea­tures some nice char­ac­ter de­sign and choice work by a cast of mostly Bri­tish ac­tors, but that’s it. As a se­quel to the Lewis Car­roll books, not an adap­ta­tion, it fea­tures an older Alice (Mia Wasikowska) and a lame, Lord of the

Rings-style plot. But most sur­pris­ing, the vis­ual style in 3-D is dim, drab, and muddy— per­haps the looking glass needs some Win­dex. Rated PG. 108 min­utes. Screens in dig­i­tal 3-D at Re­gal Sta­dium 14, Santa Fe;

Dream­Catcher, Es­pañola; Reel Deal, Los Alamos; Sto­ry­teller, Taos. Also screens in 2-D at Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Robert Ben­ziker) See re­view, Page 44.

ALICE IN WON­DER­LAND

James Cameron’s lat­est ad­ven­ture, which won three Academy Awards, in­clud­ing Best Cin­e­matog­ra­phy, is about an ex-sol­dier (SamWor­thing­ton) who uses a syn­thetic body to in­fil­trate a race of gi­ant blue aliens and help the mil­i­tary tap into their nat­u­ral re­sources. The script is stale, and the film is an hour too long. To put it bluntly: now that the 3-D prints are gone from area the­aters, it’s not worth see­ing. Rated PG-13. 162 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Robert Ben­ziker)

AVATAR

This crowd pleaser re­counts the story of Michael Oher (Quin­ton Aaron), a home­less Mem­phis teen who, af­ter be­ing taken in by the wealthy Tuohy fam­ily, went on to be­come an NFL draft pick. It’s a feel-good yarn that would be nau­se­at­ing if it weren’t true, but it scores the ex­tra point for not go­ing long into melo­dra­matic ter­ri­tory. San­dra Bul­lock won the

THE BLIND SIDE

Academy Award for Best Ac­tress for her per­for­mance. Rated PG-13. 128 min­utes. Re­gal North, Santa Fe;

Sto­ry­teller, Taos. (Lau­rel Glad­den)

The ti­tle, it seems, is in­tended iron­i­cally. The cops of this Brook­lyn precinct are deeply com­pro­mised, ei­ther by money trou­bles, di­vided loy­al­ties, cyn­i­cism, or short-timer ap­a­thy. Di­rec­tor An­toine Fuqua ( Train­ing

Day) fol­lows the mis­for­tunes of three Brook­lyn cops, played with vary­ing suc­cess by Don Chea­dle, Ethan Hawke, and Richard Gere. There is a lot of street lan­guage and a high body count, both in shoot­ing vic­tims and in naked hook­ers. Any movie that ends on a freeze frame of Richard Gere walk­ing sto­ically away from a crime scene teem­ing with po­lice cars can’t be all good. Rated R. 125 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Sto­ry­teller, Taos. ( Jonathan Richards)

BROOK­LYN’S FINEST

COP OUT

Di­rec­tor Kevin Smith presents this fu­ture ca­ble-TV sta­ple in which Tracy Mor­gan and Bruce Willis do the whole buddy-cop thing. Per­haps the aw­ful­ness of the joke in the ti­tle isn’t in­dica­tive of the film’s qual­ity as a whole, but the trailer sug­gests that it might ac­tu­ally be the best part. Rated R. 110 min­utes.

Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Sto­ry­teller, Taos. (Not re­viewed)

THE CRA­ZIES

Be­ing afraid of your neigh­bor is prac­ti­cally a way of life in Amer­ica, judg­ing from the slash­ers and zom­bies in our hor­ror movies. In this one, the res­i­dents of a Mid­west­ern burg be­gin to mys­te­ri­ously turn vi­o­lent. Ti­mothy Olyphant, who has ex­pe­ri­ence as a small-town sher­iff ( Dead­wood), plays the law­man who tries to keep the sit­u­a­tion un­der con­trol. Rated R. 101 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

Jeff Bridges plays Bad Blake, an ag­ing coun­try-mu­sic singer now trav­el­ing the bumpy down­hill road of a washed-up, bro­ken-down ca­reer. He finds re­demp­tion through a pretty young re­porter (Mag­gie Gyl­len­haal) and her lit­tle boy. Crazy Heart doesn’t have much of a story, and what it has we’ve seen be­fore, but Bridges’ fine per­for­mance— which won him the Best Ac­tor Os­car— al­most saves it. Rated R. 112 min­utes.

