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If you’re in the mood to be freaked out by a for­eign hor­ror film this Hal­loween, Good­night Mommy has you cov­ered. Two young broth­ers (Lukas and Elias Sch­warz) live in a mod­ern house in the mid­dle of the coun­try with their mother (Su­sanne Wuest), who re­cently had surgery that left her face cov­ered in ban­dages. As the sit­u­a­tion grows creepier, the broth­ers won­der if this per­son re­ally is their mom. Rated R. 99 min­utes. In Ger­man with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


The latest doc­u­men­tary by Davis Guggen­heim (An In­con­ve­nient

Truth) looks at Malala Yousafzai, the Pak­istani teenager who spoke out about grant­ing young women the op­por­tu­nity to pur­sue ed­u­ca­tion, and was nearly killed by the Tal­iban as a re­sult. In 2014, she be­came the youngest per­son ever to win the No­bel Peace Prize. Rated PG-13. 87 min­utes. Re­gal DeVar­gas.

(Not re­viewed)


The Span­ish-lan­guage com­edy (the English trans­la­tion is Thieves) from the Do­mini­can Re­pub­lic is the se­quel to the 2007 film Ladrón que roba a ladrón (To Rob a Thief ). Fer­nando Col­unga and Miguel Va­roni re­turn as two crooks who once more must steal from even big­ger crim­i­nals who are ex­ploit­ing the poor. Rated PG-13. 105 min­utes. In Span­ish with sub­ti­tles. Re­gal Sta­dium 14. (Not re­viewed)


Ravi Pa­tel is an In­dian-Amer­i­can man who is still sin­gle in his thir­ties. His par­ents back in In­dia do not ap­prove of this, and to ap­pease them, he joins a match­mak­ing ser­vice. He and his sis­ter Geeta film what hap­pens next for this comedic doc­u­men­tary, which takes Ravi on the whirl­wind of mod­ern dat­ing and cul­tural di­vides. Rated PG. 88 min­utes. Re­gal DeVar­gas. (Not re­viewed)


Cel­e­brated in­die di­rec­tor Ramin Bahrani (Chop Shop) at­tempts his most main­stream pic­ture yet, a thriller about the un­for­giv­ing na­ture of mod­ern Amer­i­can cap­i­tal­ism. An­drew Garfield plays a fa­ther who is evicted on one day’s no­tice by a cruel busi­ness­man (Michael Shan­non). Des­per­ately need­ing money, he ends up work­ing for the busi­ness­man, and soon finds that one of his du­ties in­volves evict­ing other fam­i­lies from their homes. Rated R. 112 min­utes. Re­gal DeVar­gas. (Not re­viewed)


Di­rec­tor Joe Wright (Atone­ment) takes a crack at a fam­ily film with a new ver­sion of the Peter Pan story, in­tended as a pre­quel to au­thor J.M. Bar­rie’s iconic work. In this telling, Peter (Levi Miller) is whisked off to Nev­er­land, and finds him­self sid­ing with the man who will some­day be Cap­tain Hook (Gar­rett Hed­lund) to take down the ruth­less pi­rate Cap­tain Black­beard (Hugh Jack­man). Rated PG. 111 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Not re­viewed)


This doc­u­men­tary ex­plores the ex­ces­sive use of SWAT teams and mil­i­tary-grade equip­ment by lo­cal po­lice de­part­ments. The quest for truth and jus­tice by Dub Lawrence, a semi-re­tired po­lice of­fi­cer whose son-in-law was killed in a SWAT team raid, is the cen­ter of the film’s ex­am­i­na­tion. Not rated. 105 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)



This se­ries of loose vi­gnettes fea­tures a ro­tat­ing com­mu­nity of artists who travel Amer­ica aboard a train in search of unique art ex­pe­ri­ences — while col­lab­o­rat­ing on art of their own. The artists span a range of media, but mu­si­cians fig­ure promi­nently, with Beck, Patti Smith, and Jack­son Browne among the big­gest names. Not rated. 71 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


Not rated. 120 min­utes. The Screen. See re­view, Page 54.


In 2008, the doc­u­men­tary Man on Wire told the story of Philippe Petit’s 1974 tightrope walk be­tween the Twin Tow­ers of New York’s World Trade Cen­ter. Now, di­rec­tor Robert Ze­meckis (For­rest Gump) gives a nar­ra­tive ac­count of the same feat. Joseph Gor­don-Le­vitt plays Petit. Rated PG. 123 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Not re­viewed)


On Aug. 30, 2015, genre movies lost one of their great­est giants when di­rec­tor Wes Craven passed away. Jean Cocteau Cin­ema has put to­gether a small trib­ute, and it’s a fit­ting trio of films. The Last House on the Left (1972, not rated, 84 min­utes), Craven’s first fea­ture, cen­ters on two young women who run into the wrong peo­ple on their way to a rock con­cert. The posters claimed that to avoid faint­ing, au­di­ence mem­bers should re­mind them­selves “it’s only a movie.” A Night­mare on Elm Street (1984, rated R, 91 min­utes) is Craven’s most iconic film. It in­tro­duced Freddy Krueger (Robert Englund), the boogey­man who plagues teenagers’ dreams.

Scream (1996, rated R, 111 min­utes) was Craven’s big later-ca­reer re­turn to form, a hor­ror film in which the vic­tims and killer both of­fers com­men­tary on hor­ror moviemak­ing. To­gether, the three films dis­play an arc that trends from gritty re­al­ism to slick post­mod­ernism, but all have one thing in com­mon: They’ll still scare the pants off of you. Jean Cocteau Cin­ema. (Robert Ker)

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