chile pages

Pasatiempo - - MOV­ING IM­AGES - — com­piled by Robert Ker

open­ing this week

DANNY COLLINS Al Pa­cino plays the ti­tle char­ac­ter, an ag­ing rock star who has been coast­ing by on his old ma­te­rial for years. When his man­ager (Christo­pher Plum­mer) dis­cov­ers a never-seen let­ter of en­cour­age­ment from John Len­non to Collins, the singer is in­spired to write his own songs and tend to his per­sonal life once more. An­nette Ben­ing co-stars. In­spired by folk singer Steve Til­ston’s story. Rated R. 106 min­utes. Re­gal DeVar­gas , Santa Fe. (Not re­viewed)

JAUJA The lat­est film from Ar­gen­tine di­rec­tor Lisan­dro Alonso ( Liver­pool )is a dream­like Western that fol­lows a man (Viggo Mortensen) through the Patag­o­nian wilder­ness on a quest to find his miss­ing daugh­ter. Shot in the 4x3 as­pect ra­tio of pre-widescreen cin­ema and with vi­brant col­ors that pop from the screen, this is one un­usual, fan­tas­tic-look­ing film. The plot may con­found view­ers through its ab­sur­dist twists, but it’s a con­tem­pla­tive work of cin­ema that is hard to for­get. Not rated. 109 min­utes. In Span­ish and Dan­ish with sub­ti­tles. The Screen , Santa Fe. (Robert Ker) See re­view, Page 41.

KING JOHN The Strat­ford HD se­ries, con­sist­ing of live stage pro­duc­tions of Shake­speare plays from On­tario’s Strat­ford Fes­ti­val filmed with the tech­niques of movie di­rec­tors, be­gan six weeks ago with a stun­ning broad­cast of King Lear . The goal is to film all of Shake­speare’s plays over the course of a decade. The sea­son’s sec­ond broad­cast veers to one of the Bard’s least-en­coun­tered works, King John , di­rected by Tim Car­roll (a spe­cial­ist in pe­riod the­atri­cal prac­tices) and star­ring Tom McCa­mus in the ti­tle role and Seana McKenna as Con­stance, his sis­ter-in-law. It’s a tense drama about po­lit­i­cal in­trigue in 13th-cen­tury France and Eng­land, re­plete with re­bel­lion, as­sas­si­na­tion, ex­com­mu­ni­ca­tion, and an or­der that the king’s lit­tle-boy nephew be blinded (hap­pily averted). You might be wise to read a plot sum­mary in ad­vance, but Car­roll can usu­ally be de­pended on for clear di­rec­tion. In­deed, the pro­duc­tion was en­thu­si­as­ti­cally cheered at Strat­ford last sea­son, to the point where two ex­tra per­for­mances had to be added. 11:45 a.m. Sun­day, April 12, only. The Screen , Santa Fe. ( James M. Keller)

KU­MIKO, THE TREA­SURE HUNTER Ku­miko, a soli­tary dreamer, be­liev­ing the stash of money Steve Buscemi’s char­ac­ter buries in the movie Fargo re­ally ex­ists, sets off on an ad­ven­ture from her home in Tokyo to Min­nesota to seek it out — but money trou­bles and lan­guage bar­ri­ers threaten to dis­rupt her plans. Wrapped in a stolen blan­ket and armed only with her trea­sure map, com­pass, and a copy of Fargo , she braves the harsh win­ter snows on her quest. Loosely based on an ur­ban leg­end sur­round­ing Takako Kon­ishi, a Tokyo of­fice worker who com­mit­ted sui­cide in 2001, David and Nathan Zell­ner’s fa­ble is full of hu­mor and laced with fan­tasy, a mov­ing story about chas­ing one’s dreams. Not rated. 105 min­utes. In English and Ja­panese with sub­ti­tles. Jean Cocteau Cinema , Santa Fe. (Michael Abatemarco) See re­view, Page 40.

