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ABOUT ELLY A group of young mar­ried Ira­ni­ans ar­rives at a sea­side des­ti­na­tion. They have per­suaded Elly (Taraneh Ali­doosti), a teacher, to come along.

A lit­tle boy nearly drowns, and when the cri­sis set­tles, Elly is nowhere to be found. Direc­tor As­ghar Farhadi

(A Sep­a­ra­tion) builds the ten­sion as com­pli­ca­tions emerge and the sit­u­a­tion spi­rals into a night­mare of doubt and fear. Not rated. 92 min­utes. In Persian with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards)

AVENGERS: AGE OF UL­TRON Marvel’s all-star su­per­hero squad is back, with direc­tor Joss Whe­don at the wheel again. This in­stall­ment is darker and less fo­cused than be­fore. The orig­i­nal lineup is al­ready a smor­gas­bord, but now the gang has new ad­ver­saries: Quick­sil­ver, Scar­let Witch, and the AI robot Ul­tron (voiced with smooth creepi­ness by James Spader), who in­sists the only way to save the planet is to kill off the hu­man race. Whe­don hangs on to the hu­mor, and he lends less-de­vel­oped char­ac­ters some depth. We get a few too many wild ac­tion se­quences, and some­times it’s hard to tell ex­actly what’s hap­pen­ing, but the spe­cial ef­fects are eye-pop­ping, and with all that go­ing on, you won’t have time to check your watch. Rated PG-13. 141 min­utes. Screens in 2-D only at Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Lau­rel Glad­den)

CLOUDS OF SILS MARIA Olivier As­sayas cre­ates a fas­ci­nat­ing drama about age and re­cur­rence. Actress Maria En­ders ( Juliette Binoche) comes face to face with the specter of her younger self when she is cast in the older role in a re­vival of a play she starred in at the dawn of her ca­reer. Kristen Ste­wart is ex­cel­lent as Maria’s young as­sis­tant. As­sayas mud­dies the line be­tween real life and his movie char­ac­ters and be­tween his movie char­ac­ters and the play they are re­hears­ing. Rated R. 123 min­utes. In English and French with sub­ti­tles. Vi­o­let Crown, Santa Fe. ( Jonathan Richards)

DANNY COLLINS Al Pa­cino is this film’s 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 to Collins from John Len­non, the singer is mo­ti­vated to write his own songs and tend to his per­sonal life once more. In­spired by folk singer Steve Til­ston’s story. Rated R. 106 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

EX MACHINA Nov­el­ist and screen­writer Alex Gar­land tries his hand at di­rect­ing with this sci-fi thriller about a com­puter coder (Domh­nall Glee­son) who is cho­sen by his bil­lion­aire boss (Os­car Isaac) to test the AI of a pro­to­type for a hu­man­like an­droid. Gar­land shows a keen vis­ual eye with min­i­mal­ist cool­ness, and the in­ti­macy of the small cast lets the big ques­tions hang in the air nicely. His story steers clear of con­ven­tion, thanks in part to the sturdy act­ing. Rated R. 108 min­utes. Re­gal DeVar­gas, Santa Fe. (Robert Ker)

FAR FROM THE MADDING CROWD Carey Mul­li­gan shines as Bathsheba Ever­dene in this adap­ta­tion of Thomas Hardy’s 1874 novel. Head­strong and beau­ti­ful, Bathsheba in­her­its her un­cle’s farm and strug­gles to main­tain it while be­ing courted by three very dif­fer­ent suit­ors, shep­herd Gabriel Oak (Matthias Schoe­naerts) wealthy bach­e­lor Wil­liam Bold­wood (Michael Sheen), and fast-talk­ing sol­dier Frank Troy (Tom Stur­ridge). Bathsheba chooses the wrong man, but it isn’t the end of her. Mul­li­gan cap­ti­vates with quiet con­fi­dence. Cer­tain scenes lack ur­gency, and Stur­ridge is a weak link in an oth­er­wise strong cast, but it won’t dis­ap­point fans of pe­riod films. Rated PG-13. 119 min­utes. Vi­o­let Crown, Santa Fe. (Adele Oliveira)

5 FLIGHTS UP It’s hard to think of a more agree­able cou­ple to spend a lit­tle sen­ti­men­tal movie time with than the won­der­ful Mor­gan Free­man and Diane Keaton. They play Ruth and Alex, who de­cide to sell their fifth-floor Brook­lyn walk-up af­ter 40 years be­cause the stairs are start­ing to take their toll on them. Direc­tor Richard Lon­craine han­dles the swarms of sup­port­ing char­ac­ters and sub­plots with élan, gloss­ing nicely over the smarmy mo­ments. Cyn­thia Nixon is brightly brittle as their niece-re­al­tor, and Korey Jack­son and Claire van der Boom pro­vide lovely flash­backs as Ruth and Alex’s younger selves. Rated PG. 91 min­utes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards)

