OPEN­ING THIS WEEK

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ANES­THE­SIA

The lat­est film by Tim Blake Nelson (per­haps bet­ter known as an ac­tor in movies in­clud­ing OBrother, Where

Art Thou?) is an en­sem­ble piece that de­picts dis­parate lives in New York City, many of which in­ter­sect in the fash­ion of films like Crash or Magnolia. The sto­ries re­volve around Wil­liam Zar­row (a won­der­ful Sam Water­ston), a re­tir­ing pro­fes­sor who is mur­dered at the out­set. As the film flashes back a few days and slowly re­turns to that mo­ment, a col­lage of char­ac­ters is in­tro­duced, of­ten to con­vey ex­is­ten­tial frus­tra­tion and philo­soph­i­cal ru­mi­na­tions through loosely sketched arcs. Nelson is ex­cel­lent at stag­ing a scene and work­ing with ac­tors — of the whole cast, only a too-emo Kris­ten Ste­wart hits a sour note — but the film’s whole doesn’t equal the sum of its parts. Rated R. 90 min­utes.

Jean Cocteau Cinema. (Robert Ker)

BA­JI­RAO MAS­TANI

Bol­ly­wood comes to Santa Fe with this ro­man­tic fa­ble of an 18th- cen­tury gen­eral (Ran­veer Singh) who falls in love with a Mus­lim woman (Deepika Padukone) dur­ing one of his con­quests and must bal­ance this af­fair with his re­la­tion­ship to his Hindu wife (Priyanka Cho­pra). With writ­ing, di­rec­tion, and mu­si­cal com­po­si­tion by San­jay Leela Bhansali, Ba­ji­rao Mas­tani has be­come a global smash. Not rated. 158 min­utes. In Hindi with sub­ti­tles. Jean Cocteau Cinema. (Not re­viewed)

THE CHOICE

The lat­est Ni­cholas Sparks novel to hit the big screen stars Teresa Palmer as a young woman who moves in next door to a hunky guy (Ben­jamin Walker). It’s love at first sight, but the movie is nearly two hours long, so she re­sists his ad­vances for a while. Af­ter they fi­nally get to­gether, she is in a ma­jor car ac­ci­dent, but she just might pull through — with the help of true love. Rated PG-13. 111 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium 14. (Not re­viewed)

DEAD RIVER

A Santa Fe English pro­fes­sor fac­ing mar­i­tal chal­lenges in­ad­ver­tently puts his fam­ily at risk when he con­vinces a reclusive Cormac McCarthy- like au­thor — who knows a lit­tle bit too much about crime and the act of mur­der — to agree to let him write his bi­og­ra­phy. Ja­son DeBoer wrote and di­rected this dark homage to clas­sic noir set-ups fea­tur­ing New Mex­ico ac­tors.

Not rated. 68 min­utes. Jean Cocteau Cinema. (Not re­viewed)

45 YEARS

Rated R. 95 min­utes. Cen­ter for Con­tem­po­rary Arts; Vi­o­let Crown. See re­view, Page 48.

HAIL, CAE­SAR!

The Coen brothers re­turn with one of those en­sem­ble come­dies that they like to do ev­ery few years and that of­ten in­volve Ge­orge Clooney. This time, the set­ting is 1950s Hol­ly­wood, and Clooney plays Baird Whit­lock, a movie star who is kid­napped from the set of a Ro­man drama. Josh Brolin plays Ed­die Man­nix, a “fixer” who is charged with find­ing him. Over the course of this in­ves­ti­ga­tion, Man­nix en­coun­ters colorful char­ac­ters played by Ralph Fi­ennes, Jonah Hill, Chan­ning Ta­tum, Tilda Swin­ton, Scar­lett Jo­hans­son, and oth­ers. Rated PG-13. 100 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

