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AL­MOST FRIENDS Samir, a sec­u­lar Arab Mus­lim, lives in the mixed Arab and Is­raeli city of Lod, about nine miles from Tel Aviv. She at­tends pub­lic school with Jewish, Mus­lim, and Chris­tian stu­dents. Forty miles away in the Jewish set­tle­ment of Tlamim, Li­nor at­tends re­li­gious school, where her teacher im­presses upon her class the im­por­tance of never show­ing her body to a boy. The twelve-year-old girls be­come friendly through a pen-pal pro­gram be­tween their schools, but it re­mains to be seen whether or not they can tran­scend the ha­tred be­tween their cul­tures and find true ease with one an­other. With no voice-over or film­maker’s shadow steer­ing the doc­u­men­tary, Al­most Friends plainly shows that there is no uni­fied out­look on the Is­raeli-Pales­tinian con­flict. Neigh­bors of the same faith dis­agree on the wis­dom of let­ting their daugh­ters com­mu­ni­cate with out­siders, and even the most lov­ing adults are ca­pa­ble of per­pet­u­at­ing harm­ful, di­vi­sive lies to the next gen­er­a­tion. Screens as part of the Santa Fe Film Fes­ti­val on Thurs­day, Dec. 3, 4:30 p.m., only. Not rated. 60 min­utes. In He­brew and Ara­bic with sub­ti­tles. El Museo Cul­tural de Santa Fe, 555 Camino de la Fa­milia. (Jen­nifer Levin)

ANO­MA­L­ISA The Santa Fe Film Fes­ti­val opens with screen­writer and di­rec­tor Char­lie Kauf­man’s adult-themed stop­mo­tion an­i­ma­tion. Ano­ma­l­isa takes place over the course of a sin­gle day and tells the story of Michael Stone (David Thewlis), au­thor of a book on cus­tomer ser­vice, and the brief af­fair he has with Lisa (Jen­nifer Ja­son Leigh), a shy, self-dep­re­cat­ing fan he meets at a ho­tel the night be­fore de­liv­er­ing a con­fer­ence talk. The rest of the char­ac­ters are voiced by Tom Noonan. The ti­tle is cross be­tween “anom­aly” and “Lisa” and the film is it­self an anom­aly, an un­der­stated, funny, and ul­ti­mately tragic emo­tional drama that’s in line with the themes of Kauf­man’s ear­lier films (Eter­nal Sun­shine of the Spot­less Mind; Synec­doche, New York) but not their mind-bend­ing story lines. Screens as part of the Santa Fe Film Fes­ti­val at 6 and 8:30 p.m. on Wed­nes­day, Dec. 2. The short film

Low/Fi also screens. Rated R. 90 min­utes. Jean Cocteau Cin­ema. (Michael Abatemarco)

IN JACKSON HEIGHTS The doc­u­men­taries of Fred­er­ick Wise­man in­vite view­ers into spe­cific com­mu­ni­ties or or­ga­ni­za­tions and al­low them to sim­ply look — in some cases, for quite a long time. His lat­est pic­ture gives us more than three hours in the Queens, New York, neigh­bor­hood of Jackson Heights, one of the most mul­ti­cul­tural neigh­bor­hoods in the world (ac­cord­ing to the film). We spend time look­ing at the area’s va­ri­ety of food, lis­ten­ing to the range of mu­sic and spo­ken lan­guages, and ob­serv­ing the streets. Gen­tri­fi­ca­tion and ris­ing rents are in­evitably creep­ing into the neigh­bor­hood — a poster for a new Gap Fac­tory Store stands in con­trast to the small busi­nesses, which feel well-worn and teem­ing with life. We also get to drop into com­mu­nity meet­ings as a mul­ti­tude of lo­cal is­sues are ad­dressed. Per­haps be­cause of the pres­ence of Wise­man’s cam­era, some peo­ple stay on their soap­box a lit­tle too long, which can make th­ese scenes feel tire­some. Still,

In Jackson Heights is an im­por­tant and some­times po­etic look at a part of New York City. Not rated. 190 min­utes. In English and var­i­ous lan­guages with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Robert Ker)

THE PEARL BUT­TON Not rated. 82 min­utes. In Span­ish and Kawésqar, with sub­ti­tles. The Screen. See re­view, Page 54.

PER­FOR­MANCE AT THE SCREEN The se­ries of high-def­i­ni­tion screen­ings con­tin­ues with a show­ing of Wag­ner’s Der fliegende Hol­län­der (The Fly­ing

Dutch­man) from the Zürich Opera House. Bryn Ter­fel, Matti Salmi­nen, and Anja Kampe star. 11:15 a.m. Sun­day, Nov. 29, only.