THE LONG­EST RIDE The lat­est ro­mance based on a Ni­cholas Sparks book ( The Note­book ) is this weepie that in­ter­twines two tales of po­ten­tially doomed love. Britt Robert­son plays a young woman who, just be­fore mov­ing to New York, meets a strap­ping bull rider (Scott East­wood) who teaches her how to buck a bronco (in scenes more sug­ges­tive than any­thing in

Fifty Shades of Grey ). They’re in­spired by an old-timer (Alan Alda) who shares his own story of ro­mance. Rated PG-13. 139 min­utes. Re­gal Sta­dium 14 , Santa Fe; DreamCatcher , Es­pañola. (Not re­viewed)

MER­CHANTS OF DOUBT Robert Ken­ner’s ab­surdly en­ter­tain­ing and deeply trou­bling doc­u­men­tary ex­poses some of the tech­niques used by pol­lut­ing in­dus­tries to con the pub­lic into be­liev­ing that sci­ence is hokum, cli­mate change is an opin­ion, and up is down. Pioneered by Big Tobacco, these tools of mis­di­rec­tion and mis­in­for­ma­tion are now used by cor­po­rate in­ter­ests to cre­ate pub­lic doubt in the cyn­i­cal cal­cu­la­tion that ev­ery day reg­u­la­tory leg­is­la­tion can be stalled is an­other day to fat­ten the bot­tom line. Mer­chants of Doubt is loaded with dev­as­tat­ing ma­te­rial, but it also man­ages to keep its style and its mood en­ter­tain­ing. PG-13. 96 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. ( Jonathan Richards) See re­view, Page 38.

RE­VENGE OF THE MEKONS This is the story of how the Mekons, the ul­ti­mate cult band and crit­ics’ dar­ling — came to­gether as stu­dents in Leeds in 1977 and how they’ve kept go­ing through the years, re­main­ing true to their vi­sion and con­sis­tently pro­duc­ing in­spir­ing work. Mekons fans will ap­pre­ci­ate the in­ter­views with var­i­ous mem­bers past and present and the stage footage through the decades — in­clud­ing some ex­tremely rare clips of early shows. Fans of the band should bring a friend or two to try to ex­pand the cult fol­low­ing just a lit­tle. Skype in­ter­view with Jon Lang­ford, a founder mem­ber of the band, fol­lows the 6:30 p.m. Thurs­day, April 16, screen­ing. Not rated. 96 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. (Steve Ter­rell). See Ter­rell’s Tune-Up , Page 22.

SPRING After his mother dies and he loses his job, the trou­bled Evan (Lou Tay­lor Pucci) trav­els to south­ern Italy to re­cal­i­brate, strik­ing up an af­fair with beau­ti­ful and enig­matic bi­ol­ogy stu­dent Louise (Na­dia Hilker), a woman har­bor­ing a mon­strous, an­cient se­cret. The di­rec­to­rial team of Aaron Moor­head and Justin Ben­son pull off a ten­der, char­ac­ter-driven, gen­rebend­ing tale of ro­mance-cum-hor­ror. Imag­ine Un­der the Tus­can Sun by way of H.P. Love­craft. Spring — funny, sexy, ex­otic, scary, and orig­i­nal — has a sci­ence-based premise that el­e­vates it above the usual su­per­nat­u­ral fare. You won’t see where this one is headed. Not rated. 109 min­utes. Jean Cocteau Cinema , Santa Fe. (Michael Abatemarco)

TAKE ME TO THE RIVER Mu­sic and Mem­phis are in­sep­a­ra­bly en­twined in Martin Shore’s doc­u­men­tary, which brings to­gether leg­ends from the past with newer voices to record an al­bum pay­ing trib­ute to the city’s rich mu­si­cal his­tory. The idea of a record be­ing made in or­der to be filmed seems like it might lead to over­pro­duced re­sults. This is partly the case, but the play­ers’ pos­i­tiv­ity buoys most dips in mu­si­cal qual­ity and nar­ra­tive, es­pe­cially that of the older mu­si­cians — some of whom are record­ing their fi­nal takes. Rated PG. 95 min­utes. The Screen , Santa Fe. (Loren Bien­venu) See re­view, Page 39.