Re­gal DeVar­gas, Santa Fe; Reel Deal, Los Alamos; Sto­ry­teller, Taos. ( Jonathan Richards)

CRAZY HEART

Sol­dier John (Chan­ning Ta­tum) is on leave near Charleston when he meets Sa­van­nah (Amanda Seyfried). They fall in love, but she has to re­turn to school, he to his post over­seas. They vow to keep in touch, but the course of true love never did run smooth. This war­time weepie is gun­ning for your heart­strings, but un­de­vel­oped char­ac­ters and unin­spired di­a­logue keep it from sweep­ing any­one

DEAR JOHN

away. Rated PG-13. 108 min­utes. Re­gal North, Santa Fe. (Lau­rel Glad­den)

Lynn Bar­ber, a Bri­tish jour­nal­ist with a rep­u­ta­tion for the jugu­lar, fell in with a shady older man when she was 16, and 40 years later she wrote a mem­oir. Carey Mul­li­gan plays the teenage Jenny, Bar­ber’s al­ter ego, and a star is born. It’s a com­ing-ofage movie that ex­am­ines the rel­a­tive im­por­tance of dif­fer­ent ap­proaches to an ed­u­ca­tion. Rated PG-13. 95 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards)

AN ED­U­CA­TION

Kathryn Bigelow is one of Hol­ly­wood’s best action direc­tors. Here, with a script by jour­nal­ist Mark Boal, she de­liv­ers a taut drama about a trio of Ex­plo­sive Ord­nance Dis­posal sol­diers who are count­ing down the days un­til they can ship home in one piece. It was the big win­ner on Os­car night, tak­ing home six stat­uettes, in­clud­ing those for Best Pic­ture and Best Di­rec­tor. Rated R. 131 min­utes.

Dream­Catcher, Es­pañola. (Robert Nott)

THE HURT LOCKER

Over the lat­ter part of his life, Leo Tol­stoy was known not just for his nov­els but also for the phi­los­o­phy of paci­fism, egal­i­tar­i­an­ism, and celibacy to which he gave his name. The movie shows the epic strug­gle be­tween the writer (Christo­pher Plum­mer) and his wife of al­most 50 years (He­len Mir­ren). The third point of the tri­an­gle is the cal­cu­lat­ing Chertkov (Paul Gia­matti), who is more Tol­stoyan than Tol­stoy and wants the copy­rights of his work for the pub­lic do­main. Rated R. 110 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards)

THE LAST STA­TION

This doc­u­men­tary about a 79-year-old rice farmer and his 40-year-old ox is the high­est-gross­ing in­de­pen­dent film in South Korea’s his­tory and one of the odd­est true-life love sto­ries you’ll ever see.

OLD PART­NER

It’s re­ally a ro­man­tic tri­an­gle, with the farmer’s wife as the third party. It’s some­times a lit­tle slow, but then, how fast can you ex­pect a 40-year-old ox to move? Satur­day and Sun­day, March 13 and 14, only. Not rated. 78 min­utes. In Korean with sub­ti­tles.

CCA Cin­e­math­eque, Santa Fe. ( Jonathan Richards)

PERCY JACK­SON & THE OLYMPIANS: THE LIGHT­NING THIEF

Chris Colum­bus helms this tepid adap­ta­tion of the first book in Rick Rior­dan’s se­ries about a boy (Lo­gan Lerman) who learns he is the son of Po­sei­don and sets out to find Zeus’ stolen light­ning bolt. The first half is amus­ing in a soap-opera way, and there is some in­spired cast­ing (best of all is Uma Thur­man as Me­dusa), but the script is stretched too thin, and the action is for­get­table. Rated PG. 120 min­utes. Re­gal Sta­dium 14, Santa Fe;

Sto­ry­teller, Taos. (Robert Ben­ziker)

PRE­CIOUS: BASED ON THE NOVEL “PUSH” BY SAP­PHIRE

Pre­cious Jones (Gabourey Sidibe) is a poor, il­lit­er­ate, obese teen who lives in Har­lem with her abu­sive mother (Mo’Nique, who won the Os­car for the role). She’s about to be kicked out of school when her prin­ci­pal tells her about a school where she can pur­sue her GED. The film also won the Academy Award for Best Adapted Screen­play. Rated R. 110 min­utes.

Dream Catcher, Es­pañola. (Lau­rel Glad­den)

THE PRI­VATE LIVES OF PIPPA LEE

A su­perb per­for­mance by Robin Wright Penn il­lu­mi­nates Re­becca Miller’s in­tel­li­gent and re­veal­ing look at a Con­necti­cut ma­tron’s in­ner wild child. The spot-on sup­port­ing cast is an­chored by Alan Arkin as Pippa’s ail­ing but ebul­lient older hus­band and in­cludes Blake Lively as her younger self, Maria Bello as her pill-pop­ping mother, Zoe Kazan as her dis­af­fected daugh­ter, and Keanu Reeves as a brood­ing, Je­sus-tat­tooed neigh­bor. Rated R. 93 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards)

