open­ing this week

Pasatiempo - - Moving Images -

Breath Made Vis­i­ble As a Left Coast artist, dance pi­o­neer Anna Hal­prin was able to cre­ate work that was ut­terly unique, un­af­fected by the New York scene. This is a fas­ci­nat­ing doc­u­ment of a ca­reer that evolved to en­com­pass avant-garde theater, sex­ual pol­i­tics, civil rights, mor­tal­ity, psy­chol­ogy, and, most im­por­tant, na­ture. Swiss filmmaker Ruedi Ger­ber has turned a patch­work of in­ter­views, his­tor­i­cal footage, and per­for­mance films into a per­fectly paced, trans­for­ma­tional work of art — not un­like one of Hal­prin’s dances. Not rated. 80 min­utes.

The Screen, Santa Fe. (Michael Wade Simp­son) See re­view, Page 52.

Close-UP Di­rec­tor Ab­bas Kiarostami’s 1990 fic­tion-doc­u­men­tary hy­brid about a man who is ar­rested for im­per­son­at­ing filmmaker Mohsen Makhmal­baf screens in a new 35 mm print. It plays as part of the Cin­ema

Iran se­ries, which runs from Fri­day, June 4, to June 17. Not rated. 97 min­utes. In Farsi with sub­ti­tles.

CCA Cine­math­eque, Santa Fe. (Not re­viewed)

Get him to the Greek If you saw 2008’s For­get­ting Sarah Mar­shall, you may re­mem­ber Rus­sell Brand’s scene-steal­ing turn as an ob­nox­ious mu­si­cian. Here, he ex­pands on that role by play­ing a rock star who must be es­corted to the Greek The­atre in Los An­ge­les. Jonah Hill por­trays the poor in­tern who gets the as­sign­ment. And what do you know? It’s di­rected by Ni­cholas Stoller, the man re­spon­si­ble for

For­get­ting Sarah Mar­shall. Judd Apa­tow is one of the pro­duc­ers. Rated R. 109 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Sto­ry­teller, Taos. (Not re­viewed)

HAUSU Nobuhiko Obayashi’s 1977 horror film, about seven girls who travel to a haunted house where they dis­ap­pear one by one, is a cult gem full of de­cap­i­ta­tions (which are nei­ther scary nor gory), slap­stick hu­mor, and mu­si­cal num­bers. Obayashi per­fectly com­bines his back­ground in ex­per­i­men­tal film and TV com­mer­cials, and his at­ten­tion to art de­sign, mu­sic, spe­cial ef­fects, and cam­era tricks el­e­vates the film from “so bad it’s good” to sim­ply good. You will see bet­ter movies than

Hausu, but you will never see any movie quite like it. Not rated. 88 min­utes. In Ja­panese with sub­ti­tles.

The Screen, Santa Fe. (Robert B. Ker) See Screen Gems, Page 44.

Killers On June 25, Knight and Day opens na­tion­wide. In that ac­tion-com­edy, Tom Cruise and Cameron Diaz play a cou­ple who fall in love and have high-cal­iber ad­ven­tures. Con­sider Killers to be the B-grade un­der­card to that film, with Ash­ton Kutcher and Kather­ine Heigl in the lead roles. Kutcher plays a highly skilled as­sas­sin, and Heigl is the un­sus­pect­ing woman who falls for him. Rated PG-13. 90 min­utes.

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

MARMADUKE Woof, woof, this movie look like a dog! Owen Wil­son gives voice to a gi­ant, 2Pac-lov­ing, wise­crack­ing, surf­ing ver­sion of the car­toon dog from the Sun­day fun­nies. Wil­liam H. Macy plays a guy who gets knocked over by Marmaduke twice in the trailer. Rated PG. 88 min­utes. Re­gal Sta­dium 14, Santa Fe;

Dream­Catcher, Es­pañola; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed) THE SE­CRET IN THEIR EYES Juan José Cam­panella’s film (Academy Award win­ner for Best For­eign Lan­guage Film of 2009) is the story of two men emo­tion­ally tied to­gether by a dead woman. It’s the tale of a re­tired cop (Ri­cardo Darín) and his ef­forts to rec­on­cile love and jus­tice as he re-ex­am­ines a 25-year-old murder case in Buenos Aires. The ac­tors (in­clud­ing Darín, Soledad Vil­lamil, and es­pe­cially Guillermo Fran­cella) are ex­cel­lent, but it has a few goofy scenes, and the plot points don’t al­ways add up. Rated R. 127 min­utes. In Span­ish with sub­ti­tles. Re­gal DeVargas, Santa Fe. (Robert Nott) See re­view, Page 52.

SPLICE It seems like it’s been a while since we’ve had a new spin on the Franken­stein story, so here are Adrien Brody and Sarah Pol­ley as well-in­tended sci­en­tists who splice to­gether hu­man DNA for med­i­cal re­search. It is their hope that the freaky-look­ing woman they cre­ate doesn’t turn deadly. Sadly, it is nearly im­pos­si­ble to re­wire hu­man DNA with­out awak­ing the “evil” gene, and vi­o­lence fol­lows. Rated R. 104 min­utes. Re­gal Sta­dium 14, Santa Fe;

Dream­Catcher, Es­pañola. (Not re­viewed)

WOMEN WITH­OUT MEN This magic-re­al­ist tale fol­lows three Ira­nian women as they es­cape to a lush or­chard out­post to re­build their lives apart from the men that abuse them. The first-time fea­ture by Shirin Ne­shat off­sets its heavy-handed nar­ra­tive with cin­e­matog­ra­phy that is as rich and stun­ning as any­thing you will see on-screen this year. Given that Avatar came with 3-D glasses, you can’t help but feel that this movie should come with earplugs to help au­di­ences en­joy a film that is at once a vis­ual mir­a­cle and a nar­ra­tive train wreck. Plays as part of the Cin­ema Iran se­ries, which runs from Fri­day,

He’s like Sting, Bono, and Chris Martin com­bined — which is ter­ri­fy­ing: Rus­sell Brand in Get Him to the Greek, at Re­gal Sta­dium 14 in Santa Fe and Dream­Catcher in Es­pañola

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