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ALOFT Jen­nifer Con­nelly plays a sin­gle mother with two sons. Af­ter one of them dies, she and her other son (played as an adult by Cil­lian Mur­phy) strug­gle for their en­tire lives to get over the in­ci­dent. This tale of tragedy is told with more than a touch of woo-woo along with scenes of train­ing hawks. Rated R. 112 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed) ANTMAN Marvel En­ter­tain­ment su­per­hero movies seem to get big­ger and big­ger, but here is the de­but of its small­est hero: Scott Lang (Paul Rudd), a thief who comes into the tech­nol­ogy to shrink him­self and com­mu­ni­cate with ants. To­gether with the orig­i­nal Ant-Man, Hank Pym (Michael Dou­glas), he has to save the world. Rated PG-13. 117 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed) BLESS ME, UL­TIMA In lesser hands, the film adap­ta­tion of Ru­dolfo Anaya’s clas­sic novel could have been cloy­ingly pre­cious mag­i­cal re­al­ism. But 2013’s Bless Me, Ul­tima, di­rected by Carl Franklin, was shot in and around Santa Fe, which im­bues the story of mur­der and witches in World War II-era North­ern New Mexico with au­then­tic­ity. An­to­nio (Luke Ganalon) is six years old when his grand­mother Ul­tima (Miriam Colon), a cu­ran­dera, comes to stay with his fam­ily. Per­for­mances are mostly strong, and the di­a­logue moves quickly, as does the ac­tion. Rated PG-13. 105 min­utes. In English and Span­ish with­out sub­ti­tles. Jean Cocteau Cin­ema. (Jen­nifer Levin) A BOR­ROWED IDEN­TITY This drama from Is­rael tells the story of a Pales­tinian boy named Eyad (Tawfeek Barhom), who moves to Jerusalem to at­tend school. There he be­friends a boy with mus­cu­lar dys­tro­phy (Michael Moshonov), falls in love with a Jewish girl (Daniel Kit­sis), strug­gles with the chal­lenges of these two re­la­tion­ships, and makes de­ci­sions that change his life. Not rated. 104 min­utes. In English, Ara­bic, and He­brew with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed) CAR­TEL LAND Film­maker Matthew Heine­man em­beds him­self in the in­cred­i­bly dan­ger­ous world of Mexico’s drug car­tel wars to give view­ers a grip­ping in­side look. His doc­u­men­tary, ex­ec­u­tive pro­duced by Kathryn Bigelow, di­rec­tor of The Hurt Locker, mainly shows us this fight be­tween car­tels and cit­i­zens through the eyes of peo­ple on the front­lines — par­tic­u­larly the citizen mili­tias on both sides of the bor­der, who have taken mat­ters into their own hands in the face of gov­ern­ment in­dif­fer­ence. The Mex­i­can side, where the charis­matic Dr. Mire­les leads the Au­toDe­fen­sas group, is more en­gag­ing, and Heine­man wisely spends more time there. The re­sults are pow­er­ful, im­me­di­ate, and im­por­tant but be warned: Some im­ages and sto­ries are har­row­ing. Rated R. 98 min­utes. In English and Span­ish with sub­ti­tles. Re­gal DeVar­gas. (Robert Ker) GEMMA BOVERY Rated R. 99 min­utes. In English and French with sub­ti­tles. The Screen. See re­view, Page 52. MAN­GLE­HORN Film­maker David Gor­don Green con­tin­ues his de­light­fully un­pre­dictable ca­reer with a char­ac­ter study about a lock­smith (Al Pa­cino) who strug­gles to get over the love of his life and shuts out the whole world as a re­sult. The film never to­tally works, and there’s no fault­ing Pa­cino or his co-star Holly Hunter, who flesh out their char­ac­ters with ten­der­ness and the right mix of sub­tle ec­cen­tric­i­ties to make them mem­o­rable. Green ef­fec­tively con­tin­ues his pen­chant for over­lap­ping sound and vi­su­als, and the movie is evoca­tively lit. The prob­lem is the script, which veers un­com­fort­ably be­tween ex­po­si­tion, heavy-handed sym­bol­ism, and sac­cha­rine sen­ti­ment. Pa­cino and Hunter could have car­ried the film on their own, but they never got the chance. Rated PG-13. 97 min­utes.