MAN­HAT­TAN

This year marks Woody Allen’s 50th as a film­maker, but few of his works are as en­dur­ing as his 1979 film, Man­hat­tan. The plot cen­ters around the com­pli­cated love life of a di­vorced TV writer (Allen), who dates a teenager (Mariel Hem­ing­way) but falls for a friend’s mis­tress (Diane Keaton). The cast is pre­dictably won­der­ful, in­clud­ing a young Meryl Streep in one of her first film roles. De­spite the love tri­an­gle, the movie’s real ro­mance on dis­play is be­tween Allen and New York City — con­veyed here through Ge­orge Gersh­win’s soar­ing mu­sic and Gor­don Wil­lis’ glo­ri­ous blackand- white pho­tog­ra­phy. This film is the lat­est en­try in the Len­sic Per­form­ing Arts Cen­ter’s Big Screen Clas­sics se­ries, and as part of its 15th-an­niver­sary cel­e­bra­tion, it’s free of charge (reser­va­tions re­quired). 7 p.m. Satur­day, Feb. 6, only. Rated R. 96 min­utes. Len­sic Per­form­ing Arts Cen­ter. (Robert Ker)

PRIDE AND PREJ­U­DICE AND ZOM­BIES

The gim­micky best­selling book by Seth Gra­hame-Smith is now a movie, de­signed to ap­peal to any­one who has wanted to see what Jane Austen’s 1813 novel looks like when paired with a mod­ern zom­bie flick. Lily James is Austen’s hero­ine El­iz­a­beth Ben­net, and Sam Ri­ley plays her beau, Mr. Darcy. To­gether, the two must unite amid blood­shed and bat­tle­fields and elim­i­nate the zom­bie men­ace. Rated PG-13. 108 min­utes. Re­gal DeVar­gas, Re­gal Sta­dium 14, Dream­Catcher. (Not re­viewed)

THE TREA­SURE

Not rated. 89 min­utes. In Ro­ma­nian with sub­ti­tles. The Screen. See re­view, Page 46.

fury. This is the se­cond Si­mone doc­u­men­tary to see re­lease in the last six months. What Hap­pened, Miss Si­mone? has a more dra­matic nar­ra­tive arc and is more pol­ished and per­for­mance­based than this ac­count. As a re­sult, The Amaz­ing Nina Si­mone is slightly less en­gag­ing, but it is still an im­por­tant doc­u­ment of an of­ten mis­un­der­stood mu­si­cian. Not rated. 110 min­utes. Jean

Cocteau Cinema. (Robert Ker)

THE BOY

THE BIG SHORT

Adam McKay’s Os­car-nom­i­nated movie (in the Best Pic­ture, Di­rec­tor, and Sup­port­ing Ac­tor cat­e­gories) is by turns funny, fright­en­ing, sus­pense­ful, in­for­ma­tive, and tragic. It ex­am­ines the 2008 near- col­lapse of the world fi­nan­cial sys­tem from the per­spec­tives of four an­a­lysts, or teams, who had the vi­sion to rec­og­nize what no­body else saw com­ing: the rot­ten­ness of the sys­tem, the worth­less­ness of the pack­aged mort­gages on which the econ­omy was glid­ing, and the in­evitable dev­as­tat­ing crash when the bub­ble burst. They bet against the econ­omy. They bet big. And they won. That McKay is able to ex­plain the fi­nan­cial col­lapse that cost so many peo­ple their homes and sav­ings — and make it en­ter­tain­ing — is a re­mark­able achieve­ment. Ter­rific per­for­mances come from a cast that in­cludes Academy Award-nom­i­nee Chris­tian Bale, Ryan Gosling, and Steve Carell. Rated R. 130 min­utes. Vi­o­let

Crown. (Jonathan Richards) An Amer­i­can nanny (Lau­ren Co­han) is hired for a job in a re­mote English vil­lage and finds that her charge is ac­tu­ally a life-size doll. At first, this seems like an easy, if ex­tremely weird, as­sign­ment. It be­comes more chal­leng­ing when she sus­pects that the boy is alive — and evil. Rated PG-13. 98 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

BOY & THE WORLD

Di­rec­tor Alê Abreu’s Os­car-nom­i­nated an­i­mated film is an en­dear­ing story about a name­less child search­ing for his father. His jour­ney takes him from the coun­try to the coast and, fi­nally, into the me­trop­o­lis. Along the way he wit­nesses the wan­ton de­struc­tion of the rain­for­est, the de­hu­man­iz­ing ef­fects of fac­tory work, and the mil­i­tary-in­dus­trial ma­chine. None of this breaks his in­domitable spirit. This is an en­dear­ing fea­ture and a de­light to be­hold, full of mu­sic and color, with a free-flow­ing style that takes the boy from one mis­ad­ven­ture to the next. Boy & the World, nom­i­nated for Best An­i­mated Fea­ture at this year’s Academy Awards, will win your heart. Rated PG. 80 min­utes. In Por­tuguese with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)

