chile pages

Pasatiempo - - MOVING IMAGES - — com­piled by Robert Ker

open­ing this week

CHEATIN’ Star-crossed lovers Jake and Ella meet cute in a bumper-car col­li­sion at a car­ni­val in the Mid­west in this sur­real en­vi­sion­ing of life’s ups and downs. When Jake suc­cumbs to the wiles of an­other woman, Ella seeks the help of a dis­graced ma­gi­cian whose danger­ous soul ma­chine al­lows her spirit to en­ter into the bod­ies of Jake’s lovers in an ef­fort to win him back. With no cast to credit, direc­tor Bill Plymp­ton’s dia­logue-free, an­i­mated tale of ro­mance and de­ceit is a com­pelling com­edy of hor­rors as Jake and Ella seek to find the magic of true love. The hand-drawn an­i­ma­tion is a wel­come sight in this Pixar-dom­i­nated age of an­i­ma­tion. Cheatin’ is a psy­che­delic, mind­bend­ing, and en­chanted look at jeal­ousy, fidelity, and young love with a great sound­track to boot. Not rated. 76 min­utes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco)

CHILD 44 Tom Hardy plays a dis­graced MGB agent in Stalin-era Soviet Union who is tasked with solv­ing a se­ries of grisly child mur­ders in an em­pire that doesn’t ac­knowl­edge such crimes ex­ist. Gary Old­man and Noomi Ra­pace co-star. Given the set­ting and sub­ject mat­ter, it’s dif­fi­cult to tell who this movie is for, but the cast is un­de­ni­ably strong. Rated R. 137 min­utes. Re­gal Sta­dium 14, Santa Fe. (Not re­viewed)

COOL HAND LUKE Few cin­e­matic images are more iconic than the fig­ure Paul New­man cuts in this 1967 anti-estab­lish­ment film: hand­some, cock­sure, half-slouch­ing, with fire sparkling in his blue eyes. He plays a man who is sent to pri­son for cut­ting the tops off park­ing me­ters while drunk. There, he earns the re­spect of his fel­low in­mates (in­clud­ing the leader, played by Ge­orge Kennedy, who won an Os­car for the role) and fights the sys­tem again and again. This film, a rite of pas­sage for cinephiles, makes one wish mod­ern movies had more of th­ese kinds of rogu­ish, smirk­ing, hu­man­is­tic, and de­fi­antly in­di­vid­ual he­roes. Rated PG. 126 min­utes. The Screen, Santa Fe. (Robert Ker)

MOMMY Canadian wun­derkind Xavier Dolan swept Que­bec’s top film awards, and he shared a Cannes Jury Prize with his fifth fea­ture. It fo­cuses on the re­la­tion­ship be­tween Steve (An­toine Olivier Pilon), a trou­bled, charis­matic, some­times vi­o­lent teenage boy, and his mother, Die (Anne Dor­val), a fifty­ish ado­les­cent who can’t quite cope with ei­ther her son or her age. Com­plet­ing the odd tri­an­gle is a neigh­bor, Kyla (Suzanne Clé­ment), a high-school teacher on fur­lough be­cause of her own neu­roses. Kyla be­friends Die and tries to help Steve. Cast­ing its shadow over the film is an epi­graphic, fic­tional Canadian law that al­lows a par­ent to com­mit a trou­ble­some child to an in­sti­tu­tion. Dolan’s work is some­times abra­sive and shrill, but it also can be very af­fect­ing and in­sight­ful. Not rated. 139 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts, Santa Fe. ( Jonathan Richards)

MONKEY KING­DOM The lat­est doc­u­men­tary from Dis­neyna­ture fol­lows a young monkey as it grows up and fights for sur­vival in an elab­o­rate simian so­ci­ety in the an­cient ru­ins of Southeast Asia. Tina Fey nar­rates. Rated G. 81 min­utes. Re­gal Sta­dium 14, Santa Fe. (Not re­viewed)

PAUL BLART: MALL COP 2 The Os­car sea­son be­gins early this year, when Kevin James once more grows out his mus­tache and hops aboard a Seg­way to re­gale us all with the ad­ven­tures of Paul Blart, mall cop. This time, the ac­tion spills out of the food court and over to Las Ve­gas. Rated PG. 94 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream Catcher, Es­pañola. (Not re­viewed)

THE RED BADGE OF COURAGE John Hus­ton’s 1951 black-and-white film adap­ta­tion of Stephen Crane’s Civil War novel is con­sid­ered a butchered master­piece by some and a slow-mov­ing mis­fire by oth­ers. In truth, it’s some­where in be­tween — a solid por­trayal of the fear, courage, and com­rade­ship sol­diers face un­der fire. MGM had no faith in the movie and cut it to pieces. It’s one of the first films to in­spire a “makingof” ac­count — Lillian Ross’ book Pic­ture. The film in­cludes some haunt­ing im­agery and strong per­for­mances, in­clud­ing by World War II hero-turned-ac­tor Audie Mur­phy as the main pro­tag­o­nist. Pre­sented by Santa Fe Opera. 7 p.m. Tues­day, April 21 only. Not rated. 69 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Robert Nott)

