Pasatiempo - - MOVING IMAGES -

very much like a stage play about his life. At­tempts to make him look flawed only add to the ha­giog­ra­phy at this point, and the film boils down to an af­fir­ma­tion of Ran­dian one-per­center val­ues with good brand­ing. The film is at its best when Sorkin’s di­a­logue is bounc­ing off Daniel Pem­ber­ton’s mu­sic or when­ever Seth Ro­gen (as Ap­ple co-founder Steve Woz­niak) is on screen, but over­all it mainly tracks as a pale at­tempt to grab Academy Awards. Rated R. 122 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Robert Ker)


This movie was filmed in one un­bro­ken shot and takes place in real time — about two and a quar­ter hours, in which Vic­to­ria and four guys she meets out­side a club in Ber­lin go from drink­ing bud­dies to crim­i­nal con­spir­a­tors on the run for their lives. How quickly this hap­pens is an es­sen­tial fea­ture of their meet­ing, one of those rare and ran­dom mag­i­cal nights out in which two peo­ple are swept up by mu­tual ro­man­tic in­fat­u­a­tion. Not rated. 138 min­utes. Ger­man, English, and Span­ish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Jen­nifer Levin)


The Screen and Jean Cocteau Cin­ema have joined forces to present a ret­ro­spec­tive of the work of the great con­tem­po­rary di­rec­tor Wim Wen­ders, per­haps the most Amer­i­can-ori­ented of the school of film­mak­ers that emerged in Ger­many in the late ‘60s and in­cluded Werner Her­zog, Rainer Werner Fass­ben­der, Volker Schlon­dorff, and Mar­garethe von Trotta. Jean Cocteau Cin­ema brings back two of the fa­vorites for a sec­ond week: Paris, Texas (1984, rated R, 147 min­utes) and the award-win­ning Cuban mu­sic doc­u­men­tary Buena Vista So­cial Club (1999, rated G, 105 min­utes). Jean Cocteau Cin­ema. (Jonathan Richards)

The Creep­ing Gar­den, at Jean Cocteau Cin­ema

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