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BROOK­LYN

Screen­writer Nick Hornby and di­rec­tor John Crowley adapt Colm Tóibín’s cel­e­brated novel about an Ir­ish im­mi­grant in 1950s Brook­lyn, with Saoirse Ro­nan in the star­ring role. She plays El­lis, a woman find­ing her way in New York City while also dis­cov­er­ing new ro­mance (to an Ital­ian im­mi­grant played by Emory Cohen). Cir­cum­stance brings her back to Ire­land, where she is fixed up with a lo­cal bach­e­lor (Domh­nall Glee­son), and she must choose be­tween her old life and new. Opens Wed­nes­day, Nov. 25. Rated PG-13. 111 min­utes. Vi­o­let Crown. (Not re­viewed)

BY THE SEA

An­gelina Jolie wrote and di­rected this low-key story of a crum­bling mar­riage, and even fi­na­gled her hus­band (Brad Pitt) to star in it with her. She plays a for­mer dancer, and he is an au­thor — the two are trav­el­ing in France in the mid-1970s. They stop for a while at a sea­side cas­tle and de­velop re­la­tion­ships with some of the lo­cals. Rated R. 132 min­utes. Vi­o­let Crown. (Not re­viewed)

CREED

This Rocky se­quel takes the spot­light off Rocky Bal­boa and puts it on Ado­nis John­son (Michael B. Jor­dan), a young man in Philadel­phia who doesn’t ap­pear to have much of a shot in life, with only a vague hope to fol­low in his de­ceased fa­ther’s foot­steps. His fa­ther, how­ever, is Apollo Creed, so Ado­nis does the sen­si­ble thing and finds his dad’s old buddy Rocky (Sylvester Stallone, of course) to train him for his first ma­jor fight. Opens Wed­nes­day, Nov. 25. Rated PG-13. 132 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

GIRL WITH A PEARL EAR­RING: AND OTHER TREA­SURES FROM THE MAU­RIT­SHUIS MU­SEUM NETHER­LANDS

Phil Grab­sky’s doc­u­men­tary, part of his Ex­hi­bi­tion on

Screen se­ries, high­lights the newly ren­o­vated 17th-cen­tury Mau­rit­shuis, which opened as a pub­lic art mu­seum in 1822 and houses the Nether­lands’ Royal Cab­i­net of Paint­ings. The film picks up in ad­vance of the mu­seum’s re­open­ing and the re­turn of Ver­meer’s most iconic work, Girl With a Pearl Ear­ring (1665), from a two-year in­ter­na­tional tour. The paint­ing has aroused much spec­u­la­tion. The doc­u­men­tary touches on the myr­iad the­o­ries sur­round­ing the its beau­ti­ful and enig­matic model and her re­la­tion­ship to Ver­meer, an elu­sive painter of few sur­viv­ing known works. Not rated. 90 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)

THE GOOD DI­NOSAUR

In 2015, Pixar An­i­ma­tion Stu­dios re­leases two films in one year for the first time ever. The first film was this sum­mer’s In­side Out, a rel­a­tively com­plex story of the in­ner work­ings of a young girl’s brain. The sec­ond film is this one, which ap­pears to be aimed at a slightly younger set. It tells a gen­tle tale of a boy and a di­nosaur who form a friend­ship and em­bark on a jour­ney to­gether. Opens Wed­nes­day, Nov. 25. Rated PG. 100 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

THE HUNGER GAMES: MOCK­ING­JAY PART 2

Putting the “stall” in “in­stall­ment,” this bleak fi­nal film in the Hunger Games jug­ger­naut jug­gles too many char­ac­ters and gets bogged down in mil­i­tary tac­tics and per­sonal drama. It picks up where the first Mock­ing­jay film left off — Kat­niss (Jen­nifer Lawrence) and the rebels have just res­cued Peeta (Josh Hutch­er­son) — but it quickly sput­ters. Once Kat­niss sets out to as­sas­si­nate the vil­lain­ous Pres­i­dent Snow (Don­ald Suther­land), it kicks into high gear with some ex­cit­ing ac­tion se­quences, but the script is over­loaded with clunky di­a­logue and ham-handed re­minders that real war isn’t all that dif­fer­ent from those Hunger Games are­nas. Split­ting Suzanne Collins’ book into two films cer­tainly made fi­nan­cial sense for the stu­dio, but couldn’t they have given us one ex­cep­tional 150-minute movie in­stead of two me­diocre ones? Rated PG-13. 137 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream Catcher. (Lau­rel Glad­den)

