Chile Pages

Pasatiempo - - NEWS - — com­piled by Robert Ker

GAME OF THRONES En­joy one of the perks of living in a town where Ge­orge R.R. Martin owns a movie theater when the Jean Cocteau Cinema hosts a sneak peek of the first episode of the fifth sea­son of the HBO adap­ta­tion of his A Song of Ice and Fire book saga. There is a 10 a.m. screen­ing with Span­ish sub­ti­tles and a 1:30 p.m. screen­ing with­out them. Satur­day, March 28, only. Jean Cocteau Cinema , Santa Fe. (Not re­viewed)

GET HARD One of the hottest comics of the 2000s (Will Fer­rell) teams up with one of the hottest comics of the 2010s (Kevin Hart) for this pri­son film. Fer­rell plays a white-col­lar crim­i­nal who finds him­self in the big house, where he forms an un­likely friend­ship with an in­mate (Hart) who helps him get by, with of­ten-wacky re­sults. Rated R. 100 min­utes. Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Not re­viewed)

HOME An alien named Oh (voiced by Jim Par­sons) ar­rives on Earth and meets a hu­man named Tip (Ri­hanna). He turns her set of wheels into a hover car, and they go on a road trip around the world. This com­edy from Dream­Works An­i­ma­tion looks vaguely like Lilo & Stitch , only with fart jokes and Steve Martin as an alien who de­liv­ers lines like “Give daddy some sugar.” Rated PG. 94 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14 , Santa Fe; Dream­Catcher , Es­pañola. (Not re­viewed)

THE HUNT­ING GROUND The preva­lence of col­lege sex­ual as­saults and higher ed­u­ca­tion’s mis­han­dling of sex­ual-as­sault claims are at the heart of this doc­u­men­tary di­rected by Kirby Dick. The film gives par­tic­u­lar em­pha­sis to the “bro” cul­ture of fra­ter­ni­ties and elite ath­letic teams, which are dis­pro­por­tion­ately as­so­ci­ated with sex­ual-as­sault ac­cu­sa­tions, and ex­am­ines why ad­min­is­tra­tive re­sponses to rape al­le­ga­tions are so poor. Most af­fect­ing is the tes­ti­mony of the sur­vivors, two of whom went on to found a non­profit or­ga­ni­za­tion called End Rape on Cam­pus, which guides other sex­ual-as­sault sur­vivors through the process of su­ing their schools for fail­ing to up­hold Ti­tle IX, the gen­der eq­uity law. In an ed­u­ca­tional sys­tem where rape cul­ture is nor­mal­ized, this work is noth­ing short of rad­i­cal. Rated PG-13. 90 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. (Adele Oliveira) See re­view, Page 42.

IT FOL­LOWS Direc­tor David Robert Mitchell’s creep-fest is an un­nerv­ing film that plays its cards too soon and loses ten­sion just when it should be amp­ing up. Set to a 1980s-style synth sound­track à la John Car­pen­ter, It Fol­lows is the story of Jay (Maika Mon­roe), a young, at­trac­tive stu­dent who sleeps with Hugh (Jake Weary) on their first date and sub­se­quently be­comes the vic­tim of a su­per­nat­u­ral stalker that fol­lows her — on foot — wher­ever she goes. If “It” catches her, she’s dead, un­less she can pass the crea­ture to an­other per­son by hav­ing sex with them. While its role as a moral­ity tale is ques­tion­able, the film works when it ex­plores the na­ture of death, de­spite hav­ing a rel­a­tively low body count for the genre. The beau­ti­fully com­posed shots in­vite view­ers to ques­tion what they’re re­ally see­ing, while the al­most-gotcha mo­ments be­come tire­some and ex­pected, de­spite some gen­uine scares early on. Rated R. 100 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. (Michael Abatemarco) See re­view, Page 44.

