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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)

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)

ANT-MAN

Marvel En­ter­tain­ment of­fers a palate-cleanser af­ter the over­stuffed Avengers: Age of Ultron with this rel­a­tively small heist pic­ture about Scott Lang (Paul Rudd), a thief who finds a suit that al­lows him to shrink him­self and com­mu­ni­cate with ants. The shrink­ing ef­fects are in­deed out­stand­ing and the use of scale is oc­ca­sion­ally in­ven­tive. Un­for­tu­nately, it takes a full 90 min­utes to re­ally get to that. In the mean­time, you’re treated to flat jokes, a daddy-is­sues plot, and a te­dious pa­rade of all the clichés of su­per­hero-ori­gin movies. Michael Dou­glas co-stars as the re­tired Ant-Man of yes­ter­year. Rated PG-13. 117 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)

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)

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)

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. Rated R. 81 min­utes.

Re­gal Sta­dium 14. (Not re­viewed)

GEMMA BOVERY

To rein­ter­pret Tol­stoy: Happy housewives may each be happy in their own way, but bored housewives, it seems, are all like Madame Bo­vary. Es­pe­cially if they share (al­most) a name with Flaubert’s fa­mous adul­ter­ess. This soft, pleas­ing up­dat­ing of the literary clas­sic brings a beau­ti­ful young English ma­tron, Gemma Bovery (Gemma Arter­ton) and her hus­band Charles (Jason Fle­myng) to ru­ral Nor­mandy. Gemma

Bovery’s story, mostly in French sprin­kled with some English, is re­vealed from the sad-eyed per­spec­tive of Martin Jou­bert (Fabrice Lu­chini), her nosy neigh­bor across the way. Jou­bert is the lo­cal baker, in semi-re­tire­ment from his life as a Parisian book editor, and with his literary lean­ings, he sees and projects the Flaubert story onto her. Gemma doesn’t quite suf­fer the pas­sion­ate dis­con­tent of Flaubert’s hero­ine, but she still man­ages to find her way into an af­fair that easily echoes the book’s ro­mance. But Fon­taine has a lot more fun with it than Flaubert did. Rated R. 99 min­utes. In French and English with sub­ti­tles. The Screen. (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 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)

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. 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 2-D only at Re­gal Sta­dium 14; 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)

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 re­turn for the se­quel, but star Chan­ning Ta­tum is, and there should be enough beef­cake and hu­mor to en­joy an encore. Rated R. 115 min­utes. DreamCatcher. (Not re­viewed)

ME AND EARL AND THE DY­ING GIRL

In this some­what quirky teenage drama, 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)

MR. HOLMES

It is 1947. Sher­lock Holmes (Ian McKellen) is ninety, long re­tired, liv­ing in seclu­sion in Sus­sex, and keep­ing bees. He is cared for by his wid­owed house­keeper, Mrs. Munro (Laura Lin­ney), and her pre­co­cious young son Roger (Milo Parker). Holmes is en­gaged in writ­ing his own rec­ol­lec­tions of his fi­nal case, one that still trou­bles him, the case that led him to give up de­tect­ing. Wat­son’s ac­count of the af­fair tricked it out with suc­cess, but Holmes re­mem­bers it dif­fer­ently — to the ex­tent that he can re­mem­ber it at all. That great mind is be­gin­ning to slip its moor­ings. There are three story strands cov­er­ing dif­fer­ent pe­ri­ods and places,

and di­rec­tor Bill Con­don, adapt­ing Mitch Cullin’s 2005 novel A Slight Trick of the Mind, weaves them to­gether with un­hur­ried skill, abet­ted by the great McKellen. Rated PG. 103 min­utes. Re­gal DeVar­gas. (Jonathan Richards)

THE NEW RI­JKSMU­SEUM

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)

A PI­GEON SAT ON A BRANCH RE­FLECT­ING ON EX­IS­TENCE

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)

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)

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. (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)

TRAIN­WRECK

Di­rec­tor Judd Apa­tow (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)

Bipo­lar built for two: Zoe Sal­dana and Mark Ruf­falo in In­fin­itely Po­lar Bear, at Re­gal DeVar­gas

HEART­BURN

SPICY

MEDIUM

BLAND

MILD

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