THE MET LIVE IN HD: LULU

Artist Wil­liam Ken­tridge di­rects this stag­ing of Berg’s opera about a de­sir­able woman who causes chaos for those at­tracted to her, broad­cast live from the Met­ro­pol­i­tan Opera. Marlis Petersen plays the ti­tle role, and Susan Gra­ham, Daniel Brenna, and Paul Groves co-star. 10:30 a.m. Satur­day, Nov. 21. Len­sic Per­form­ing Arts Cen­ter. (Not re­viewed)

THE NIGHT BE­FORE

Af­ter en­rag­ing North Korea with 2014’s Christ­mas release The

In­ter­view, Seth Ro­gen plays it safe this hol­i­day sea­son, and sticks to the kind of com­edy he knows best: that of goofy hi­jinks, grum­bling bro­mance, and a thick cloud of mar­i­juana smoke. He, Joseph Gor­don-Le­vitt, and An­thony Mackie play three friends who party each Christ­mas Eve and this year seek the myth­i­cal soirée called the Nutcracka Ball. Rated R. 101 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas; Dream Catcher. (Not re­viewed)

PEGGY GUGGEN­HEIM: ART AD­DICT

Not rated. 96 min­utes. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 48.

ROOM

Rated R. 118 min­utes. Re­gal DeVar­gas. See re­view, Page 49.

SE­CRET IN THEIR EYES

Ju­lia Roberts goes to grit­tier ter­ri­tory than au­di­ences may be ac­cus­tomed to from her, play­ing an FBI agent who in­ves­ti­gates a case in which a young woman’s body is found in a dump­ster, only to dis­cover that it is her own daugh­ter. The cul­prit walks free from what should have been an open-and-shut case, so she and a col­league (Chi­we­tel Ejio­for) de­vote their lives to bring­ing him to jus­tice, even if that “jus­tice” is off the

books. Ni­cole Kid­man plays their su­per­vi­sor. Rated PG-13. 111 min­utes. Jean Cocteau Cin­ema; Re­gal Sta­dium 14; Vi­o­let Crown; Dream Catcher. (Not re­viewed)

SPOT­LIGHT

Rated R. 128 min­utes. Re­gal DeVar­gas. See re­view, Page 46.

TAB HUNTER CONFIDENTIAL / LUST IN THE DUST

In 1950s Amer­ica, Tab Hunter was the ide­al­ized im­age of the all-Amer­i­can het­ero­sex­ual male. Be­hind the scenes, he was gay and had to hide it. Jef­frey Schwarz’s af­fec­tion­ate doc­u­men­tary cap­tures Hunter’s swift rise to star­dom in a color­ful, straight­for­ward man­ner. Though Hunter doesn’t delve too deeply into the dark chap­ters of his life, he re­mains an ami­able host of this trav­el­ogue to a dy­ing Hol­ly­wood of decades past. Not rated. 90 min­utes. Also show­ing at 7 p.m. on Sun­day, Nov. 22, only, is Paul Bar­tel’s 1985 camp Western Lust in the Dust (filmed in Santa Fe), with Hunter as a mys­te­ri­ous gunman who reluc­tantly teams up with Divine to look for buried trea­sure.

Rated R. 84 min­utes. Hunter ap­pears on Sun­day, Nov. 22, at the 2 p.m. screen­ing of the doc­u­men­tary and the 7 p.m. show­ing of Lust in the Dust. Cen­ter for Con­tem­po­rary Arts. (Robert Nott) See story, Page 30.

THEEB

Theeb (Jacir Eid Al-Hwi­etat) lives with his Be­douin tribe in the wilds of the Ot­toman Em­pire in 1916. His fa­ther has died, so Theeb is learn­ing life skills — how to shoot a gun, how to wa­ter the camels — from his older brother Hus­sein (Hus­sein Salameh Al-Sweil-hiy­een). When Hus­sein is sent to guide a Bri­tish of­fi­cer to a se­cret lo­ca­tion, Theeb fol­lows them. This gor­geous film is told en­tirely from Theeb’s point of view and is at heart a lit­tle boy’s ad­ven­ture tale — but this tale is tied to how progress has changed the coun­try­side and the liveli­hoods of the tribes that in­habit it. Plot and char­ac­ter de­tails are finely wrought, with Al-Hwi­etat turn­ing in a sub­tle, en­tranc­ing per­for­mance in which he con­veys in­ti­mate com­fort with heat and sand, the vis­ceral re­lief of slaked thirst, and a fierce de­ter­mi­na­tion not to al­low a mys­te­ri­ous stranger to fur­ther be­tray him. Not rated. 100 min­utes. In Ara­bic with sub­ti­tles. The Screen. (Jen­nifer Levin)

