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DOPE This com­ing-of-age com­edy cen­ters on three teenagers (in­clud­ing The Grand Bu­dapest Ho­tel’s Tony Revolori) in In­gle­wood, Cal­i­for­nia, who make up a geeky clique that is pas­sion­ately in­ter­ested in un­cool hob­bies — most no­tably, 1990s hip-hop. When Mal­colm (Shameik Moore) finds a back­pack of drugs left be­hind by a dealer (rap­per A$AP Rocky), the kids re­al­ize that mov­ing the drugs could make their dreams come true. Rated R. 115 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (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. (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. (Adele Oliveira)

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. (Jonathan Richards)

IN­SIDE OUT In the latest an­i­mated pic­ture by Pixar, the in­te­rior of the hu­man mind is por­trayed as a con­trol room op­er­ated by var­i­ous emo­tions. When a girl named Ri­ley (voiced by Kait­lyn Dias) moves to a new city and both Joy (Amy Poehler) and Sad­ness (Phyl­lis Smith) go miss­ing from the con­trol room, it sets off an ad­ven­ture through the men­tal land­scape that is full of imag­i­na­tion and in­ge­nu­ity. The movie aims to jerk tears — some­times get­ting too ma­nip­u­la­tive in pur­suit of this goal — but it’s a thought­ful, orig­i­nal film that all ages will en­joy. Rated PG. 94 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14 and Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Robert Ker)

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; DreamCatcher. (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. (Lau­rel Glad­den)

JURAS­SIC WORLD The theme park from the first Juras­sic Park film is up and run­ning. To main­tain rev­enue, the park cre­ators must con­stantly ge­net­i­cally engi­neer big­ger, dead­lier di­nosaurs. Have they learned noth­ing? Chris Pratt and Bryce Dal­las Howard play char­ac­ters who must try to sur­vive mankind’s latest at­tempt to play God. There are just enough Spiel­ber­gisms in this film, from the per­fectly cast kids to the sense of won­der and dread in the first hour, to of­fer some solid en­ter­tain­ment. Un­for­tu­nately, the movie is stretched thin be­tween plots about hasty ro­mance, chil­dren of di­vorce, and the mil­i­ta­riza­tion of di­nosaurs to the point where it isn’t even clear who the main char­ac­ter is. If you’re there to watch roar­ing and chomp­ing, how­ever, you’ll get that and then some. Rated PG-13. 124 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)

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. (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 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.

(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 Vi­o­let Crown. (Robert Ker)

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. (Jonathan Richards)

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 2-D at Re­gal Sta­dium 14 and DreamCatcher. (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 de­vel­op­ments 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. (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. (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. (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; Vi­o­let Crown; DreamCatcher. (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. (Michael Abatemarco)

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. (Not re­viewed)

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. (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)

He’s back: Arnold Swarzeneg­ger in Ter­mi­na­tor Genysis, at Re­gal Sta­dium 14 and Vi­o­let Crown

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