The lat­est ex­pertly crafted col­lab­o­ra­tion be­tween di­rec­tor Martin Scors­ese and ac­tor Leonardo DiCaprio is also one of the best thrillers in years. Adapted from a novel by Den­nis Le­hane and filmed in the noir-hor­ror tra­di­tion of pro­ducer Val Lew­ton, they tell a tale of two U.S. mar­shals who in­ves­ti­gate an es­cape at an is­land asy­lum for the crim­i­nally in­sane and dis­cover that ev­ery­thing there is not as it seems. Rated R. 138 min­utes. Re­gal Sta­dium 14, Santa Fe;

Dream­Catcher, Es­pañola; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Robert Ben­ziker)

SHUT­TER IS­LAND

This de­but from fash­ion de­signer and some­time Santa Fe res­i­dent Tom Ford re­counts a day in the life of Ge­orge (Colin Firth), a lit­er­a­ture pro­fes­sor mourn­ing the death of his long­time lover (Matthew Goode). As you might ex­pect, the film is metic­u­lously tai­lored and beau­ti­fully styled — some­times overly so— but it’s also touch­ing and heart­break­ing. Rated R. 101 min­utes.

CCA Cin­e­math­eque, Santa Fe. (Lau­rel Glad­den)

A SIN­GLE MAN

Bel­gian an­i­ma­tors Stéphane Au­bier and Vin­cent Patar adapt their pop­u­lar fes­ti­val shorts and French cult-tele­vi­sion show as a stop-mo­tion an­i­mated fea­ture, de­liv­er­ing a fun and zany romp through al­ter­nate uni­verses filled with talk­ing horses, a cow­boy, an In­dian, gi­ant waf­fles, and gig­gling sea crea­tures. Fun for adults and kids alike. Satur­day and Sun­day, March 13 and 14, only. Not rated. 75 min­utes. In French with sub­ti­tles. The Screen, Santa Fe (Rob DeWalt)

A TOWN CALLED PANIC

Di­rec­tor Ja­son Reit­man Juno) de­liv­ers a comic win­ner with un­der­tones of con­tem­po­rary angst. Ryan Bing­ham (an im­pec­ca­ble Ge­orge Clooney) spends most of his life on planes, hap­pily trav­el­ing to the cities where he fires peo­ple as a hired gun for down­siz­ing cor­po­ra­tions. Anna Ken­drick and Vera Farmiga are bril­liant as the two women in Ryan’s life. Rated R. 109 min­utes. Re­gal North, Santa Fe. ( Jonathan Richards)

UP IN THE AIR

Reed (Ash­ton Kutcher) pro­poses to Mor­ley ( Jes­sica Alba) and then shares the news with Ju­lia ( Jen­nifer Gar­ner), who is dat­ing a mar­ried guy (Pa­trick Dempsey), much to the cha­grin of her BFF ( Jes­sica Biel), who is a pub­li­cist for a foot­ball star (Eric Dane). Wait! There’s more— but who cares? Di­rec­tor Garry Mar­shall stuffs two hours with stale gen­der and racial stereotypes, tired jokes, ro­man­tic clichés, and Hol­ly­wood A-lis­ters. Rated PG-13, 125 min­utes.

Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Lau­rel Glad­den)

VALEN­TINE’S DAY

This is a beau­ti­fully shot, med­i­ta­tive por­trait of what ap­pears to be a pas­toral vil­lage in 1913-1914 Ger­many. Since this is a film from Aus­trian film­maker Michael Haneke ( Caché), life in the burg is any­thing but idyl­lic. In his ex­am­i­na­tion of gen­er­a­tional con­flict and a coun­try on the brink of war, the di­rerc­tor doesn’t lament the loss of in­no­cence — he ar­gues that we are never in­no­cent. Rated R. 144 min­utes. In Ger­man with sub­ti­tles. CCA

Cin­e­math­eque, Santa Fe. (Robert Ben­ziker)

THE WHITE RIB­BON

Lawrence Tal­bot (Beni­cio Del Toro) is an Amer­i­can ac­tor who ends up play­ing am­a­teur de­tec­tive in the case of his brother’s mys­te­ri­ous death on the English moors. It turns out that a were­wolf got his bro, and once it puts the bite on Lawrence, he starts eat­ing peo­ple as he be­comes the ti­tle char­ac­ter. The spe­cial ef­fects are OK, and there are a few de­cent action scenes, but the movie is de­press­ing and at times down­right bor­ing. Rated R. 125 min­utes. Re­gal North, Santa Fe. (Robert Nott)

THE WOLF­MAN

Emily Blunt is lovely and strong-minded as the young Vic, and Ru­pert Friend is a charm­ing Prince Al­bert. With a lit­er­ate script by Ju­lian Fel­lowes and fluid di­rec­tion from Jean-Marc Val­lée, this biopic is in­for­ma­tive, el­e­gant, and lushly ro­man­tic. Rated PG. 104 min­utes. Re­gal DeVar­gas, Santa Fe;

Sto­ry­teller, Taos. ( Jonathan Richards)

THE YOUNG VIC­TO­RIA

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