Vi­o­let Crown. (Robert Ker) MR. HOLMES Rated PG. 103 min­utes. Re­gal DeVar­gas. See re­view, Page 54. NA­TIONAL THEATRE LIVE IN HD: MAN AND SU­PER­MAN Ralph Fi­ennes stars in this stag­ing of Ge­orge Bernard Shaw’s play about a bach­e­lor who pan­ics in the face of im­pend­ing mar­riage and flees to Spain, where he en­gages in a de­bate be­tween good and evil. 7 p.m. Fri­day, July 17. Len­sic Per­form­ing Arts Cen­ter. (Not re­viewed) PER­FOR­MANCE AT THE SCREEN The se­ries of high-def­i­ni­tion screen­ings con­tin­ues with a show­ing of Strauss’ Capric­cio from the Vi­enna State Opera House. Renée Flem­ing and Marco Ar­turo Marelli star. 11:15 a.m. Sun­day, July 19, only. Not rated. 168 min­utes. The Screen. (Not re­viewed) REAR WIN­DOW This 1954 movie is prob­a­bly near the top of ev­ery­one’s list of fa­vorite Hitch­cock films. A su­perb Jimmy Stewart plays a man who is laid up with a bro­ken leg and oc­cu­pies him­self by spy­ing on his neigh­bors with a te­le­scope. When he thinks he sees a man mur­der his wife, he be­comes ob­sessed with prov­ing his guilt. Voyeurism was a fa­vorite theme of Hitch­cock’s, and nowhere is this mined deeper than in this film. The movie never loses an ounce of its sus­pense,

whether you’re see­ing it for the first time or the hun­dredth. Grace Kelly co-stars. Part of the Auteurs se­ries. Not rated. 112 min­utes. Cen­ter for Con­tem­po­rary Arts. (Robert Ker) TRAIN­WRECK Di­rec­tor Judd Apa­tow (Knocked Up, The 40-Year-Old Vir­gin) re­turns with another com­edy about peo­ple who have a hard time grow­ing up. Here, in­stead of fo­cus­ing on an over­grown man-child, he looks at an over­grown woman-child, played by Amy Schumer (who also wrote the script). Her char­ac­ter can’t get her act to­gether — un­til, per­haps, she meets the right guy (Bill Hader). Rated R. 125 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


AMY Amy Wine­house was a tal­ent too big for her small body, a body she was hellbent on de­stroy­ing with drugs and booze. Us­ing in­ter­views, home movies, and news footage, di­rec­tor Asif Ka­pa­dia has doc­u­mented the rise, fall, and early exit (at twenty-seven) of this tragic diva, a North Lon­don Jewish girl with a big voice and tiny self-es­teem. Even if you weren’t a fan, you’ll be im­pressed by her tal­ent, though her in­tensely per­sonal num­bers sound less like songs than sung jour­nal en­tries. As this fresh, ap­peal­ing girl gets sucked into the ter­ri­fy­ing mael­strom of fame and pa­parazzi, sur­rounded by par­a­sites that in­clude her fa­ther and her hus­band, you watch in fas­ci­nated hor­ror. It’s an ag­o­niz­ingly slow train­wreck, a good half hour too long, but still un­set­tling and mem­o­rable.

Not rated. 128 min­utes. Re­gal DeVar­gas. (Jonathan Richards) 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) THE GAL­LOWS This year’s hor­ror coun­ter­pro­gram­ming to the July pa­rade of block­busters comes in the form of a story about a high school play that is de­railed when tragedy strikes. Two decades later, the stu­dents try to re­vive the show and dis­cover that their idea is so bad, it’s down­right scary. Rated R. 81 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed) 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 goopy in pur­suit of this goal — but it’s a thought­ful, orig­i­nal film that all ages will en­joy. Rated PG. 94 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; 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 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, its cre­ators must con­stantly ge­net­i­cally engi­neer big­ger, dead­lier di­nosaurs. 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 too thin be­tween plots that 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. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Robert Ker) LA SAPIENZA Di­rec­tor Eugène Green, an ex­pa­tri­ate Amer­i­can liv­ing in France, takes us on a gor­geous tour of the work of the 17th-cen­tury Ital­ian Baroque ar­chi­tect Francesco Bor­ro­mini. The prin­ci­pals are Alexan­dre Sch­midt (Fabrizio Ron­gione), a suc­cess­ful Swiss ar­chi­tect, and his wife, Aliénor (Chris­telle Prot Land­man), a psy­chol­o­gist and so­cial sci­en­tist. Dur­ing a cri­sis in his ca­reer and life, they go to Italy. There they meet Gof­fredo (Ludovico Suc­cio), a young ar­chi­tec­ture stu­dent, and his sis­ter Lavinia (Ari­anna Nas­tro) and learn some im­por­tant life lessons from them. The movie is styled with rigid for­mal­ism, but it works by draw­ing us into the emo­tional lives of the char­ac­ters. Not rated. 101 min­utes. In French and Ital­ian with sub­ti­tles. The Screen. (Jonathan Richards) A LIT­TLE CHAOS For his sec­ond di­rec­to­rial ef­fort, Alan Rick­man has taken as his sub­ject mat­ter the con­struc­tion of the el­e­gant gar­dens at Ver­sailles and, tucked away within that ex­trav­a­gance, the lit­tle fan­tasy set­ting of an out­door ball­room. An open­ing ti­tle card tells us, “In what fol­lows, that much at least is true.” Sabine De Barra (Kate Winslet) is the un­likely win­ner of a de­sign com­pe­ti­tion for the sub­con­tract­ing of that ball­room from King Louis XIV’s great land­scape ar­chi­tect, An­dré Le Nôtre (Matthias Schoe­naerts). There’s ro­mance, sabotage, skull­dug­gery, wit, strug­gle, and even­tual tri­umph for De Barra. Rick­man, who makes up a part of his own ex­cel­lent cast as Louis, takes great plea­sure in the ma­te­rial and lets us share that plea­sure. Rated R. 118 min­utes. Vi­o­let Crown. (Jonathan

