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AMER­I­CAN SNIPER Based on the mem­oir by Chris Kyle (Bradley Cooper), the most pro­lific sniper in Amer­i­can mil­i­tary his­tory, this is Clint East­wood’s most com­mer­cially suc­cess­ful movie but far from his best ar­tis­ti­cally. East­wood han­dles the ac­tion scenes pow­er­fully but doesn’t thread them to­gether with the kind of nu­anced sto­ry­telling he’s ca­pa­ble of, and he leaves some loose

ends dan­gling. The home-front scenes of Kyle with his wife (Si­enna Miller) and fam­ily be­come a bore, but Cooper is ex­cel­lent as a man in­creas­ingly ad­dicted to com­bat and with no other thought than to pro­tect his own. Rated R. 132 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. ( Jonathan Richards)

BEAUTY AND THE BEAST Jean Cocteau’s first full-length fea­ture is an en­chant­ing fairy tale for the ages. A man plucks a rose from the gar­den of the Beast (Jean Marais), who means to kill him for the theft un­less he sends one of his three daugh­ters in his place. When Belle (Josette Day) comes to the Beast’s cas­tle, he falls in love with her — and, in time, her fond­ness for him grows. Beauty and the Beast (La Belle et la Bête) is a mag­i­cal fan­tasy, full of the direc­tor’s sig­na­ture trick photography and other in-cam­era ef­fects that hold up as well to­day as they did in 1946. Not rated. 93 min­utes. In French with sub­ti­tles. Jean Cocteau Cinema , Santa Fe. (Michael Abatemarco)

BIRD­MAN OR (THE UN­EX­PECTED VIRTUE OF IG­NO­RANCE) In Ale­jan­dro González Iñár­ritu’s back­stage satire, Michael Keaton daz­zles with his bril­liant dis­sec­tion of a movie star, in artis­tic eclipse since he sold his soul to play a masked comic-book su­per­hero, look­ing for re­demp­tion on the Broad­way stage. Aided by a ter­rific sup­port­ing cast that in­cludes Ed­ward Nor­ton, Naomi Watts, and Emma Stone and shot by the great Em­manuel Lubezki, Bird­man crack­les with wit, fan­tasy, and pen­e­trat­ing in­sights about show busi­ness, cul­tural rel­e­vance, and the mod­ern world. The film won four Os­cars, in­clud­ing Best Pic­ture. Rated R. 119 min­utes. Re­gal DeVar­gas , Santa Fe. ( Jonathan Richards)

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)

THE DUFF Teenage Bianca (Mae Whit­man) dis­cov­ers that she’s the DUFF of her clique — the des­ig­nated ugly fat friend — and sets out to change her ways. She en­lists the help of a jock (Rob­bie Amell) to give her­self a makeover. Based on the best­selling young-adult novel by Kody Keplinger. Rated PG-13. 100 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Not re­viewed) FIFTY SHADES OF GREY The erotic novel about a young woman, Anas­ta­sia Steele (Dakota John­son), who falls in with bil­lion­aire Chris­tian Grey (Jamie Dornan) and his kinky pref­er­ences fi­nally comes to the big screen. Some say that read­ing the book is an act of masochism — here’s hop­ing direc­tor Sam Tay­lor-John­son has whipped the dia­logue into shape. Rated R. 125 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Not re­viewed)

THE GRAND BU­DAPEST HO­TEL Film­maker Wes An­der­son tells a tale of an Eastern Euro­pean ho­tel manager (Ralph Fi­ennes), who is willed a priceless paint­ing by a for­mer lover (Tilda Swin­ton). This angers a rel­a­tive (Adrien Brody), who feels he should be the true heir. An­der­son’s eye for metic­u­lous de­tail re­mains, and he shows new tricks as well. The film won four Academy Awards, pri­mar­ily for its de­sign. Rated R. 100 min­utes. Jean Cocteau Cinema , Santa Fe. (Robert Ker)

HOT TUB TIME MA­CHINE 2 If you could travel back to 2010, you prob­a­bly would not guess that the com­edy Hot Tub Time Ma­chine would war­rant a se­quel. And yet, here we are in the fu­ture, and it has. John Cu­sack per­haps wisely stepped out of the bath, but Chevy Chase, Craig Robin­son, Rob Corddry, and Clark Duke keep up the crazy ad­ven­tures. Rated R. 93 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Not re­viewed)

HU­MAN CAP­I­TAL This Ital­ian drama based on an Amer­i­can novel and di­rected by Paolo Virzì uses the “over­lap­ping story lines” trope. Dino (Fabrizio Ben­tivoglio) is a strug­gling mid­dle-class re­al­tor feel­ing the ef­fects of the great re­ces­sion. His daugh­ter Serena (Matilde Gi­oli) is dat­ing Mas­si­m­il­iano (Guglielmo Pinelli), the son of hedge-fund mogul Gio­vanni (Fabrizio Gi­funi) and his list­less tro­phy wife, Carla (Va­le­ria Bruni Tedeschi). The story is pre­sented in chap­ters, each from a dif­fer­ent point of view. It’s not Rashomon , but it is an en­gag­ing blend of moral­ity play and mur­der mys­tery. Not rated. 111 min­utes. In Ital­ian with sub­ti­tles. The Screen , Santa Fe. (Lau­rel Glad­den)