TRUMBO

In his years on the black­list, Dal­ton Trumbo (Bryan Cranston) eked out a liv­ing writ­ing quickie schlock for in­die pro­duc­ers Frank and Hymie King (John Good­man and Stephen Root), so there’s some con­text at least for this dis­ap­point­ing biopic of one of Hol­ly­wood’s great writ­ers and im­por­tant fig­ures. Jailed in 1947 for con­tempt of Congress for re­fus­ing to dis­cuss his per­sonal be­liefs and as­so­ci­a­tions, Trumbo, once the movie in­dus­try’s high­est paid screen­writer, strug­gled for years, writ­ing through fronts and aliases. In that time he wrote two Os­car-win­ning scripts (Ro­man Hol­i­day and

The Brave One), and his re­lent­less­ness fi­nally broke the back of the black­list with his cred­ited screen­play for Kirk Dou­glas’s

Spar­ta­cus. Jay Roach’s movie hits its marks with heavy boots. In sup­port­ing roles, Louis C.K. is out­stand­ing, and He­len Mir­ren car­i­ca­tures the odi­ous gos­sip colum­nist Hedda Hop­per. Cranston proves that fine act­ing is not enough, if the script isn’t right. Trumbo could have used a pass or two through Dal­ton Trumbo’s type­writer. Opens Wed­nes­day, Nov. 22. Rated R. 124 min­utes. Vi­o­let Crown. (Jonathan Richards)

VIC­TOR FRANKEN­STEIN

There have been sev­eral re­cent films that at­tempt to ex­plain the ori­gins of a long­stand­ing fic­tional char­ac­ter. Some have been hits (Malef­i­cent), while oth­ers have not (Pan). This one gives au­di­ences the se­cret history of Vic­tor von Franken­stein (James McAvoy) that they never knew, told from the per­spec­tive of Igor (Daniel Rad­cliffe). Opens Wed­nes­day, Nov. 25. Rated PG-13. 109 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

THE AS­SAS­SIN

The plea­sure in this quiet epic seems al­most hid­den at first, and its un­fold­ing fills the viewer with awe at di­rec­tor Hsiao-Hsien Hou’s sub­tlety and dar­ing. The ex­pe­ri­ence is like walk­ing down a gallery of mag­nif­i­cent paint­ings and sud­denly be­com­ing aware that some­thing is mov­ing in each of them. The pace can ap­pear glacially slow, but things are con­stantly hap­pen­ing. Hou wraps ac­tion in still­ness and in­fuses still­ness with move­ment. Can­dles flicker in a still room. Steam drifts off a cup of tea. As for the story, set in the ninth-cen­tury Tang Dy­nasty, it bor­ders on the un­de­ci­pher­able. A young woman named Nie Yin­ni­ang (Qi Shu) has been groomed by a mys­te­ri­ous nun since child­hood to be an as­sas­sin. She is sent to her home prov­ince of Weibo to kill the gov­er­nor, to whom she was be­trothed as a child. There are iso­lated bursts of ac­tion, but the drama is in the moral­ity and aes­thet­ics of the mo­ment, not the hiss of the blade. Not rated. 107 min­utes. In Man­darin with sub­ti­tles. The Screen. (Jonathan Richards)

A BAL­LE­RINA’S TALE

Misty Copeland quickly rose to star­dom de­spite the fact that she hadn’t stud­ied bal­let un­til she was a teenager. By age fif­teen, she was named the best bal­let dancer in Southern Cal­i­for­nia by the Los An­ge­les Mu­sic Cen­ter Spot­light Awards. By eigh­teen she had joined the Amer­i­can Bal­let The­atre, where she even­tu­ally be­came the first African-Amer­i­can to be named prin­ci­pal dancer. This doc­u­men­tary is nar­rated by Copeland. Not rated. 85 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)