Richards) MAGIC MIKE XXL 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) MAX 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. Rated PG. 111 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed) ME AND EARL AND THE DY­ING GIRL 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) MINIONS The jib­ber­ish-spout­ing pill-shaped yel­low thin­gies from the De­spi­ca­ble Me movies get their own spinoff, and if you’re won­der­ing if the char­ac­ters are in­ter­est­ing enough to war­rant their own movie, the an­swer is no. The set­ting is the 1960s, and the Minions, try­ing to find their way in the world, join up with Scar­let Overkill (voiced by San­dra Bul­lock) to help her con­quer Eng­land. The an­i­ma­tion is nice but the movie never sur­vives the fact that its pro­tag­o­nists don’t ac­tu­ally talk. With­out the ben­e­fit of lan­guage, the film­mak­ers rely on tepid vis­ual hu­mor and tired comic beats. The Minions are never as cute as the film’s mas­sive mar­ket­ing cam­paign in­sists they are, and by the time we hit the third-rate ac­tion of the cli­max, they’ve re­ally over­stayed their welcome. Rated PG. 91 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Robert Ker)


Oeke Hoogendijk’s two-part doc­u­men­tary com­pletes a tri­fecta that be­gan with Fred­er­ick Wise­man’s Na­tional Gallery and con­tin­ued with Johannes Holzhausen’s The Great Mu­seum. Hoogendijk’s fea­ture is the most ac­ces­si­ble and deals with the restora­tion of Am­s­ter­dam’s Ri­jksmu­seum, a build­ing that houses mas­ter­pieces by Rem­brandt, Ver­meer, and other Dutch Mas­ters. Its nar­ra­tive struc­ture fol­lows the po­lit­i­cal and fi­nan­cial pit­falls that plagued the pro­ject and staff, in­clud­ing in­flat­ing costs and a change of lead­er­ship. It’s a dra­matic telling that en­ter­tains and inspires. Not rated. 110 min­utes. In Dutch, French, and English with sub­ti­tles, Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)


This odd col­lec­tion of 39 vi­gnettes func­tions some­thing like a long, mul­ti­part poem that is very con­scious of its sta­tus as po­etry, as an art film, and as a send-up of art films. The hu­mor of tedium and the specter of death com­bine in wry in­ter­ac­tions linked by a pair of sad-sack sales­men hawk­ing nov­elty items — as well as a mys­te­ri­ous war and a lit­tle bit of time travel. If Steven Soder­bergh and Terry Gil­liam made a film to­gether while they were both de­pressed, it might turn out some­thing like this. Rated PG-13. 101 min­utes. In Swedish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Jen­nifer Levin)

