opening this week
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)