BRIDGE OF SPIES

Steven Spiel­berg res­ur­rects the fas­ci­nat­ing tale of the Cold War prisoner ex­change of Soviet spy Ru­dolf Abel and Fran­cis Gary Pow­ers, the U-2 pi­lot shot down over the Soviet Union. The story cen­ters on James B. Dono­van (Tom Hanks), a Brook­lyn in­sur­ance lawyer and for­mer Nurem­berg pros­e­cu­tor who is drafted to rep­re­sent Abel and up­hold the im­age of the Amer­i­can jus­tice sys­tem. As he works with Abel (Mark Ry­lance), a bond of ad­mi­ra­tion forms be­tween the two. The first half of the movie hums along nicely, de­spite an oc­ca­sional Spiel­ber­gian weak­ness for movie cliché. The sec­ond half, which sets Dono­van to work ar­rang­ing the swap, has too many threads to fol­low and loses fo­cus. Both Hanks and Ry­lance are ter­rific. The movie reaches a pow­er­ful dra­matic cli­max with the ex­change on a West Berlin bridge and then sput­ters on a lit­tle fur­ther, reach­ing for a feel-good end­ing. Rated PG-13. 141 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream Catcher. (Jonathan Richards)

GOOSE­BUMPS

R.L. Stine’s pop­u­lar young-adult hor­ror books get a film adap­ta­tion — but it’s not the kind you might ex­pect. A young boy named Zach (Dy­lan Min­nette) moves to a new neigh­bor­hood, where he meets Hannah (Odeya Rush), whose fa­ther is the au­thor Stine (Jack Black). When they and an­other boy (Ryan Lee) open up one of Stine’s manuscripts, all of the mon­sters are set free. Rated PG. 103 min­utes. Screens in 2-D only at Re­gal Sta­dium 14. (Not re­viewed)

HO­TEL TRAN­SYL­VA­NIA 2

Adam Sandler lends his goofy ac­cent to Drac­ula once again in this se­quel to the 2012 an­i­mated hit. This time, the gang of mon­sters (in­clud­ing voice work by Kevin James, Steve Buscemi, and David Spade) tries to help the count’s half-hu­man grand­son un­leash his in­ner mon­ster. Mel Brooks voices the kid’s hu­man hat­ing great-grand­fa­ther. Rated PG. 89 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Dream Catcher. (Not re­viewed)

LABYRINTH OF LIES

The year is 1958. Jo­hann Rad­mann (Alexan­der Fehling) is an am­bi­tious young pros­e­cu­tor in the Frank­furt DA’s of­fice, and he’s never heard of Auschwitz. Nei­ther has any­one else in the brave new world of post­war Ger­many. The slate and the na­tional mem­ory bank have been wiped clean; there are no ex-Nazis, only for­mer free­dom fight­ers. The Holo­caust is Amer­i­can pro­pa­ganda. Then a camp sur­vivor rec­og­nizes a for­mer Auschwitz guard teach­ing at a pub­lic school, a jour­nal­ist brings the story to Rad­mann’s of­fice, and the pros­e­cu­tor digs into the story. What he finds is shat­ter­ing,

a na­tion in de­nial with a heavy reck­on­ing to make. The re­sult is the Ger­man Auschwitz tri­als of the mid-‘60s, where, though only a hand­ful of Nazis were con­victed, Ger­many was fi­nally brought to con­front and deal with the hor­rors of its re­cent past. Based on real events, Gi­ulio Ric­cia­relli’s po­lit­i­cal pro­ce­dural has echoes of Costa-Gavras’s Z (1969), if not quite the pulse­pound­ing ex­cite­ment of that clas­sic. Rated R. 124 min­utes. In Ger­man with sub­ti­tles. Re­gal DeVar­gas. (Jonathan Richards)

THE LAST WITCH HUNTER

Vin Diesel takes a break from street rac­ing in the Fast and the

Fu­ri­ous fran­chise to fight witches in this su­per­nat­u­ral ac­tion tale. He plays Kaul­der, an im­mor­tal war­rior locked in an eter­nal strug­gle against an all-pow­er­ful Witch Queen hell-bent on wip­ing out hu­mankind. Kaul­der, the last of his kind, must team up with a good witch (Rose Les­lie) to pre­vail. Eli­jah Wood and Michael Caine co-star. Rated PG-13. 106 min­utes. Re­gal Sta­dium 14; Dream Catcher. (Not re­viewed)