WHILE WE’RE YOUNG Ben Stiller and film­maker Noah Baum­bach, who col­lab­o­rated so mem­o­rably on 2010’s Green­berg , re-team to ex­plore the bit­ter­sweet com­plex­ity of mid­dle age once more. This time, Stiller and Naomi Watts play a mar­ried cou­ple whose lives are shaken up when they be­friend a cou­ple in their midtwen­ties (Adam Driver and Amanda Seyfried). Rated R. 97 min­utes. Re­gal DeVar­gas , Santa Fe. (Not re­viewed)

WOMAN IN GOLD He­len Mir­ren plays Maria Alt­mann in this art-based thriller, based on true events. More than 50 years af­ter a 1907 por­trait of Alt­mann’s aunt is taken from her hus­band by the Nazis dur­ing World War II, their niece teams up with an Amer­i­can lawyer (Ryan Reynolds) to fight the Aus­trian gov­ern­ment for her in­her­i­tance. The paint­ing in ques­tion is Gus­tav Klimt’s iconic Por­trait

of Adele Bloch-Bauer I . Rated PG-13. 109 min­utes. Re­gal DeVar­gas , Santa Fe. (Not re­viewed)

now in the­aters

CIN­DERELLA Direc­tor Ken­neth Branagh tack­les the famed fairy tale, shoot­ing it as an all-ages cos­tume drama de­void of singing mice. Lily James plays the ti­tle char­ac­ter, Richard Mad­den is Prince Charm­ing, Cate Blanchett plays the wicked step­mother, and He­lena Bon­ham Carter is the fairy god­mother. Rated PG. 112 min­utes. Re­gal Sta­dium 14 , Santa Fe; DreamCatcher , Es­pañola. (Not re­viewed)

DO YOU BE­LIEVE? The lat­est Chris­tian-based drama looks at a wide cross-sec­tion of peo­ple and shows us how God has had an im­pact on their lives. Every­one from a white doc­tor (Sean Astin) to an African-Amer­i­can crim­i­nal (Senyo Amoaku, play­ing a char­ac­ter who is ac­tu­ally named Krim­i­nal) is cov­ered. Mira Sorvino also stars. Not rated. 115 min­utes. Re­gal Sta­dium 14 , Santa Fe. (Not re­viewed)

EFFIE GRAY This psy­cho­sex­ual his­tor­i­cal drama about Bri­tish 19th-cen­tury su­per­star art critic John Ruskin and his teenage bride is­sues from the pen of Emma Thomp­son, but she seems to be as dis­mayed with the out­come as the rest of us, es­pe­cially af­ter a cou­ple of pla­gia­rism law­suits. She has skipped pre­mieres and dodged in­ter­views.

Effie Gray is a beau­ti­ful but dreary, heavy-handed work that only truly comes to life in the few scenes in which Thomp­son her­self ap­pears. As the ti­tle char­ac­ter who mar­ried Ruskin only to be spurned sex­u­ally and emo­tion­ally, Dakota Fan­ning is ap­peal­ing, but al­most as ill-served by Lax­ton as Effie was by Ruskin. Rated PG-13. 108 min­utes. Jean Cocteau Cinema , Santa Fe. ( Jonathan Richards)

FU­RI­OUS 7 This long-run­ning fran­chise be­gan with fairly sim­ple street rac­ing as The Fast and the Fu­ri­ous and now in­cludes a star-stud­ded cast that trav­els the globe us­ing wildly im­plau­si­ble meth­ods to com­bat ter­ror­ists, shadow armies, elab­o­rate hack­ing schemes, and more. The for­mula works, as each film seems more suc­cess­ful than the last. This en­try is the first for Kurt Rus­sell, Dji­mon Houn­sou, and Ja­son Statham (dis­count­ing an un­cred­ited cameo), but the last for Paul Walker, who died dur­ing film­ing and is given a touch­ing send-off. The film is more of the same — re­venge, fam­ily, bad jokes, and vroom vroom — but big­ger than ever. It runs a bit long, and the se­ries has al­ways had third-act strug­gles (How do you go over the top of over the top?), but, as ever, fans get their money’s worth. Rated PG-13. 137 min­utes. Re­gal Sta­dium 14 , Santa Fe; DreamCatcher , Es­pañola. (Robert Ker)

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)

THE GUN­MAN Sean Penn typ­i­cally shies away from ac­tion pics, but here he seems to be go­ing for the late-ca­reer resur­gence that Liam Nee­son has en­joyed in the Taken fran­chise — even work­ing with that film’s di­rec­tor, Pierre Morel. Penn plays a for­mer sniper who is forced back into a life of vi­o­lence in or­der to take out a bad guy ( Javier Bar­dem), with whom he shares a past. Rated R. 115 min­utes. Re­gal Sta­dium 14 , Santa Fe. (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)