ON THE WAY TO SCHOOL The ti­tle card at the be­gin­ning of Pas­cal Plis­son’s doc­u­men­tary clearly de­fines the film’s stakes. It reads, “Too of­ten we for­get how lucky we are to go to school.” The doc­u­men­tary fol­lows chil­dren in Kenya, In­dia, Morocco, and Ar­gentina as they make their way to the class­room, over rough ter­rain and for dis­tances of sev­eral miles. The idea is a noble one, and the film is beau­ti­fully shot: for in­stance, Car­los, an elevenyear-old from Patag­o­nia, is dwarfed by An­dean peaks as he and his lit­tle sis­ter gal­lop on horse­back across the plain be­low. But the ac­tion plods along, hung up by con­ver­sa­tions be­tween chil­dren and el­ders about the value of ed­u­ca­tion that seem staged; a sweep­ing sound­track that’s in­tru­sive and cloy­ing; and no ac­knowl­edg­ment that the pres­ence of cam­eras and a film crew fun­da­men­tally changes the na­ture of the stu­dents’ jour­neys. Not rated. 77 min­utes. In Ara­bic, Span­ish, and var­i­ous other lan­guages with sub­ti­tles. The Screen , Santa Fe. (Adele Oliveira)

SERENA Bradley Cooper and Jen­nifer Lawrence, who made au­di­ences swoon with Sil­ver Lin­ings Play­book , play a cou­ple of lovers in De­pres­sion-era North Carolina in this film, which had a some­what trou­bled process go­ing from script to screen. Rated R. 109 min­utes. Jean Cocteau Cinema , Santa Fe. (Not re­viewed)

STILL DREAMING Two theater di­rec­tors in­spire a troupe of res­i­dents at a re­tire­ment home for ac­tors to put on a pro­duc­tion of Shake­speare’s A Mid­sum­mer

Night’s Dream . Rather than set­tle for be­ing a feel-good movie about tri­umph­ing over ob­sta­cles, this doc­u­men­tary from film­mak­ers Hank Roger­son and Ji­lann Spitzmiller presents the ex­pe­ri­ence as a com­bi­na­tion of tri­umph and fail­ure — a col­li­sion of ide­al­ism with re­al­ity. Im­ped­i­ments do not mag­i­cally dis­ap­pear, but small suc­cesses count for a lot among this crowd, and view­ers are bound to ap­pre­ci­ate them as much in their pride as in their sor­rows. The screen­ings on Fri­day and Satur­day, March 27 and 28, in­clude an in­tro­duc­tion by Roger­son and Spitzmiller and a post-film Q & A. Af­ter the screen­ing on Sun­day, March 29, the Shake­speare Guild’s John An­drews joins the film­mak­ers for a panel dis­cus­sion. Not rated. 93 min­utes. The Screen , Santa Fe. ( James M. Keller) See re­view, Page 45.

SWEET GE­OR­GIA BROWN Lawrence E. Walker’s doc­u­men­tary tells the lit­tle-known story of African-Amer­i­can women serv­ing in the mil­i­tary in World War II. The telling is ham­pered by what ap­pears to be a paucity of avail­able vis­ual ma­te­rial, and even at a mod­est one-hour run­ning time, the doc­u­men­tary sags un­der the bur­den of re­peated images, both still and film clips. What is com­pelling is the sub­ject mat­ter — the corps of ded­i­cated, pa­tri­otic women who served a coun­try that treated them like sec­ond-class cit­i­zens, dis­crim­i­nat­ing against them be­cause of their race and gen­der. Sun­day, March 29, only. Not rated. 67 min­utes. New Mex­ico His­tory Mu­seum , 113 Lin­coln Ave., Santa Fe. Call 505-4765152 for reser­va­tions. (Jonathan Richards) See re­view, Page 46.

WILD TALES Writer/direc­tor Damián Sz­ifron dis­sects and cau­ter­izes mod­ern Ar­gen­tine so­ci­ety with this Os­carnom­i­nated black com­edy an­thol­ogy of six sto­ries con­nected by a com­mon theme: re­venge. Some of the episodes make their point with econ­omy and an al­most sur­gi­cal pre­ci­sion. Oth­ers drag on. The tales grow in­creas­ingly darker in mood, un­til some­times it’s hard to see the com­edy through the pes­simism, and some of the ma­te­rial is not for the faint of heart. Cin­e­matic re­venge, served cold or hot, is al­ways sat­is­fy­ing, and Sz­ifron takes us through a wild as­sort­ment of fla­vors and sea­son­ings. Rated R. 122 min­utes. In Span­ish with sub­ti­tles. Re­gal DeVar­gas , Santa Fe. ( Jonathan Richards) See re­view, Page 47.

Home , at Re­gal Sta­dium 14 in Santa Fe and Dream­Catcher in Es­pañola

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