open­ing this week

Pasatiempo - - MOVING IMAGES - See re­view, Page 39.

BLACK OR WHITE Kevin Cost­ner plays a man who helped raise his bira­cial grand­daugh­ter from a young age af­ter his daugh­ter died. When the grand­daugh­ter’s fa­ther, a drug ad­dict, and her pa­ter­nal grand­mother en­ter the pic­ture, a cus­tody battle en­sues that divides both gen­er­a­tion and race. Rated PG-13. 121 min­utes. Re­gal Sta­dium 14, Santa Fe. (Not re­viewed)

BLACK SEA A sub­ma­rine cap­tain ( Jude Law) takes a crew of shady mis­fits into the deep to plun­der a sunken Nazi ves­sel full of gold. Once they get there, some of them re­al­ize that the fewer men there are in the crew, the fewer ways the bounty is split. Rated R. 115 min­utes. Re­gal Sta­dium 14, Santa Fe. (Not re­viewed)

DOROTHEA LANGE: GRAB A HUNK OF LIGHT­NING This doc­u­men­tary about the Amer­i­can pho­tog­ra­pher, screens as a fundraiser for CCA. Film­maker Dyanna Tay­lor, Dorothea Lange’s grand­daugh­ter, and El­iz­a­beth Partridge, Lange’s bi­og­ra­pher, dis­cuss the film af­ter­ward. Not rated. 120 min­utes. 2 p.m. Sun­day, Feb. 1, only. Tick­ets are $50. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Not re­viewed)

THE FOXY MERKINS Lisa Haas and Jackie Mon­a­han co-wrote (with direc­tor Madeleine Ol­nek) and star in this buddy com­edy about two les­bian pros­ti­tutes who travel the coun­try and get into shenani­gans. Not rated. 81 min­utes. Jean Cocteau Cinema, Santa Fe. (Not re­viewed)

HAPPY FAM­ILY Academy Award - win­ning direc­tor Gabriele Sal­va­tores’ com­edy, part of the New Mex­ico Ital­ian Film & Cul­ture Fes­ti­val, is a quirky look at the process of writ­ing a screen­play. Ezio (Fabio De Luigi) is try­ing to fin­ish a story about two fam­i­lies whose paths col­lide when their chil­dren de­cide to marry. He writes him­self into the story, but as his char­ac­ters come to life, he is faced with a cho­rus of voices vy­ing for big­ger parts in his screen­play and plagu­ing him with ad­vice. Fans of Wes An­der­son will en­joy the vis­ual look and whim­si­cal story, but af­ter a while the commentaries di­rected at the au­di­ence grow thin. 6:30 p.m. Thurs­day, Feb. 5, only. Not rated. 90 min­utes. In Ital­ian with sub­ti­tles. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco)

THE LOFT If you feel there aren’t enough movies about ras­cally, priv­i­leged men and se­verely abused women, then this is the flick for you. A group of dudes go in on a high-rise apart­ment for their af­fairs, and when one mis­tress ends up mur­dered, it kicks off a who­dunit. Karl Ur­ban and James Mars­den star. Rated R. 108 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

LOST HORI­ZON In 1937, Frank Capra’s film of James Hil­ton’s novel Lost Hori­zon was the most ex­pen­sive mo­tion pic­ture ever made. It was re­leased with a run­ning time of 132 min­utes, but over the years it was trimmed down to a choppy hour and a half. It has now been re­stored to its orig­i­nal length, with stills stand­ing in for ir­re­triev­able footage. It’s a utopian story of a place free from greed and vi­o­lence, a place called Shangri-La, a word that’s be­come part of our lan­guage. Back in the 1930s The New York Times hailed Capra’s black-and-white epic as one of the year’s best. Though the film creaks a bit in places, that judg­ment largely holds up to­day. Not rated. 132 min­utes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See Screen Gems, Page 32.

MATCH Pa­trick Ste­wart plays Tobi, a Juil­liard dance in­struc­tor who is vis­ited by a mar­ried cou­ple (Carla Gug­ino and Matthew Lil­lard). They claim to be in­ter­view­ing him for a dis­ser­ta­tion but have ul­te­rior mo­tives. Writer and direc­tor Stephen Bel­ber based the film on his 2004 play, and many tics of the theater re­main — some awk­wardly so. The story weaves overly pre­dictable mo­ments with gen­uine sur­prises. By the end, the big­gest sur­prise might be how moved you feel — mostly thanks to Ste­wart’s en­dear­ing per­for­mance. Rated R. 90 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Robert Ker) See re­view, Page 40.

