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AU­TEURS 2015 The Cen­ter for Con­tem­po­rary Arts and St. John’s Col­lege Film In­sti­tute’s Au­teurs se­ries be­gins its 2015 se­ries with one of Hol­ly­wood’s ear­li­est and great­est di­rec­tors: Char­lie Chap­lin. His 1925 com­edy about prospect­ing, The Gold Rush, screens with live mu­sic by pi­anist Hank Troy at 7:30 p.m. Satur­day, June 13. City Lights (1931), per­haps the most fa­mous of all his films, shows Satur­day, June 13, through Mon­day, June 15. In that movie, Chap­lin’s tramp char­ac­ter takes on sev­eral jobs, of­ten to comic ef­fect (none fun­nier than his stint as a boxer), all in the name of love. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Not re­viewed)

DON’T THINK I’VE FORGOTTEN: CAM­BO­DIA’S LOST ROCK AND ROLL Not rated. 106 min­utes. In English, French, and Kh­mer with sub­ti­tles. The Screen, Santa Fe. See “Ter­rell’s Tune-Up,” Page 22.

I’LL SEE YOU IN MY DREAMS The great Blythe Danner is on­screen for just about all of this sweet, gen­tle ru­mi­na­tion on aging, deal­ing with loss, and get­ting on with life. As Carol, a widow who lives with her dog and plays bridge with her friends (a wel­come four­some filled out by Mary Kay Place, June Squibb, and Rhea Perl­man), she makes her way through her days one glass of chardon­nay at a time. Direc­tor and co-writer Brett Ha­ley han­dles the low-key ma­te­rial with wit and re­straint, fall­ing for the ob­vi­ous only once, in a re­gret­table speed-dat­ing se­quence. Sam El­liott ar­rives with his grav­elly drawl and weath­ered good looks to bring some ro­mance into her life, and Martin Starr is fine as the pool man with whom she makes an un­likely con­nec­tion. PG-13. 92 min­utes. Vi­o­let Crown, Santa Fe. (Jonathan Richards)

JURAS­SIC WORLD In the decades since the events de­picted in the first Juras­sic Park film, the theme park is now up and run­ning again, but the nov­elty of see­ing dinosaurs has be­gun to fade. To re­new in­ter­est, the park cre­ators de­cide to ge­net­i­cally en­gi­neer a new, big­ger, dead­lier di­nosaur. What could pos­si­bly go wrong? Chris Pratt and Bryce Dal­las Howard play the two leads who have to fig­ure out how to es­cape from all of the teeth and claws. Rated PG-13. 124 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. Screens in 2-D only at Jean Cocteau Cinema, Santa Fe. (Not re­viewed)

RE­SULTS Rated R. 105 min­utes. Vi­o­let Crown, Santa Fe. See re­view, Page 36. SAINT LAU­RENT Ber­trand Bonello’s biopic of the designer is full of glitz, but in the end it’s like a ma­gi­cian’s trick of spew­ing colored scarves across a stage, a riot of vis­ual ex­u­ber­ance but with­out much co­her­ent to say. Hold­ing it to­gether is a de­li­ciously minc­ing per­for­mance by Gas­pard Ul­liel as YSL — if Yves wasn’t like that, he should have been. Bonello man­ages a few in­ter­est­ing mon­tages, such as a split-screen se­quence jux­ta­pos­ing world events of the late ’60s with Saint Lau­rent’s de­signs in the same pe­riod. There’s a lot more split-screen pres­tidig­i­ta­tion, and a game of slice-and-dice with time se­quences shut­tling be­tween pe­ri­ods of the designer’s life, to no good ef­fect. Toss in plenty of booze, drugs, sex, some nice clothes, and a bravura recre­ation of the mas­ter’s most fa­mous show, bake for two and a half hours, and there you have it. Not rated. 151 min­utes. In French and English with sub­ti­tles. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards)

WHEN MARNIE WAS THERE Hiro­masa Yonebayashi (The Se­cret World of Ar­ri­etty) di­rects the lat­est pic­ture from Ja­pan’s Stu­dio Ghi­bli, which once more boasts the bold colors, pas­toral im­agery, and mys­te­ri­ous sto­ries that the stu­dio is fa­mous for. This one cen­ters on a young girl who is sent on a coastal retreat for health rea­sons, where she de­vel­ops a strange friend­ship with a mys­te­ri­ous young neigh­bor. Rated PG. 103 min­utes. Dubbed in English. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

THE YES MEN ARE RE­VOLT­ING The po­lit­i­cal ac­tivists known as the Yes Men (Andy Bichlbaum and Mike Bo­nanno), fa­mous for im­per­son­at­ing cor­po­rate spokes­men and hood­wink­ing the me­dia into print­ing their fake state­ments as truth, are back on the big screen. Their third doc­u­men­tary finds them spread­ing them­selves thin: We fol­low the duo through their cli­mate-change fight, the Oc­cupy Wall Street move­ment, and Hur­ri­cane Sandy’s de­struc­tion, while touch­ing on their per­sonal lives and his­to­ries. Even though they ex­plore im­por­tant sub­jects and show images of en­vi­ron­men­tal de­struc­tion that should be seen by more peo­ple, this film is pri­mar­ily for long­time fans — some of whom may find their act, in cin­e­matic form, is get­ting a bit long in the tooth. Their causes re­main just and their meth­ods novel, but it doesn’t al­ways make for com­pelling cinema. Not rated. 91 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Robert Ker)

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