GOOD KILL One of the op­por­tu­ni­ties for eth­i­cal malaise pro­vided by our mod­ern world comes from our gov­ern­ment’s use of drones to kill peo­ple half a world away. Direc­tor An­drew Nic­col (Gat­taca) shows us this im­per­sonal weapon in hu­man terms. Ethan Hawke plays a fighter pi­lot now as­signed to pi­lot­ing a drone tar­geted on Afghan in­sur­gents. When he’s not at the con­sole met­ing out death, he’s numb­ing him­self with vodka or fend­ing off the at­tempts of his wife ( Jan­uary Jones) to rekin­dle their re­la­tion­ship. Nic­col is in­ter­ested in the dev­as­tat­ing ef­fects of the re­mote killings on the Afghans, but more so on our peo­ple. The story only veers off track to pro­vide a bit of melo­drama for an end­ing. Rated R. 103 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. ( Jonathan Richards)

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. Rated PG. 94 min­utes. Screens in 2-D only at Re­gal Sta­dium 14, Santa Fe. (Not re­viewed) HOT PUR­SUIT Reese Wither­spoon plays a cop who is tasked with bring­ing a wit­ness (Sofia Ver­gara) to tes­tify against a danger­ous money laun­derer. The whole es­capade is quickly re­vealed to be a setup, which puts the un­likely pair through a se­ries of sit­u­a­tions that are comedic or deadly — or both. Rated PG-13. 87 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

IN THE NAME OF MY DAUGH­TER Staged on the French Riviera in the 1970s, this thriller, based on true events, cen­ters on the clash be­tween the re­bel­lious Agnès Le Roux (Adèle Haenel) and her well-es­tab­lished mother (Catherine Deneuve) over the fate of the fam­ily’s casino. A death and a 30-year fight for an in­ves­ti­ga­tion fol­low. Rated R. 116 min­utes. In French with sub­ti­tles. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

LA SAPIENZA Direc­tor Eugène Green, an ex­pa­tri­ate Amer­i­can living in France, takes us on a gor­geous tour of the work of the 17th-cen­tury Ital­ian Baroque ar­chi­tect Francesco Bor­ro­mini. The prin­ci­pals are Alexan­dre Sch­midt (Fabrizio Ron­gione), a suc­cess­ful Swiss ar­chi­tect, and his wife, Aliénor (Chris­telle Prot Land­man), a psy­chol­o­gist and so­cial sci­en­tist. Dur­ing a cri­sis in his ca­reer and life they go to Italy and learn some im­por­tant life lessons. In the end it’s all about space and light, form and mean­ing, pas­sion and ideals. We’re never too old to learn and never too young to know. Not rated. 101 min­utes. In French and Ital­ian with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards)

LAM­BERT & STAMP Here’s a mul­ti­fac­eted por­trait of The Who and its dy­namic man­agers, Chris Stamp and Kit Lam­bert, who dis­cov­ered the mis­fit band as it was “strug­gling to find an im­age and find our feet,” as band mem­ber Pete Town­shend re­lates. De­spite their very dif­fer­ent back­grounds and the facts that they had no money, knew noth­ing about rock ’n’ roll, and had no con­nec­tions, Stamp and Lam­bert brought The Who to the world. This film boasts a mar­velous kalei­do­scope of images from the time: young peo­ple on the street, danc­ing with aban­don in dark clubs, and chal­leng­ing the cam­era. Rated R. 117 min­utes. Re­gal DeVar­gas, Santa Fe. (Paul Wei­de­man)

MAD MAX: FURY ROAD Direc­tor Ge­orge Miller re­turns to the film se­ries that first made him fa­mous, putting Tom Hardy in Mel Gibson’s old driver’s seat as Mad Max, a loner steer­ing a mil­i­ta­rized ve­hi­cle through the post-apoc­a­lyp­tic Aus­tralian out­back. This time, Max of­ten rides shot­gun to a ter­rific

Char­l­ize Theron as they try to shut­tle a hand­ful of women away from a cor­rupt war­lord. The movie is es­sen­tially one long ac­tion se­quence, crafted with in­cred­i­ble art de­sign, imag­i­na­tive may­hem, and a pride in its B-movie roots and fem­i­nist slant. Rated R. 120 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe. Screens in 2-D only at Dream­Catcher, Es­pañola. (Robert Ker)

PAUL BLART: MALL COP 2 Os­car sea­son be­gins early this year, as Kevin James once again grows out his mus­tache and hops aboard a Seg­way to pro­vide us with more mis­ad­ven­tures. This time, the ac­tion spills out of the food court and over to Las Ve­gas. Rated PG. 94 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