THE MET LIVE IN HD: LES CONTES D’HOFF­MANN Vit­to­rio Grigolo stars in this stag­ing of Jac­ques Of­fen­bach’s opera, which is broad­cast live from the Met. Hi­bla Gerz­mava and Thomas Hampson co-star. 11 a.m. and 6 p.m. Satur­day, Jan. 31. Lensic Per­form­ing Arts Cen­ter, Santa Fe. (Not re­viewed)

A MOST VI­O­LENT YEAR The year is 1981, and it’s in the record books as the most vi­o­lent in New York City’s his­tory. Writer/direc­tor J.C. Chan­dor ( All Is Lost) lo­cates this win­try tale in the NY fuel oil busi­ness, where up­wardly mo­bile Abel Mo­rales (Os­car Isaac) is try­ing to build his com­pany while hew­ing as close as the traf­fic will al­low to a code of honor and de­cency. The chal­lenges are con­sid­er­able. Among them are a pry­ing dis­trict at­tor­ney ( Selma’s David Oyelowo), mobbed-up busi­ness ri­vals, and Abel’s sexy, amoral, tough-as­nails wife, Anna ( Jes­sica Chas­tain), from whose fa­ther Abel bought the busi­ness. Chan­dor taps into the vein of Sid­ney Lumet’s street­wise New York films, and Isaac and Chas­tain, for­mer class­mates at Juil­liard, give an act­ing sem­i­nar. This is a clas­sic moral­ity tale with no easy an­swers but a lot of great ques­tions. Rated R. 125 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards)

MR. TURNER Mike Leigh’s por­trait of J.M.W. Turner is a warts-and-all im­pres­sion of Eng­land’s great­est painter, con­structed us­ing the direc­tor’s trade­mark process of end­less im­pro­vi­sa­tion, dis­cus­sions with his ac­tors to

de­velop a script, and months of re­hearsal. The re­sult is a movie that is il­lu­mi­nat­ing, beau­ti­fully per­formed, unim­peach­ably re­searched, and shot with an in­spired Turneresque beauty by cine­matog­ra­pher Dick Pope. At the head of the class is Ti­mothy Spall, who plays Turner as a shuf­fling, grunt­ing, inar­tic­u­late cock­ney whose eye and hand are nev­er­the­less touched with di­vine light. The film is per­haps a lit­tle long at two and a half hours, but that’s how long it takes. Rated R. 150 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards) See re­view, Page 38.

PROJECT AL­MANAC Some young peo­ple build a time ma­chine and de­cide to make up for all their re­grets in life. When that works, they de­cide to make them­selves rich. They ap­par­ently didn’t take time to brush up on their sci-fi, how­ever, be­cause if they had, they would know that mess­ing with the time-space con­tin­uum births ter­ri­ble con­se­quences. Oops. Rated PG-13. 106 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

SONG OF THE SEA In this hand-drawn an­i­mated fea­ture by Tomm Moore, lit­tle Saoirse grows up picked on by her older brother, Ben, who misses their mother, a myth­i­cal selkie who died in child­birth. When Saoirse, who has never spo­ken, de­vel­ops an un­de­ni­able affin­ity for the wa­ter at age six, her still-griev­ing but well-in­ten­tioned fa­ther al­lows the chil­dren’s med­dling grand­mother to take them from their home in a light­house to live in Dublin, and it is up to Ben to lead his sis­ter back to her birthright. Rated PG. 93 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. ( Jen­nifer Levin) 2015 OS­CAR NOM­I­NATED SHORT FILMS — AN­I­MA­TION This year, the an­i­mated short films nom­i­nated for Academy Awards are so brief they had to add some ex­tra films to fill out the run­ning time. For­tu­nately, the best one ( The Dam Keeper) is the long­est, at 18 min­utes. Dis­ney’s Feast, which ran be­fore Big Hero 6, is an­other gem, but oth­er­wise it’s a for­get­table crop. In English and var­i­ous other lan­guages with sub­ti­tles. Not rated. 82 min­utes. The Screen, Santa Fe. (Robert Ker)

2015 OS­CAR NOM­I­NATED SHORT FILMS — DOC­U­MEN­TARY The slate of short doc­u­men­taries runs long and looks at death and mor­tal­ity more this year than in oth­ers. They ad­dress ter­mi­nal ill­ness, in­fant breath­ing dis­or­ders, vet­eran hot­lines, and slaugh­ter­house work­ers — but this is typ­i­cally the strong­est of the short-film pro­grams and is al­ways worth a look if you love the for­mat. In English and var­i­ous other lan­guages with sub­ti­tles. Not rated. 155 min­utes. The Screen, Santa Fe. (Not re­viewed) 2015 OS­CAR NOM­I­NATED SHORT FILMS — LIVE AC­TION This year’s Os­car race in­cludes a sat­is­fy­ing mix of live-ac­tion shorts, from the light­hearted ( Boogaloo and Gra­ham, about two Ir­ish boys and their young chicks) to the in­ven­tive ( But­ter Lamp, which shows a Ti­betan pho­tog­ra­pher’s por­trait work through nifty tech­niques) to the heart­break­ing ( The Phone Call, about a call that a woman at a cri­sis-cen­ter hot­line re­ceives). The other two, about a young Afghani woman in Switzer­land and a quirky Is­raeli woman, are also thought­ful and skill­fully crafted. In English and var­i­ous other lan­guages with sub­ti­tles. Not rated. 114 min­utes. The Screen, Santa Fe. (Robert Ker)

Do the math: Jude Law in Black Sea, at Re­gal Sta­dium 14 in Santa Fe

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