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ALOHA The lat­est pic­ture by Cameron Crowe stars Bradley Cooper, Emma Stone, Rachel McA­dams, Bill Mur­ray, John Krasin­ski, Danny McBride, and Alec Baldwin. There isn’t much to com­plain about with a cast like that, but Crowe can’t de­cide what to do with them. What should be a fine screw­ball com­edy about the ro­mance be­tween Cooper’s self­ish in­de­pen­dent con­trac­tor and Stone’s plucky Air Force pi­lot gets side­tracked with con­fus­ing de­tours about mil­i­tary pri­va­ti­za­tion and Hawaii’s his­tory, pol­i­tics, and folk­lore. It might still be en­gag­ing if the dia­logue weren’t so ex­pos­i­tory, and Crowe didn’t fall back on his stan­dard “it’s a woman’s job to save sad

men” plot. You get to see Mur­ray danc­ing to Hall and Oates, and there’s a cou­ple of film-steal­ing mo­ments by Baldwin, but that’s it. Rated PG-13. 105 min­utes. Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Robert Ker)

ARLO & JULIE Arlo (Alex Do­brenko) is a com­puter pro­gram­mer and as­pir­ing his­to­rian with an in­ter­est in Gen. Ulysses S. Grant. His girl­friend of three years, Julie (Ash­ley Spillers), is a very sup­port­ive wait­ress whose mother would pre­fer she stop living in sin. Af­ter puz­zle pieces begin ar­riv­ing in the mail, Arlo and Julie start ig­nor­ing their re­spon­si­bil­i­ties to put the puz­zle to­gether, cer­tain they are solv­ing a mys­tery. The tone of Arlo & Julie is si­mul­ta­ne­ously screw­ball and dark. The act­ing is very good, and the story is con­tin­u­ally sur­pris­ing. Not rated. 76 min­utes. Vi­o­let Crown, Santa Fe. (Jen­nifer Levin)

THE APU TRIL­OGY It hap­pens rarely, but when it does, we’re all in­trigued about how they did it. Some artists raise the stan­dard of what a work of art can be: Leo Tol­stoy did this for the novel, no­tably in War and Peace and Anna Karen­ina; Satya­jit Ray did this for cinema, par­tic­u­larly in the Apu Tril­ogy. The newly re­stored ’50s tril­ogy gives Santa Feans an op­por­tu­nity to see all three films — Pather Pan­chali, Apara­jito, and The World of Apu — that make up Ray’s master­piece. Not rated. Var­i­ous run­ning times. In Ben­gali with sub­ti­tles. Jean Cocteau Cinema, Santa Fe. (Priyanka Ku­mar)

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)

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)

EN­TOURAGE The cult HBO show has its big-screen pre­miere, and all of the leads re­turn. Adrian Gre­nier is Vin­cent Chase, who is now look­ing to get his ca­reer back to the top with the help of his bros and agent-turned-pro­ducer Ari Gold ( Jeremy Piven). Liam Nee­son, Jes­sica Alba, Tom Brady, and Mark Wahlberg (who also pro­duced) are among the stars who play them­selves. Rated R. 104 min­utes. Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (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. 92 min­utes. Jean Cocteau Cinema, 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 (Sofía 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)

THE 100-YEAR-OLD MAN WHO CLIMBED OUT THE WIN­DOW AND DIS­AP­PEARED Swedish comic Robert Gustafs­son plays a man who es­capes from his nurs­ing home on his hun­dredth birth­day and soon finds him­self on the run from both the au­thor­i­ties and some gang­sters. Dur­ing this pur­suit, we flash back to his ear­lier life, where he is in­serted into ma­jor events — in­clud­ing the cre­ation of the atomic bomb. The film is watch­able and has some amus­ing mo­ments, but it never fully gels and is too whim­si­cal for its own good. Rated R. 114 min­utes. In English, Swedish, and Ger­man with sub­ti­tles. Vi­o­let Crown, Santa Fe. (Robert Ker)

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)

IRIS Less is def­i­nitely not more if you’re Iris Apfel — the fo­cus of this slight, mostly light­hearted doc­u­men­tary from one of the masters of the genre, Al­bert Maysles (co-direc­tor of Gimme Shel­ter and Grey Gar­dens). Apfel is a self-de­scribed “geri­atric star­let” (she’s ninety-three) and a cham­pion of wildly col­or­ful out­fits and over­sized ac­ces­sories. Af­ter a highly suc­cess­ful ca­reer in in­te­rior de­sign (she helped more than one first lady re­dec­o­rate the White House), she has set­tled into a new role as a fash­ion icon and designer’s muse. It’s a plea­sure to spend 80-some­thing min­utes lis­ten­ing to her thoughts on ev­ery­thing from per­sonal style to aging, and while she doesn’t dis­pense fi­nan­cial ad­vice, when Iris Apfel talks, peo­ple should lis­ten. Rated PG-13. 83 min­utes. The Screen, Santa Fe. (Lau­rel Glad­den)

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. Screens in 2-D only at Vi­o­let Crown, Santa Fe. (Robert Ker)

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. Rated PG-13. 115 min­utes. Re­gal Sta­dium 14; Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola.

(Robert Ker)

POLTERGEIST The 1982 hor­ror film 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 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)

SAN AN­DREAS The dis­as­ter movie is back in a big way with this film. How big? It fea­tures the dra­matic de­struc­tion of all of Los An­ge­les when the Big One hits. That’s not big enough for you? Well, it also stars beefed-up mus­cle­man Dwayne “The Rock” John­son as a he­li­copter pi­lot who must res­cue his daugh­ter. Rated PG-13. 114 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe. Screens in 2-D only Dream­Catcher, Es­pañola. (Not re­viewed)

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. Rated PG. 84 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe.

(James M. Keller)

TO­MOR­ROW­LAND This flashy fea­ture from Brad Bird 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 (Ge­orge 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 Gov. 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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