open­ing this week

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THE BIG UN­EASY Harry Shearer may be best known as the voice of Mr. Burns and Prin­ci­pal Skin­ner (among other char­ac­ters) on The Simp­sons, but in this brac­ing doc­u­men­tary, the part-time New Or­leans res­i­dent has put to­gether a con­vinc­ing tell-all that shows just why the city’s fed­eral levee sys­tem failed in 2005 af­ter Hur­ri­cane Ka­t­rina. Us­ing the work of two in­de­pen­dent in­ves­tiga­tive teams, the film makes clear that the flood­ing of 80 per­cent of the Cres­cent City wasn’t a nat­u­ral disas­ter but a man­made catas­tro­phe with roots in shoddy con­struc­tion by the U.S. Army Corps of En­gi­neers. Rated PG-13. 95 min­utes. Shearer ap­pears at the 8 p.m. Satur­day, April 2, screen­ing at CCA Cine­math­eque, Santa Fe. It also screens Sun­day-Tues­day, April 3-5, at Taos Com­mu­nity Au­di­to­rium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Casey Sanchez) See story, Page 50. scat­o­log­i­cal hu­mor that ev­ery­one as­so­ciates with the hol­i­day. In a movie that looks eerily like Alvin

and the Chip­munks, Rus­sell Brand voices the teenage son of the fa­mous bunny, who trav­els from Easter Is­land (groan) to Los An­ge­les to pur­sue his mu­sic dreams, be­fore tak­ing over the fam­ily busi­ness. James Marsden plays the ex­as­per­ated hu­man that he rooms with. Rated PG. 95 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Española; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed)

I SAW THE DEVIL Even if you’re a long­time fan of hor­ror cin­ema that fea­tures as much artistry as de­prav­ity, you still won’t guess where the re­lent­lessly dark and ex­pertly shot South Korean thriller I Saw the

Devil is go­ing. It opens with a killer (Choi Min-sik) grue­somely slay­ing the fi­ancée of a po­lice­man (Lee Byung-hun), which sets up a cat-and-mouse game that tin­kers play­fully with the stan­dard re­venge story. Devil is helmed by Kim Jee-woon (of 2003’s mas­ter­fully creepy A Tale of Two Sis­ters) and boasts spot-on cast­ing, ter­rific acting, and ex­quis­ite light­ing. It doesn’t quite ex­plore the na­ture of evil and vengeance as much as the ti­tle sug­gests, and it runs a bit long, but it feels like the next cult clas­sic on the in­ter­na­tional hor­ror cir­cuit. Too bad most do­mes­tic hor­ror fans are deathly afraid of sub­ti­tles. Not rated. 141 min­utes. In Korean with sub­ti­tles. The Screen, Santa Fe. (Robert B. Ker)

IN­SID­I­OUS Af­ter years of girls pos­sessed by demons ( The Ex­or­cist, The Ex­or­cism of Emily Rose, The Last Ex­or­cism), we fi­nally have gen­der equal­ity in the hor­ror sub­genre. In­sid­i­ous stars a boy (Ty Simp­kins) who is tor­mented by evil be­ings. Pa­trick Wil­son plays the con­cerned fa­ther. James Wan ( Saw) di­rects. Rated PG-13. 102 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Española. (Not re­viewed)

JANE EYRE In case you don’t re­mem­ber, reader, Jane Eyre (Mia Wasikowska, bril­liant) is a plain but in­tel­li­gent tor­mented or­phan who finds work as a gov­erness at Thorn­field Hall, the es­tate of brood­ing bach­e­lor Ed­ward Rochester (Michael Fass­ben­der, who made my knees buckle), with whom she slowly falls in love, un­aware of a well-kept se­cret. Purists may balk at Moira Buffini’s eco­nom­i­cal script or di­rec­tor Cary Fuku­naga’s lively pac­ing, but this lu­mi­nous film re­mains faith­ful to Char­lotte Brontë’s spirit while free­ing the tale of stuffi­ness and turn­ing up its nose at the Twi­light set. The cin­e­matog­ra­phy is gor­geous, the per­for­mances (from Judi Dench, Sally Hawkins, and young­sters Amelia Clark­son and Romy Set­tbon Moore, among oth­ers) im­pec­ca­ble. Rated PG-13. 120 min­utes.

Re­gal DeVargas, Santa Fe. (Laurel Glad­den)

PER­FOR­MANCE AT THE SCREEN The se­ries of high-def­i­ni­tion screen­ings of per­for­mances from afar con­tin­ues with Caligula, pre­sented by the Paris Opera Bal­let. 12:30 p.m. on Sun­day, April 3, only.

The Screen, Santa Fe. (Not re­viewed)

PUB­LIC SPEAK­ING This movie is a love story. The cen­tral ro­mance re­vealed in Martin Scors­ese’s deft, un­ob­tru­sive, and af­fec­tion­ate (a term its sub­ject would not em­brace) doc­u­men­tary is Fran Le­bowitz’s love af­fair with her­self. If there is an­other prin­ci­pal in this story, a thou to her I, it is the city of New York. The cel­e­brated au­thor of two books of hu­mor­ous es­says and three decades of writer’s block holds forth on wit, fame, and other calami­ties from her reg­u­lar ta­ble be­neath her im­mor­tal­ized im­age in the bril­liant Ed Sorel mu­ral at The Waverly Inn in Green­wich Vil­lage. Not rated. 82 min­utes. CCA Cine­math­eque, Santa Fe. ( Jonathan Richards) See re­view, Page 57.

SOURCE CODE Ground­hog Day meets 24 in this grip­ping, en­gag­ing, pre­pos­ter­ous

film from di­rec­tor Dun­can Jones ( Moon). Jake Gyl­len­haal is Colter Stevens, an Army pilot who wakes up on a com­muter train in an­other man’s body. Af­ter a bomb kills ev­ery­one on­board, Colter learns he’s part of a covert ex­per­i­ment that “al­lows” him to re­peat­edly re­live the min­utes be­fore the train ex­ploded un­til he iden­ti­fies the bomber. You could get all cere­bral about this movie’s quan­tum “time re­as­sign­ment” clap­trap, but in the process, you might HOP Con­sid­er­ing that Santa Claus seems to star in at least one new movie a year, it’s a won­der there haven’t been more movies about the Easter Bunny. Here’s one that com­bines CGI and live ac­tion, and it’s full of the David Has­sel­hoff cameos, sar­casm, and

Chicks flick: Hop, at Re­gal Sta­dium 14 in Santa Fe and Dream­Catcher in Española

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