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Pasatiempo - - Moving Images - — com­piled by Robert B. Ker

THE CON­SPIR­A­TOR Di­rec­tor Robert Red­ford ex­am­ines a lit­tle-re­mem­bered twist in the af­ter­math of Lin­coln’s as­sas­si­na­tion: the trial of ac­cused con­spir­a­tor Mary Sur­ratt (Robin Wright) in a mil­i­tary tri­bunal. James McAvoy ( Atone­ment) stars as the Union war hero and peace­time lawyer who re­luc­tantly un­der­takes Sur­ratt’s de­fense and comes to see the is­sue as noth­ing less than the sac­ri­fice of con­sti­tu­tional prin­ci­ples to the ex­pe­di­ency of calm­ing na­tional fears in a time of cri­sis. There are clear par­al­lels to post-9/11 Amer­ica, but first and fore­most, this is a sharp-eyed, ac­cu­rate, and emo­tion­ally pow­er­ful his­tor­i­cal drama. Rated PG-13. 123 min­utes. Re­gal DeVargas, Santa Fe. ( Jonathan Richards) See re­view, Page 44. KA­BOOM The lat­est film by Gregg Araki ( Mys­te­ri­ous Skin) looks quite a lot like Don­nie Darko, what with the brood­ing teenager, the end-times im­agery, and the peo­ple in creepy an­i­mal masks, but this film has more neon col­ors, at­trac­tive peo­ple, gore, and sex (of both the gay and het­ero va­ri­eties). Thomas Dekker stars. Not rated. 86 min­utes. CCA Cine­math­eque, Santa Fe. (Not re­viewed)

THE LEOP­ARD Time and restora­tion of more than half of the 40 min­utes that were ripped from the English­dubbed 1963 re­lease of The Leop­ard have erased any doubts as to the great­ness of Luchino Vis­conti’s mas­ter­piece. Based on Giuseppe To­masi di Lampe­dusa’s novel of his aris­to­cratic fam­ily’s his­tory in mid-19th-cen­tury Italy, The Leop­ard is a tale of a van­ish­ing world, an achingly beau­ti­ful hymn to val­ues that may have been wrong­headed but still re­flected no­bil­ity. Burt Lan­caster was a con­tro­ver­sial choice for the Si­cil­ian prince, but his per­for­mance ra­di­ates majesty. The re­stored footage and orig­i­nal Ital­ian lan­guage, along with a beau­ti­fully re­fur­bished 35 mm print, would prob­a­bly have soft­ened Vis­conti’s dis­avowal of the film upon its ini­tial Amer­i­can re­lease. 6:30 p.m. Thurs­day, April 21, only. Not rated. 185 min­utes. In Ital­ian with sub­ti­tles.

CCA Cine­math­eque, Santa Fe. ( Jonathan Richards)

MOD­ERN TIMES Char­lie Chap­lin wrote, di­rected, and starred in this silent clas­sic (made dur­ing the sound era!) about a pair of lonely no­bod­ies (Chap­lin and Paulette God­dard) who try to make it dur­ing the Great De­pres­sion. This is a sweet, funny com­edy that fea­tures the last ap­pear­ance of Chap­lin’s Tramp char­ac­ter and in­tro­duced au­di­ences to the mu­si­cal stan­dard “Smile.” Even to­day, kids should like it. 7 p.m. Wed­nes­day, April 20, only. Not rated. 87 min­utes. Len­sic

Per­form­ing Arts Cen­ter, Santa Fe. (Robert Nott)

ON THE BOW­ERY This lushly tex­tured film is a restora­tion of Lionel Ro­gosin’s ground­break­ing black-and­white slice of Skid Row cul­ture, orig­i­nally re­leased in 1957. Booze and ban­ter flow freely as a crafty old guz­zler is torn be­tween his con­flict­ing de­sires to fleece or help a young man just learn­ing the un­for­giv­ing ways of the Bow­ery. The film blends fly-on-the-wall quasi-doc­u­men­tary footage with staged scenes in which the char­ac­ters, played by non­pro­fes­sional ac­tors, re-cre­ate episodes drawn from their own lives. It is paired with a mak­ing-of com­pan­ion piece called

The Per­fect Team, shot by Ro­gosin’s son Michael and fea­tur­ing in­ter­views with sev­eral of Ro­gosin’s col­leagues and crit­ics as well as doc film­maker Ma­rina Goldovskaya. Not rated. 112 min­utes to­tal. The

Screen, Santa Fe. ( Jon Bow­man) See re­view, Page 38.

PER­FOR­MANCE AT THE SCREEN The se­ries of high-def­i­ni­tion screen­ings of per­for­mances from afar con­tin­ues with a pre­sen­ta­tion of The Magic Flute at Mi­lan’s Teatro alla Scala. 12:30 p.m. Sun­day, April 17, and 7 p.m. Mon­day, April 18, only. The Screen, Santa Fe. (Not re­viewed)

RIO Af­ter Jesse Eisen­berg’s Os­car-nom­i­nated turn in The So­cial Net­work, his ca­reer has gone to the birds. He voices an an­i­mated macaw named Blu, who is up­rooted from his life as a pet in Min­nesota and forced back into the wild in Brazil. Blu meets an­other macaw (voiced by Anne Hath­away), and they try to fly away home. Rated G. 96 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe;

Dream­Catcher, Española. Screens in 3-D only at Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed)

SCREAM 4 What’s your fa­vorite scary movie? That’s the cen­tral ques­tion posed by the killer in this movie, and in 1996 the an­swer, for a lot of peo­ple, was the orig­i­nal Scream. Di­rec­tor Wes Craven takes an­other stab at the fran­chise, along with stars Neve Camp­bell, Courtney Cox, and David Ar­quette. Since the ap­pear­ance of the first film, there have been many new hor­ror trends to in­cor­po­rate into the mythos, so it could turn out killer. Rated R. 111 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Española; Sto­ry­teller, Taos. (Not re­viewed)

THE UP­SET­TER: THE LIFE AND MU­SIC

OF LEE SCRATCH PERRY In this Beni­cio Del Toro-nar­rated doc­u­men­tary, film­mak­ers Adam Bhala Lough and Ethan Hig­bee at­tempt to trace the life and ca­reer of Lee “Scratch” Perry, a notable pi­o­neer of reg­gae mu­sic. Perry’s story is one of a cre­ative ge­nius side­lined by ad­dic­tion, ego, and strange be­hav­ior that may be the re­sult of a se­ri­ous men­tal ill­ness. Un­for­tu­nately, The Up­set­ter seems more in­ter­ested in putting Perry’s phys­i­cal and men­tal deficits on pa­rade, freak-show style, rather than ex­am­in­ing his psy­che,

To cell and back: from left, Juno Tem­ple, Thomas Dekker, and Ha­ley Bennett in Ka­boom at the CCA Cine­math­eque

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