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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. 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. (Robert Ker)

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; Dream­Catcher, Es­pañola. (Lau­rel Glad­den)

THE CON­NEC­TION It’s French. And it’s called The Con­nec­tion. And yes, it’s that French con­nec­tion, told from the other side of the At­lantic. The raw ma­te­rial for this, and for its an­tecedent, Wil­liam Fried­kin’s 1971 award-win­ning cop clas­sic, The French Con­nec­tion, comes from Robin Moore’s non­fic­tion book about a so­phis­ti­cated French drug smug­gling ring, and a cou­ple of New York City cops work­ing to bring it down. Here it’s French cops deal­ing with the same scourge in Mar­seille. The

Con­nec­tion is prob­a­bly a half hour heav­ier than its frame ought to bear, but for the most part it’s solidly crafted, and the charis­matic pres­ence of Jean Du­jardin

(The Artist) keeps us root­ing for good, with­out much hope that good will pre­vail. Rated R. 135 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Jonathan Richards)

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)

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. Dream­Catcher, Es­pañola. (Not re­viewed)

IN­SID­I­OUS: CHAP­TER 3 James Wan con­cedes the direc­tor’s chair of this semi-popular hor­ror fran­chise to Leigh Whan­nell, who wrote the first two films — and is there­fore per­haps the only per­son who un­der­stands what hap­pened in them. This one is a pre­quel, which shows us how the psy­chic Elise Rainier (Lin Shaye) got in­volved in this spooky busi­ness to begin with. Rated PG-13. 97 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola. (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 (codi­rec­tor 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)

LOVE & MERCY Beach Boy Brian Wil­son is a bro­ken man in his bi­o­graph­i­cal film. Por­trayed by two ac­tors, Paul Dano (’60s Brian) and John Cu­sack (’80s Brian), Wil­son is psy­cho­log­i­cally shat­tered de­spite his pop­u­lar­ity, wealth, and ac­com­plish­ments. In the two main pe­ri­ods cov­ered by this movie, Wil­son is seen as the vic­tim of loath­some bul­lies: his fa­ther, who beats him; his cousin and band­mate, who fights him at ev­ery turn over his new mu­si­cal di­rec­tion; and — worst of all — Dr. Eu­gene Landy (Paul Gia­matti), the psy­chother­a­pist who over­med­i­cates him, con­trols ev­ery mo­ment of his life, and rips him con­tin­ued on Page 40

off fi­nan­cially. Luck­ily there’s the an­gelic Melinda (El­iz­a­beth Banks) who fights to pro­tect him. It’s a must-see for Wil­son fans, though it’s not clear whether the film will ap­peal to those who don’t know or don’t care about his mu­sic. Rated PG-13. 120 min­utes. Vi­o­let Crown, Santa Fe (Steve Ter­rell)

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 2-D only at Re­gal Sta­dium 14, Santa Fe; 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; Dream­Catcher, Es­pañola. (Robert Ker)

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)

SPY The in­domitable Melissa McCarthy launches a fran­chise with this fast-paced, hi­lar­i­ous send-up of the Bond tem­plate. She plays Su­san Cooper, a CIA desk jockey work­ing the com­put­ers at Lan­g­ley and pip­ing in­struc­tions into the ear of dash­ing agent Bradley Fine (Jude Law). When things go awry, Su­san is sent into the field to pre­vent a nu­clear de­vice from fall­ing into the hands of ter­ror­ists. Writer-direc­tor Paul Feig keeps things lively, and hits the fem­i­nist and over­weight notes with wit and com­pas­sion. The act­ing is crisp, the ac­tion is ex­plo­sive, and the dia­logue is funny, though it un­der­cuts it­self by lean­ing harder on the scat­o­log­i­cal than nec­es­sary. Rated R. 120 min­utes. Re­gal Sta­dium 14; Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Jonathan Richards)

TAN­GER­INES Ivo (Lem­bit Ulf­sak), an Es­to­nian, agrees to re­main be­hind and help a friend har­vest his tan­ger­ines when the rest of the vil­lagers flee eth­nic con­flicts in Ge­or­gia dur­ing the civil war in 1992. Two sol­diers on op­po­site sides of the war sur­vive a bru­tal shootout in the vil­lage, and Ivo takes the in­jured men into his home to re­cover from their wounds — but the enemies con­tinue their fight, trad­ing weapons for barbs and in­sults. Zaza Urushadze’s poignant, and of­ten comic, anti-war film tells the story of a man caught in the mid­dle of other men’s war. Time and prox­im­ity to one an­other have a hu­man­iz­ing ef­fect on the sol­diers as they tran­scend their dif­fer­ences.

Tan­ger­ines is a mov­ing film, nom­i­nated this year for an Academy Award for best for­eign lan­guage film. Not rated. 87 min­utes. In Es­to­nian, Rus­sian, and Ge­or­gian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Michael Abatemarco)

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 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, 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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