LOVE THE COOPERS

The first Christ­mas movie of 2015 is this ensem­ble dram­edy about a fam­ily that gets to­gether for a hol­i­day re­union that nearly goes off the rails — de­spite the mother and fa­ther (Diane Keaton and John Good­man) want­ing ev­ery­thing to go per­fectly. Th­ese kinds of movies are typ­i­cally only as good as the cast, and this one in­cludes Alan Arkin, Marisa Tomei, Amanda Seyfried, Ed Helms, Olivia Wilde, and some cute kids. Rated PG-13. 118 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

THE MAR­TIAN

Mark Wat­ney (Matt Da­mon) may have been stranded on the Red Planet too early to get the memo about wa­ter on Mars, but he makes do with in­ge­nu­ity and a cocky wit. Left be­hind for dead by his be­lea­guered crew­mates af­ter a Mar­tian storm, he has to rely on can-do Amer­i­can spirit and science smarts (he’s the team’s botanist) to grow enough food to last him un­til a res­cue mis­sion can be mounted. Di­rec­tor Ri­d­ley Scott is back in space, and he keeps things lively in the thin at­mos­phere forty mil­lion miles from home. The movie is much more than a one-man show. Jes­sica Chas­tain heads a strong team aboard the space­craft, Jeff Daniels and Chi­we­tel Ejio­for run things at NASA, bat­tling over hu­man­i­tar­ian, sci­en­tific, and po­lit­i­cal con­sid­er­a­tions as they work to bring their man back home. Da­mon gives a star per­for­mance. The great thing about this film is that it makes in­tel­li­gence cool. Rated PG-13. 141 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown. (Jonathan Richards)

MY ALL AMER­I­CAN

The num­ber of in­spi­ra­tional foot­ball movies seem­ingly grows with each pass­ing week, and the lat­est one is by An­gelo Pizzo, a guy who knows some­thing about in­spi­ra­tional sports movies, hav­ing writ­ten Hoosiers and Rudy. This time, he also gets in the di­rec­tor’s chair, to tell the true story of Fred­die Stein­mark (Finn Wit­trock), a scrappy un­der­dog who earned an un­likely place on the Univer­sity of Texas team and was di­ag­nosed with can­cer shortly af­ter. Aaron Eck­hart plays his coach. Rated PG.

118 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

THE PEANUTS MOVIE

Charles Schulz’s clas­sic cre­ation gets a 21st-cen­tury makeover with this fea­ture film, which boasts beau­ti­ful com­puter an­i­ma­tion in a Sun­day-strip style. The gist hasn’t changed much over the decades: Char­lie Brown (voiced by Noah Sch­napp) is try­ing to be the cool kid to im­press the Lit­tle Red-Haired Girl (Francesca Ca­paldi). Oth­er­wise, the movie du­ti­fully if some­what me­chan­i­cally checks off nearly ev­ery fa­mous trope and quirk of the property. But the sen­ti­ment is sweet and the jokes of­fer up chuck­les, par­tic­u­larly for lit­tle ones. Rated G. 93 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown; Dream Catcher. (Robert Ker)

SI­CARIO

The lat­est film by De­nis Villeneuve brings us in­side an at­tempt by a shad­owy U.S. task force to take down a Mex­i­can drug lord. The de­tails are vague, and that’s partly be­cause we’re shown the mis­sion through the eyes of an FBI agent (Emily Blunt) who is of­ten kept in the dark. She fol­lows the or­ders of a ca­su­ally no-non­sense chief (Josh Brolin) and the si­cario, or hit man, who trav­els along­side him (Beni­cio Del Toro). The story can get very dark, but the film is mes­mer­iz­ing due to its vir­tu­oso act­ing, lean script, moral am­bi­gu­ity, and ef­fi­cient edit­ing as well as the tow­er­ing cin­e­matog­ra­phy of Roger Deakins, who cap­tures the ru­ral and ur­ban desert land­scapes as evoca­tively as any­one in film ever has. Rated R.