THE IMI­TA­TION GAME This very en­ter­tain­ing movie could have been a lot more. Morten Tyl­dum has taken the en­gross­ing story of Alan Tur­ing (Bene­dict Cum­ber­batch), the Bri­tish war hero, com­puter pi­o­neer, and ho­mo­sex­ual martyr, and fit it into the familiar con­fines of a biopic stocked with Movie Mo­ments, which never con­vince us that things re­ally hap­pened the way the film de­picts them. Rated PG-13. 114 min­utes. Re­gal DeVar­gas , Santa Fe. ( Jonathan Richards) JUPITER AS­CEND­ING In 1999, Andy and Lana Wa­chowski changed block­buster film­mak­ing with the mon­ster hit The Ma­trix . Since then, they’ve tried to re­claim that magic to lit­tle avail. Their lat­est ef­fort stars Chan­ning Ta­tum and Mila Ku­nis as two peo­ple in the dis­tant fu­ture who at­tempt to over­throw a tyran­ni­cal reign. The ef­fects look im­pres­sive, but the movie was bumped to Fe­bru­ary from last July, which is never a good sign. Rated PG-13. 127 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14 , Santa Fe. (Not re­viewed)

KINGS­MAN: THE SE­CRET SER­VICE The spy movie shifts away from the gritty re­al­ism of Ja­son Bourne and Daniel Craig’s James Bond and back to the spirit of the 1960s se­cret-agent men in this col­or­ful, over-the-top ca­per by direc­tor Matthew Vaughn. Taron Eger­ton plays an aim­less kid who is re­cruited into an elite spy or­ga­ni­za­tion by Harry Hart (Colin Firth), and soon finds him­self try­ing to stop a hare­brained scheme by bil­lion­aire mas­ter­mind Valen­tine (Sa­muel L. Jack­son). The ac­tion may get too vi­o­lent for some, but this is a sat­is­fy­ing, en­er­getic, ir­rev­er­ent romp that is full of ideas. The MVP award goes to cos­tume designer Ari­anne Phillips. Rated R. 129 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Robert Ker)

LEVIATHAN Kolya (Alek­sey Sere­bryakov), an auto me­chanic, lives on a piece of land over­look­ing the spare but mag­nif­i­cent vista of an out­post on the north­west coast of Rus­sia, near the Arc­tic Ocean. That lo­ca­tion is mag­nif­i­cent enough that it has at­tracted the cov­etous eyes of the town’s mayor, a loath­some, cor­rupt pig named Vadim (Ro­man Ma­di­anov). Vadim has set in mo­tion the ma­chin­ery of gov­ern­ment to crush Kolya and take away his prop­erty. Kolya’s trou­bles con­tinue to pile up, Job-like, crush­ing him, and un­like the bi­b­li­cal Job, there is no God to step in and set things right. The secular way of putting that is: You can’t fight city hall. Rated R. 141 min­utes. In Rus­sian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts , Santa Fe. ( Jonathan Richards)

MCFARLAND, USA Kevin Cost­ner, who knows his way around an in­spi­ra­tional sports movie, plays a cross-coun­try run­ning coach in this film, which is based on true events. It’s 1987, and the coach finds him­self work­ing in a Latino com­mu­nity full of kids who have never been given a chance. He gets them to be­lieve in them­selves, over­come a va­ri­ety of hur­dles, and win a cham­pi­onship. Rated PG. 128 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola.

(Not re­viewed)

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 process of 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. 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)

OS­CAR NOM­I­NATED SHORT FILMS — AN­I­MA­TION This year, the col­lec­tion of an­i­mated short films nom­i­nated for Academy Awards was so brief some ex­tra films were added 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 , won the award and with good rea­son, but oth­er­wise it’s a for­get­table crop. Not rated. 82 min­utes. In English and var­i­ous other lan­guages with sub­ti­tles. The Screen , Santa Fe. (Robert Ker)

OS­CAR NOM­I­NATED SHORT FILMS — LIVE AC­TION This year’s Os­car race in­cluded a sat­is­fy­ing mix of live-ac­tion shorts, from the light­hearted ( Boogaloo

) to the in­ven­tive ( But­ter Lamp ) to the heart­break­ing ( The Phone Call , which won the award). The other two, about a young Afghani woman in Switzer­land and a quirky Is­raeli woman, are also thought­ful and skill­fully crafted. Not rated. 114 min­utes. In English and var­i­ous other lan­guages. The Screen , Santa Fe. (Robert Ker)