Not rated. 139 min­utes. The Screen, Santa Fe. (Not re­viewed) SANTA FE FILM FES­TI­VAL The “orig­i­nal” Santa Fe Film Fes­ti­val be­gins Wed­nes­day, Dec. 2, and con­tin­ues with screen­ings, pan­els, and par­ties through Sun­day, Dec. 6. A great many of this year’s films deal with themes of war, mem­ory, and prospects for peace, and there are sev­eral ex­cit­ing fea­tures, in­clud­ing Ano­ma­l­isa, a stop­mo­tion love story by Char­lie Kauf­man, and Amy, a doc­u­men­tary about the late Amy Wine­house us­ing pre­vi­ously un­seen footage and un­re­leased tracks. Leg­endary Amer­i­can di­rec­tor Peter Bog­danovich re­ceives a Life­time Achieve­ment Award at the Scot­tish Rite Cen­ter at 7 p.m. on Dec. 6. All-ac­cess passes are $275 be­fore Dec. 1, and $300 af­ter. In­di­vid­ual movies are $12-$15, with spe­cial pric­ing for some screen­ings and events. Tick­ets for screen­ings are avail­able at each venue. Call 505-988-7414 or visit www.santafe­film­fes­ti­ for a full sched­ule.

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)

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. Vi­o­let Crown. (Jonathan Richards) BROOK­LYN Rated PG-13. 111 min­utes. Vi­o­let Crown. See re­view, Page 56.

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. Rated PG-13. 132 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed) 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. Rated PG. 100 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at Dream­Catcher. (Not re­viewed)

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) 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; Dream­Catcher. (Lau­rel Glad­den)

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. (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)


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; Dream­Catcher. (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 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Robert Ker) PEGGY GUGGEN­HEIM: ART AD­DICT Lisa Im­mordino Vree­land’s bio-doc­u­men­tary pro­vides a clearly plot­ted, chrono­log­i­cal ac­count of a com­pli­cated life. Peggy Guggen­heim’s for­tune was smaller than many peo­ple sup­posed, but she used it both wisely and op­por­tunis­ti­cally to ad­vance the cause of mod­ern art through her col­lect­ing, her gallery ex­po­sure, and ul­ti­mately her fa­mous mu­seum in Venice. Guggen­heim’s own voice in­fuses the film, thanks to un­cov­ered record­ings of late-in-life in­ter­views. The pre­sen­ta­tion is fur­ther en­riched by doc­u­men­tary footage, much of it un­fa­mil­iar, of the many artists with whom she en­joyed pro­fes­sional and per­sonal li­aisons — a who’s who of mid-20th-cen­tury art that in­cludes Mar­cel Duchamp, Max Ernst, Jackson Pol­lock, Robert Mother­well, Paul Bowles, and John Cage. Not rated. 96 min­utes. Cen­ter for Con­tem­po­rary Arts. (James M. Keller)

ROOM This adap­ta­tion of Emma Donoghue’s 2010 novel (with a screen­play by the au­thor) from di­rec­tor Lenny Abra­ham­son is both sus­pense­ful and deeply mov­ing. It’s the har­row­ing tale of a young woman (Brie Lar­son) and her son (Ja­cob Trem­blay) who are be­ing held cap­tive in a grungy 11-by-11-foot gar­den shed. It’s no one’s idea of a feel-good story, and in less ca­pa­ble hands, it could eas­ily have been dark, melo­dra­matic, or sen­sa­tion­al­ist. In­stead, Abra­ham­son has cre­ated a grip­ping tale of sur­vival and a ten­der de­pic­tion of a mother and son who save each other. Rated R. 118 min­utes.

Re­gal DeVar­gas. (Lau­rel Glad­den)

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


con­tin­ued from Page 59 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; Dream­Catcher. (Not re­viewed) 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; Dream­Catcher. (Jonathan Richards)

SPOT­LIGHT It’s not a re­li­gion that comes un­der the glare of

Spot­light, but an institution. In Tom McCarthy’s (The Sta­tion Agent) splen­did, crack­ling ode to jour­nal­ism, the “Spot­light” in­ves­tiga­tive team at The Bos­ton Globe tack­les pe­dophilia and its coverup within the Church. The se­ries won a Pulitzer Prize in 2003. McCarthy is care­ful not to glam­or­ize his re­porters. They’re played as hard­work­ing stiffs by a su­perb cast that in­cludes Mark Ruf­falo, Michael Keaton, Rachel McA­dams, Stan­ley Tucci, and Liev Schreiber, and it will be hard to over­look any of them come Os­car time. This movie will evoke com­par­i­son to All the Pres­i­dent’s Men. There’s a lot of the same shoe-leather ap­proach, con­ducted here in an even lower key, which in a per­verse way gives it even more drama. McCarthy keeps nib­bling at the ques­tion of how this story could have re­mained buried for so long. Part of it has to do with the power of the Church, and the shame of the vic­tims. And some of it has to do with the cozy re­la­tion­ships among the city’s power in­sti­tu­tions. At the end of the film, the truly stag­ger­ing ex­tent and reach of this scan­dal is re­vealed. Rated R. 128 min­utes. Re­gal DeVar­gas.

(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)

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-Sweil­hiy­een). 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)

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; Dream­Catcher. (Not re­viewed)

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. Rated R. 124 min­utes. Vi­o­let Crown.

(Jonathan Richards)

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)

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). Rated PG-13. 109 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

Sub­way to heaven: In Jackson Heights, at the Cen­ter for Con­tem­po­rary Arts

Al­most Friends, at El Museo Cul­tural de Santa Fe, part of the Santa Fe Film Fes­ti­val

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