AN HON­EST LIAR This doc­u­men­tary looks at James Randi, the world-fa­mous ma­gi­cian and es­cape artist who de­voted him­self to ex­pos­ing peo­ple who claimed to be faith heal­ers and psy­chics. Not rated. 90 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. (Not re­viewed)

IN­SUR­GENT The 2014 sci-fi film Diver­gent was a mod­est suc­cess, but it has enough fans for this se­quel, re­leased al­most one year later. To the unini­ti­ated, the plot may seem like non­sense, but ad­mir­ers of the first film and the book se­ries on which it is based will get it. Rated PG-13. 119 min­utes. Screens in 2-D only at Re­gal Sta­dium 14 , Santa Fe; DreamCatcher , Es­pañola. (Not re­viewed)

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 tells 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 les­son is ques­tion­able, the film works bet­ter when it ex­plores the na­ture of death, de­spite hav­ing a rel­a­tively low body count for the genre. Rated R. 100 min­utes. DreamCatcher , Es­pañola. (Michael Abatemarco)

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, over­the-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). 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. (Robert Ker)

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 DeVar­gas , Santa Fe; Dream Catcher , Es­pañola. (Not re­viewed)

THE SEC­OND BEST EX­OTIC MARIGOLD HO­TEL The whole gang is back — most no­tably Judi Dench, Mag­gie Smith, and Bill Nighy — for an­other stay in the ho­tel for re­tired Brits in In­dia. This time, Richard Gere brings an Amer­i­can twist to the pro­ceed­ings, get­ting a few of the women all atwit­ter. Rated PG. 122 min­utes. Re­gal DeVar­gas , Santa Fe. (Not re­viewed)

SEY­MOUR: AN IN­TRO­DUC­TION A chance meet­ing with the re­mark­able mu­si­cian Sey­mour Bern­stein in­spired ac­tor Ethan Hawke to di­rect this in­ti­mate and be­guil­ing doc­u­men­tary. Bern­stein with­drew from a se­ri­ous ca­reer as a con­cert pi­anist when he de­cided that tour­ing did not make him happy, and de­voted him­self in­stead to teach­ing, con­tem­plat­ing, and lov­ing mu­sic. He strews nuggets of wis­dom with­out be­ing self-con­scious or pompous about it. Bern­stein is the sort of el­der sage any­one would ben­e­fit from spend­ing time with, and view­ers can­not help but de­rive in­spi­ra­tion from their ex­po­sure to this kind, sen­si­tive, com­pas­sion­ate soul. No mu­sic lover should miss the op­por­tu­nity — nor should any­one else. Rated PG. 84 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. ( James M. Keller)

WHAT WE DO IN THE SHAD­OWS This mock­u­men­tary fea­tures the daily lives of vam­pires liv­ing to­gether in Welling­ton, New Zealand. Vi­ago (Taika Waititi), Dea­con (Jonathan Brugh), and Vladislav ( Je­maine Cle­ment) ar­gue over the stan­dard of clean­li­ness in their vam­pire den and go out for nights on the town. At about 85 min­utes, the film is nearly too long, but it main­tains its ap­peal through ab­sur­dity and sheer charm. Writ­ten and di­rected by Waititi and Cle­ment (the HBO se­ries Flight of the Con­chords ), Shad­ows presents vam­pires bum­bling along and do­ing their best. Not rated. 86 min­utes. Cen­ter for Con­tem­po­rary Arts , Santa Fe. (Adele Oliveira)

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)

THE WRECK­ING CREW Denny Tedesco’s doc pays homage to his fa­ther and the other mem­bers of the Wreck­ing Crew — a group of ses­sion mu­si­cians who recorded on many of the big­gest hits of the 1960s and ’70s. In ad­di­tion to giv­ing these play­ers their due, the film al­lows them to re­visit the parts they made fa­mous. Though the nar­ra­tive drags at times, the film in­cor­po­rates hu­mor and his­tory along­side the hits to sat­isfy mu­sic nerds and laypeo­ple alike. Rated PG. 98 min­utes. Jean Cocteau Cinema , Santa Fe. (Loren Bien­venu)

Keep­ing it true: Al Pa­cino and Christo­pher Plum­mer in Danny Collins , at Re­gal DeVar­gas in Santa Fe

Wo­man in Gold

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