PADDING­TON The fa­mous stuffed bear brings his tog­gle coat and red hat to the big screen, star­ring in a comedic ca­per in which he ar­rives in Lon­don, is taken in by a fam­ily (headed by Hugh Bon­neville), and at­tempts to es­cape a nasty taxi­der­mist (Ni­cole Kid­man). Paul King di­rects with charm and in­ven­tive­ness, and the hu­mor is a near-per­fect mix of car­toony silli­ness for the chil­dren and Bri­tish wit for the adults. A bit too much of the for­mer evap­o­rates in the sec­ond half, which may get too dark for smaller kids, but over­all, it’s a de­light. Rated PG. 95 min­utes. Re­gal Sta­dium 14 , Santa Fe. (Robert Ker)

SELMA Half a cen­tury ago, the civil rights attack on Jim Crow in this coun­try was just com­ing to a boil un­der the lead­er­ship of the Rev. Dr. Martin Luther King Jr. One of the wa­ter­sheds of that move­ment was a mas­sive protest march bound from Selma, Alabama, to Mont­gomery, 54 miles away, in sup­port of the 1965 Vot­ing Rights Act. That un­der­tak­ing is the cen­ter­piece and fo­cus of this un­even but pow­er­ful film from direc­tor Ava Du­Ver­nay. David Oyelowo gives us an MLK in whom quiet, deeply re­li­gious so­cial con­vic­tions tri­umph over hu­man doubts and weak­nesses. Rated PG-13. 127 min­utes. Re­gal DeVar­gas , Santa Fe. ( Jonathan Richards)

SEV­ENTH SON This fan­tasy adventure was first sched­uled for re­lease in Fe­bru­ary 2013, and af­ter ap­prox­i­mately the time it takes for the sev­enth son of a sev­enth son to be born, it has fi­nally ar­rived in the­aters. It stars Ben Barnes as the son of the ti­tle; he fights witches and mon­sters and all man­ner of evil spir­its. Rated PG-13. 102 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14 , Santa Fe. (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 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)

THE SPONGEBOB MOVIE: SPONGE OUT OF WA­TER Stu­dents in both preschool and col­lege will love the lat­est SpongeBob SquarePants adventure, which is fast-paced, bizarre, psy­che­delic, and hi­lar­i­ous. The plot trans­forms Bikini Bot­tom into a post-apoc­a­lyp­tic waste­land, takes SpongeBob far into the fu­ture, fea­tures wacky mu­si­cal in­ter­ludes, and ends up with the whole gang swim­ming out of their car­toon world and into L.A., where they trans­form into su­per­heroes (an­i­mated by CGI) and face off against a pirate (An­to­nio Ban­deras). Rated PG. 93 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher, Es­pañola. (Robert Ker) STILL ALICE Get ready to add this film — Richard Glatzer and Wash West­more­land’s adap­ta­tion of Lisa Gen­ova’s novel — to your list of “hard­est movies to watch.” A renowned au­thor and lin­guis­tics pro­fes­sor, Alice (Os­car win­ner Ju­lianne Moore for best actress) is in the mid­dle of a lec­ture when she loses her train of thought. Af­ter vis­its to a neu­rol­o­gist, she is di­ag­nosed with early-on­set Alzheimer’s. Even the open­ing scenes have a sense of dread about them, and we watch the other shoe drop as Alice and her fam­ily en­dure the cruel and ab­surd con­di­tions of the dis­ease’s pro­gres­sion. The film can feel pre­dictable and a lit­tle too neat, and many sup­port­ing parts feel sketchy. But it’s held aloft by Moore and Kristen Ste­wart, who gives a deep, res­o­nant, heart­felt per­for­mance as Alice’s younger daugh­ter. Rated PG-13. 101 min­utes. Re­gal DeVar­gas , Santa Fe. (Lau­rel Glad­den)

THE THE­ORY OF EV­ERY­THING A film about Stephen Hawk­ing ought to be burst­ing with ideas. What direc­tor James Marsh has come up with is a watch­able but con­ven­tion­ally struc­tured ro­man­tic biopic. Its se­cret weapon is Ed­die Red­mayne (who won the Academy Award for best ac­tor), bril­liant in his trans­for­ma­tion into the Hawk­ing we know, body con­fined to a wheel­chair, voice pro­duced by a ma­chine. Rated PG-13. 123 min­utes. Re­gal DeVar­gas , Santa Fe. ( Jonathan Richards)

WHIPLASH Miles Teller plays teenage jazz drum­mer An­drew Neiman, whose dreams of be­com­ing one of the greats hinge on sur­viv­ing mu­sic in­struc­tor Terence Fletcher ( J.K. Sim­mons, who won the Os­car for best sup­port­ing ac­tor), the sort of teacher who’s likely to throw a chair at his stu­dent’s head when re­quest­ing a drum­roll. This indie-drama by Damien Chazelle com­pellingly ex­plores the ways in which the power dy­nam­ics of a men­tor­ing re­la­tion­ship can turn a teacher’s ob­ses­sion into a stu­dent’s com­pul­sion. Rated R. 107 min­utes. Re­gal DeVar­gas , Santa Fe. (Loren Bien­venu)

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