PITCH PER­FECT 2 It’s easy to see why the Pitch Per­fect se­ries, about an up­start women’s a cap­pella group, is so beloved. Not only is the cast strong and the mu­sic lively, but it’s a rare film se­ries in which young women pur­sue their as­pi­ra­tions and ca­reers, not men and ro­mance. Even the char­ac­ter known as Fat Amy (Rebel Wil­son), the butt of so many cheap gags, is treated se­ri­ously as an ob­ject of a man’s af­fec­tion, and she (ini­tially) turns him down to fo­cus on her­self. It’s all quite re­fresh­ing. If only the jokes, which are broad, lame, and of­ten rooted in stereo­types, were fun­nier. Re­gal Sta­dium 14; Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Robert Ker)

POLTERGEIST The hor­ror movie that men­tally scarred a gen­er­a­tion of chil­dren when it came out in 1982 has been re­made to scar the chil­dren of to­day. Sam Rock­well now plays the dad, whose daugh­ter is kid­napped by spir­its in his house — this time com­mu­ni­cat­ing not through TV static but through plasma pix­els. The Spiel­berg-pro­duced creep of the orig­i­nal film is re­placed by char­ac­ters be­ing jerked around to loud noises, in line with mod­ern movie hor­ror trends. Rated PG-13. 93 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe. Screens in 2-D only at Dream­Catcher, Es­pañola. (Not re­viewed)

THE SALT OF THE EARTH The pos­si­bil­ity of a mega-drought in the South­west makes it rel­e­vant that we ac­quaint our­selves with the work of Se­bastião Sal­gado, a Brazil­ian pho­tog­ra­pher who is the sub­ject of this doc­u­men­tary, co-di­rected by Wim Wen­ders and Ju­liano Sal­gado, the pho­tog­ra­pher’s son. The el­der Sal­gado be­gan his ca­reer as an econ­o­mist, but he soon re­al­ized that the pho­to­graphs he took with his wife’s cam­era on trips to Africa gave him more joy than the eco­nomic-devel­op­ment re­ports he wrote. With his wife’s con­sent, he made a risky, and ul­ti­mately sat­is­fy­ing, de­ci­sion to switch course and at­tempt a ca­reer as a pho­tog­ra­pher. Rated PG-13. 110 min­utes. Vi­o­let Crown, Santa Fe. (Priyanka Ku­mar)

THE SEC­OND BEST EX­OTIC MARIGOLD HO­TEL Ev­ery­one’s 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 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 he de­voted him­self in­stead to teach­ing, con­tem­plat­ing, and lov­ing mu­sic. He 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 this op­por­tu­nity — nor should any­one else. Rated PG. 84 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. ( James M. Keller)

SLOW WEST The land­scape of irony is treach­er­ous ground. Slow West, the arch new West­ern from writer-direc­tor John Maclean and star Michael Fass­ben­der treads this land­scape with the swag­ger of a con­fi­dent ten­der­foot. Fass­ben­der is la­con­i­cally ap­peal­ing in full Clint East­wood mode as a griz­zled, cigar-chomp­ing bounty hunter who takes un­der his wing a downy-cheeked Scot­tish lad­die named Jay Cavendish (Kodi SmitMcPhee), who is on a quixotic quest to find his lost Scot­tish lassie, Rose (Caren Pis­to­rius). It’s a West­ern about Westerns, and it rev­els in clichés of the genre like a boy dressed in a cow­boy out­fit prac­tic­ing his fast draw in front of a mir­ror. Rated R. 84 min­utes. Vi­o­let Crown, Santa Fe. ( Jonathan Richards)

TO­MOR­ROW­LAND This flashy fea­ture from Brad Bird (The In­cred­i­bles) is the per­fect can-do sci-fi movie for tween girls across Amer­ica; their par­ents, not so much. Casey New­ton (Britt Robert­son) is a whiz kid living in Florida. Athena, a robot who looks like a lit­tle girl (Raf­fey Cas­sidy, per­fect), slips her a lapel that, when touched, of­fers a glimpse of a fu­tur­is­tic city known as To­mor­row­land. Athena takes Casey to meet the reclu­sive Frank Walker (Clooney), a for­mer To­mor­row­lan­dian who is mon­i­tor­ing Earth’s ap­proach­ing demise. With evil an­droids in pur­suit, the three make their way to To­mor­row­land to con­front the tyran­ni­cal Gover­nor Nix (Hugh Lau­rie) and save the Earth. The film has its mo­ments, but it’s short on ac­tion, the script gets preachy, and it lacks a clear nar­ra­tive. Rated PG. 130 min­utes. Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Lau­rel Glad­den)

THE WA­TER DIVINER Rus­sell Crowe di­rected and stars in this his­tor­i­cal drama about an Aus­tralian farmer in 1919 who learns that his sons died in the Battle of Gal­lipoli. Af­ter his wife kills her­self, he trav­els to Turkey to bring his sons’ bod­ies home and learns that one of them may still be alive. Rated R. 111 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

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 with an Amer­i­can lawyer (Ryan Reynolds) to fight the Aus­trian gov­ern­ment for it to be re­turned to her fam­ily. The paint­ing is Gus­tav Klimt’s iconic Por­trait of Adele Bloch-Bauer I. Rated PG-13. 109 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

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