REEL NEW MEX­ICO The monthly se­ries show­cas­ing in­de­pen­dent films with a New Mex­ico con­nec­tion con­tin­ues with Made on Route 66, a com­pi­la­tion of clips from movies shot on or around the sto­ried high­way. 6:45 p.m. Fri­day, April 17, only. Not rated. Vista Grande Public Li­brary, 14 Avenida Torreon, El Do­rado. No charge (Not re­viewed)

THE TALES OF HOFF­MANN This 1951 film rein­ter­pre­ta­tion of the Of­fen­bach opera, cre­ated by Michael Pow­ell and Emeric Press­burger, the team re­spon­si­ble for the twisted clas­sic ballet film The Red Shoes, has been newly re­stored. To call it the first lip-sync­ing mu­sic video (on film) is to do an injustice to the rad­i­cal idea that dancers should be cast to play al­most all the roles in­stead of singers. With si­lent-movie-style act­ing, an edited Of­fen­bach score, and sets that flow like a dance, the re­sult is a mind-blower, as over-the-top and vis­ually bizarre as movies come. The cast in­cludes ballet lu­mi­nar­ies Moira Shearer, Fred­er­ick Ash­ton, Léonide Mas­sine, Robert Help­mann, and Lud­milla Tché­rina. Not rated. 128 min­utes. Jean Cocteau Cinema, Santa Fe. (Michael Wade Simp­son) See re­view, Page 46.

TRUE STORY James Franco and Jonah Hill quit clown­ing around to play across from each other in this thriller, which is based on true events. Hill plays Michael Finkel, a New York Times writer who is dis­graced when he is caught fab­ri­cat­ing a story. Soon af­ter, he finds him­self in the kind of sit­u­a­tion you can’t make up when a killer (Franco) as­sumes his iden­tity. Rated R. 100 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

UN­FRIENDED Cy­ber­bul­ly­ing and teen sui­cide have been two big top­ics of con­ver­sa­tion lately. This hor­ror film tack­les both is­sues by at­tempt­ing to squeeze scares out of a story in which an on­line chat group is haunted by a friend who the mem­bers thought was dead. Rated R. 82 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream Catcher, Es­pañola. (Not re­viewed)

WHITE GOD Hungarian direc­tor Kornél Mun­druczó uses a dog’s life as a sav­age metaphor for the op­pres­sion and bru­tal­iz­ing of the poor and pow­er­less in a Europe where xeno­pho­bic hos­til­ity is on the rise. It is a movie that ought to come with a warn­ing sticker, lest an­i­mal lovers wan­der in ex­pect­ing The In­cred­i­ble Jour­ney. It be­gins as a girl-and-her-dog story, but it doesn’t take long be­fore we get hints that this will not be a warm and fuzzy tale. Teenaged Lili (Zsó­fia Psotta) and her beloved Ha­gen (played by sib­ling dogs Luke and Bodie) are sep­a­rated, and the movie is clearly headed to­ward their re­u­nion, but the route it takes is un­ex­pected and harsh — and the des­ti­na­tion is bit­ter­sweet at best. Rated R. 119 min­utes. In Hungarian with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards) See re­view, Page 44.

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)

DANNY COLLINS Al Pa­cino is 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)

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)

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. Screens in 2-D only at Dream­Catcher, Es­pañola. (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. (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)

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). 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)

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)

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)

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. Not rated. 96 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Steve Ter­rell).

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)

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 mid-twen­ties (Adam Driver and Amanda Seyfried). Rated R. 97 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

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)

WOMAN IN GOLD He­len Mir­ren plays Maria Alt­mann in this art-world 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; Dream­Catcher, Es­pañola. (Not re­viewed)

other screen­ings

Cen­ter for Con­tem­po­rary Arts, 505-982-1338 4 p.m. and 4:15 p.m. Sun­day, April 19: Santa Fe Jewish Film Fes­ti­val presents Above and Be­yond. Jean Cocteau Cinema, 505-466-5528 Lunch Hour; Royal Shake­speare Com­pany: Love’s Labour’s Won. Re­gal Sta­dium 14 Opens Thurs­day, April 23: Lit­tle Boy. The Screen, 505-473-6494 7 p.m. Wed­nes­day, April 22: Run Free: The True Story of Ca­ballo Blanco. 7 p.m. Thurs­day, April 23: The New York Film Critic Se­ries presents The Wa­ter Diviner with a simul­cast Q& A with star Rus­sell Crowe.

The con­ver­sa­tion with the fly­ing plates: Cheatin’, at Jean Cocteau Cinema in Santa Fe

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