121 min­utes. Re­gal Sta­dium 14. (Robert Ker)

SPEC­TRE

Bond, James Bond, is back, in boil­er­plate. To be fair, it’s rous­ing boil­er­plate: there’s the humdinger of an open­ing ac­tion se­quence that de­stroys ur­ban real es­tate and civil­ian life on a mind-bog­gling scale; the re­turn to Lon­don for a se­vere rep­ri­mand; the dis­cov­ery of a di­a­bol­i­cal con­spir­acy that will end the world as we know it; the car chases, ca­reen­ing he­li­copter rides, in­ter­na­tional set­tings, alpine vis­tas, sub­ter­ranean la­goons wor­thy of Phan­tom of the Opera; the beau­ti­ful women, who strip to re­veal a chaste shoul­der (the only real nu­dity is in the cred­its); the jumbo-sized vil­lain for mus­cle, and the compact one (Christoph Waltz) for silky men­ace. Bomb-rigged LED screens count down the min­utes and sec­onds to dis­as­ter. For rel­e­vance there are echoes of 9/11 and NSA in­for­ma­tion har­vest­ing. The ex­plo­sions are deaf­en­ing, dwarfed only by the score. Bond is re­mark­able — he can go for hours with­out sex, is roused to it by life-threat­en­ing dan­ger, and de­liv­ers smooth one-lin­ers in the face of death. Sam Mendes (Sky­fall) di­rects, and Daniel Craig bids good­bye to the fran­chise with dour aplomb. Rated PG-13. 148 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream Catcher. (Jonathan Richards)

SUF­FRAGETTE

This telling of the fem­i­nist move­ment’s bat­tle to gain the right to vote in the 1910s comes with some pow­er­ful women of its own. Abi Mor­gan (The Iron Lady) wrote the script, and di­rec­tor Sarah Gavron (Brick Lane) brought it to life. Carey Mul­li­gan, Helena Bon­ham Carter, and Meryl Streep star. Rated PG-13.

106 min­utes. Vi­o­let Crown. (Not re­viewed)

THE 33

In 2010, the at­ten­tion of the world’s me­dia turned to a group of 33 min­ers, who were trapped in­side Chile’s San José Mine for more than two months. This film dra­ma­tizes their plight, with An­to­nio Ban­deras star­ring as Mario Sepúlveda, the man who be­came the face of the min­ers through the videos he sent to the res­cue op­er­a­tion. Juli­ette Binoche, Lou Di­a­mond Phillips, and Gabriel Byrne also star. Rated PG-13. 120 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas; Dream Catcher. (Not re­viewed)

UN­BRANDED

Four col­lege bud­dies. A dozen barely trained wild horses. Gor­geous scenery across Amer­ica’s Western pub­lic lands from Mex­ico to Canada. Com­bine th­ese with ex­cel­lent cin­e­matog­ra­phy and one gets Un­branded ,a doc­u­men­tary that is part com­ing of age, part cel­e­bra­tion of pub­lic land, and part even-handed com­men­tary on a dif­fi­cult dilemma for peo­ple man­ag­ing the coun­try’s ever-grow­ing wild-horse herds. The open­ing scene sets the tone for this al­ter­nately hi­lar­i­ous and heart­break­ing film. It suf­fices to say that wild horses and prickly cholla didn’t mix well on the ride’s first day in 2013, and the cow­boys paid the price. Still, “there’s not enough quit in any of us not to make it,” says Ben Thamer in the film, one of the four Texas A& M Univer­sity bud­dies on the ride along with Ben Mas­ters, Jonny Fitzsimons, and Thomas Glover. By the end, the friends and two film­mak­ers have rid­den the wild horses across Ari­zona, Utah, Idaho, Wy­oming and Mon­tana, through the Grand Canyon and across Yel­low­stone and Glacier Na­tional Parks. Rated PG-13. 105 min­utes. Cen­ter for Con­tem­po­rary Arts. (Staci Mat­lock)

Ir­ish need ap­ply: Emory Cohen and Saoirse Ro­nan in Brook­lyn, at Vi­o­let Crown

Dino-mite: The Good Di­nosaur, at Re­gal Sta­dium 14 and Vi­o­let Crown

Griev­ing woman: Ju­lia Roberts and Chi­we­tel Ejio­for in Se­cret in Their Eyes, at Jean Cocteau Cin­ema, Re­gal Sta­dium 14, Vi­o­let Crown, and Dream­Catcher in Es­pañola

HEART­BURN

SPICY

MEDIUM

BLAND

MILD

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