SELF/LESS The latest film by Tarsem Singh (The Fall) is a straight­for­ward science-fic­tion pic­ture about a wealthy man (Ben Kings­ley) who, faced with ter­mi­nal can­cer, trans­fers his con­scious­ness into the body of a younger man (Ryan Reynolds). From there, it’s all fun and games un­til he de­cides to look into where the young man’s body came from. Rated PG-13. 116 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed) 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. Vi­o­let Crown. (Jonathan Richards) STRANGER­LAND Kim Far­rant’s first fea­ture film re­vis­its that fa­mil­iar Aussie theme, peo­ple lost in the out­back. Volatile Matthew Parker (Joseph Fi­ennes) has moved his wife Cather­ine (Ni­cole Kid­man) and fam­ily to a re­mote vil­lage af­ter trou­ble in their for­mer town brought on by his fif­teen-year-old sex­pot daugh­ter Lily (Mad­di­son Brown). One night Lily and her younger brother Tom (Ni­cholas Hamil­ton) dis­ap­pear. The fran­tic par­ents and much of the town search the desert for them. Far­rant shows prom­ise in build­ing char­ac­ter and sus­pense, but the story is dis­jointed, as if the screen­writ­ers never got to­gether to com­pare notes. Kid­man bares ev­ery­thing, emo­tion­ally and phys­i­cally; the other ac­tors are solid; and there’s some strik­ing (if repet­i­tive) out­back scenery and ap­pro­pri­ately at­mo­spheric mu­sic. Not rated. 112 min­utes. Jean Cocteau Cin­ema. (Jonathan Richards) TED 2 The foul-mouthed teddy bear (voiced by Seth MacFar­lane) and his dopey owner (Mark Wahlberg) are back for another go-round. 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. (Not re­viewed) TER­MI­NA­TOR GENISYS 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 but some kind of al­ter­nate re­al­ity. But who cares? Old man Sch­warzeneg­ger faces off against a CGI-ren­dered young Sch­warzeneg­ger, and that’s all that mat­ters. Rated PG-13. 125 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed) TES­TA­MENT OF YOUTH Vera Brit­tain’s World War I memoir, pub­lished 15 years af­ter the end of the con­flict, be­came a clas­sic of anti-war literature. Di­rec­tor James Kent han­dles the fa­mil­iar ma­te­rial with sen­si­tiv­ity and emo­tional power. There’s very lit­tle that is ground­break­ing here but much that is heart­break­ing. You will be re­minded of other war movies, like Gone With the Wind, with ea­ger young men rush­ing off to war with stars in their eyes and re­turn­ing with bul­lets in their chests, leav­ing arms and legs and il­lu­sions be­hind on the bat­tle­field, if they re­turn at all. Alicia Vikan­der, a new star who is sud­denly ev­ery­where, dom­i­nates the movie, and with her Au­drey Hep­burn-like beauty, she makes us feel ev­ery mo­ment of the deep­en­ing hor­rors of war. Rated PG-13. 129 min­utes. Re­gal DeVar­gas. (Jonathan Richards) THE THIRD MAN With a screen­play by Graham Greene; di­rected by the great, un­der­rated Carol Reed; and with a cast that in­cludes Or­son Welles, Joseph Cot­ten, Trevor Howard, and Al­ida Valli, this is one of the ab­so­lute clas­sics of film noir. The an­gu­lar black-and-white cin­e­matog­ra­phy of Robert Krasker is an ob­ject les­son in noir light­ing, with lamps glis­ten­ing off Vi­enna’s cob­ble­stoned streets, and huge, omi­nous shad­ows stretch­ing across build­ings. The mu­sic by An­ton Karas pro­vides one of the most mem­o­rable themes in film history. Not rated. 104 min­utes. Jean Cocteau Cin­ema. (Jonathan Richards) THE WOLF­PACK 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)


CEN­TER FOR CON­TEM­PO­RARY ARTS, 5059821338 Sun­day July 19: The Santa Fe Opera Presents “Ex­plor­ing Salome” with Al Pa­cino, Barry Navidi, and Mer­lin Hol­land. This event is sold out.

JEAN COCTEAU CIN­EMA, 5054665528

The Pur­ple Rose of Cairo (1985).

RE­GAL STA­DIUM 14, 5054246296

Dol­phin Tale 2; Mada­gas­car 3; Pa­per Towns; Pix­els in 3-D and 2-D. SANTA FE RAI­L­YARD PARK Cor­ner of Cer­ril­los Road and South Guadalupe Street. Fri­day, July 17: 101 Dal­ma­tions (1961). No charge. Screen­ing be­gins af­ter sunset. VI­O­LET CROWN, 5052165678 10 a.m. Tues­day, July 21, and Thurs­day, July 23; 6:45 p.m. Wed­nes­day, July 22: the Free Fam­ily Film se­ries presents Ju­manji (1995). 7:10 p.m. Thurs­day: Crimes and Mis­de­meanors (1989). 8:50 p.m. and 9:40 p.m. Thurs­day, July 23: Pix­els.

Sake to me: Bill Hader and Amy Schumer in Train­wreck, at Re­gal Sta­dium 14, Vi­o­let Crown, and DreamCatcher

Ant-Man opens Fri­day, July 17, at Re­gal Sta­dium 14, Vi­o­let Crown, and DreamCatcher

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