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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)


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)


Réné Clé­ment’s 1952 re­flec­tion on war and its con­se­quences is a cel­e­brated mon­u­ment of French cin­ema, and it even won a spe­cial Academy Award for For­eign Lan­guage film. While it re­tains an un­flinch­ing emo­tional qual­ity that is rare in mod­ern cin­ema, the story, about two chil­dren who cre­ate a pet ceme­tery af­ter the 1940 Bat­tle of France, is ma­nip­u­la­tive in its use of kids and an­i­mals in a way that has not aged well. Not rated. 86 min­utes. In French with sub­ti­tles. Jean Cocteau Cin­ema. (Robert Ker)


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. Rated PG-13. 92 min­utes. Vi­o­let Crown.

(Jonathan Richards)


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 goopy 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)


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. Apfel is a self-de­scribed “geri­atric star­let” (she’s nine­tythree) 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)


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)


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)


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)


Di­rec­tor Steven Soder­bergh’s 2012 Magic Mike was a left-field hit that de­lighted view­ers of both gen­ders and helped re­vi­tal­ize Matthew McConaughey’s ca­reer. Nei­ther Soder­bergh nor McConaughey is back for the se­quel, but star Chan­ning Ta­tum is, and there should be enough beef­cake and hu­mor to en­joy an encore. Rated R. 115 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


This movie looks at the un­sung he­roes of Amer­ica’s war on terror abroad: the dogs. The ti­tle char­ac­ter is one such ca­nine, who re­turns from Afghanistan trau­ma­tized by his han­dler’s death. He is adopted by mem­bers of the fallen Marine’s fam­ily, and they all help each other heal. Thomas Haden Church is the lead hu­man. A word of ad­vice: Bring tis­sues. Rated PG. 111 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)


With the suc­cess of The Fault in Our Stars barely a year be­hind us, the time seems ripe for a quirky, in­die teenage com­edy about can­cer. Thomas Mann plays Greg, a self-ab­sorbed boy who is made to hang out with Rachel (Olivia Cooke), a girl with leukemia. As time passes, they be­come friends and he be­gins to truly care for her. Rated PG-13. 105 min­utes. Re­gal DeVar­gas.

(Not re­viewed)


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; DreamCatcher. (Not re­viewed)


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)


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)


In 1950 a young poet named John Mal­colm Brin­nin (Eli­jah Wood) un­der­took to bring the Welsh poet Dy­lan Thomas (Ce­lyn Jones) to Amer­ica for a read­ing tour of col­leges and univer­si­ties. To con­cerns that Thomas’ rep­u­ta­tion as a rowdy drunk could present a prob­lem, Brin­nin flip­pantly replies, “How much trou­ble can one poet be?” For the an­swer, see this mod­estly ap­peal­ing lit­tle black-and-white film di­rected by Andy God­dard and co-writ­ten by him and Jones. The movie gives short shrift to the poet’s spell­bind­ing read­ings, but there are nice per­for­mances all around and a mem­o­rable ghost story from writer Shirley Jack­son (Shirley Hen­der­son). Not rated. 97 min­utes. Jean Cocteau Cin­ema. (Jonathan Richards)


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)


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. Wri­ter­di­rec­tor 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. (Jonathan Richards)


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 foul-mouthed teddy bear (voiced by Seth MacFar­lane) and his dopey owner (Mark Wahlberg) are back for another go-around. This time, Ted aims to get mar­ried and have kids, but be­fore he does the for­mer he must legally prove he’s a per­son, and to do the lat­ter, he must find a sur­ro­gate. If you are hop­ing to watch a stuffed an­i­mal make many jokes about mas­tur­ba­tion and bod­ily flu­ids, then you’ll get your money’s worth here. Rated R. 115 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


As coun­ter­pro­gram­ming to the re­cently opened big Ter­mi­na­tor movie, the Jean Cocteau Cin­ema of­fers the orig­i­nal 1984 Ter­mi­na­tor film. Be­fore Arnold Sch­warzeneg­ger ever promised he’d be back, he was here: chas­ing down Linda Hamil­ton with the fate of hu­mankind in the bal­ance. It’s vi­o­lent by to­day’s stan­dards and not as good as the se­quel, but this film by James Cameron is still an iconic mo­ment in 1980s block­buster cin­ema. Rated R. 107 min­utes.

Jean Cocteau Cin­ema. (Robert Ker)


The year is 2029 and John Con­nor (Jason Clarke) is fight­ing a los­ing war against the robots. Con­nor sends a lieu­tenant named Kyle (Jai Court­ney) back to 1984 to pre­vent the robots from stop­ping the hu­man re­sis­tance be­fore it be­gins. Alas, the 1984 Kyle re­turns to is not the one we know, and is some kind of al­ter­nate re­al­ity. But who cares about this non­sense? Arnie’s back! Old man Sch­warzeneg­ger faces off against a CGIren­dered young Sch­warzeneg­ger, and that’s all that mat­ters. Rated PG-13. 125 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


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)


The chil­dren of the An­gulo fam­ily grew up in an apart­ment on New York’s Lower East Side, shel­tered from nearly all con­tact with the out­side world, home schooled by their mother, fear­ing their fa­ther, and watch­ing lots and lots of movies. As the fam­ily’s six boys, who dub them­selves “the Wolf­pack,” tran­si­tion into young men, they find the courage to step out­side and, with movies as their frame of ref­er­ence, em­brace the life they were taught to fear. Crys­tal Moselle’s doc­u­men­tary tack­les a fas­ci­nat­ing sub­ject but leaves too many stones un­turned. There’s another story in there some­where, wait­ing to be told. Rated R. 80 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)


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 BlochBauer I. Rated PG-13. 109 min­utes. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

Na­tional trea­sure: The New Ri­jksmu­seum, at CCA Cine­math­eque

For bet­ter or verse: Ce­lyn Jones and Eli­jah Wood in Set Fire to the Stars, at Jean Cocteau Cin­ema

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