BROOK­LYN

In 1950s Ire­land, the for­ward-think­ing Rose (Fiona Glas­cott) has ar­ranged for her younger sis­ter Eilis (Saoirse Ro­nan) to go to Brook­lyn out of ne­ces­sity — Eilis can’t find a de­cent job, and there are few other prospects for her in Ire­land. In New York, Eilis set­tles into a new life, liv­ing in a board­ing­house teem­ing with other, brasher young Ir­ish women. She’s in­tro­verted and home­sick, weep­ing over her sis­ter’s let­ters — un­til she meets Tony (an adorable Emory Co­hen), an Ital­ian-Amer­i­can plumber who’s sweet on Ir­ish girls and loves the Brook­lyn Dodgers. Such a con­ven­tional plot would be slight in other hands, and though Nick Hornby’s screen­play is more sen­ti­men­tal than the Colm Tóibín novel it’s based on, the film — in the run­ning for the Academy Award for Best Pic­ture — never dips into trea­cly ter­ri­tory. The rea­son for that is Best Ac­tress Os­carnom­i­nee Ro­nan, whose steely per­for­mance ca­pa­bly an­chors the story. Rated PG-13. 111 min­utes. Vi­o­let Crown. (Molly Boyle)

CAROL

This is di­rec­tor Todd Haynes’ se­cond 1950s- era melo­drama, af­ter the Dou­glas Sirk-in­flu­enced

Far From Heaven, in which Ju­lianne Moore plays a sub­ur­ban house­wife with a clos­eted gay hus­band. This time — in a story adapted from a 1952 novel by Pa­tri­cia High­smith, which she pub­lished un­der a pseu­do­nym due to its les­bian plot­line — it’s glam­orous New Jersey house­wife Carol Aird (Cate Blanchett) who’s gay and nudg­ing the closet door open. She’s go­ing through a dif­fi­cult sep­a­ra­tion and di­vorce from her hus­band, Harge (Kyle Chandler), dur­ing the hol­i­day sea­son when she meets Therese Be­livet (Rooney Mara), and in­génue work­ing the counter at a New York City depart­ment store. The alchemy be­tween Therese and Carol is in­stant, and glo­ri­ous to be­hold, as the film cen­ters on the re­mark­able per­for­mances of th­ese two ac­tresses, both nom­i­nated for Academy Awards. Ev­ery dis­parate el­e­ment of the film adds to its vir­tu­os­ity, from the pe­riod de­signs to the score. Rated R. 118 min­utes. Vi­o­let Crown.

(Molly Boyle)

DADDY’S HOME

Will Fer­rell ef­fec­tively played the mil­que­toast to Mark Wahlberg’s tough guy in the 2010 buddy- cop romp The Other

Guys, and now they bring the same dy­namic to a fam­ily com­edy. Fer­rell plays a mild-man­nered ex­ec­u­tive who is try­ing to be the best father to his stepchil­dren that he can, un­til one day the real dad (Wahlberg) comes roar­ing in on his mo­tor­cy­cle and makes him look like a to­tal square. Linda Cardellini plays the mom who is caught be­tween them. Rated PG-13. 96 min­utes. Re­gal

Sta­dium 14. (Not re­viewed)

THE DAN­ISH GIRL

Ed­die Red­mayne, win­ner of last year’s best ac­tor Academy Award for his por­trayal of physi­cist Stephen Hawk­ing, tosses his hat in the ring again with an­other Os­car-nom­i­nated per­for­mance as Lili Elbe, née Ei­nar We­gener, a Dan­ish painter who in the early 1930s be­came a trans­gen­der pi­o­neer. Per­haps even bet­ter is Ali­cia Vikan­der, who brings enor­mous sym­pa­thy to the role of Ei­nar’s artist wife, Gerda, with­out the ben­e­fit of tor­ment or con­fu­sion on which to hang her char­ac­ter. Di­rec­tor Tom Hooper has crafted a beau­ti­ful pic­ture. But there’s a sense of emo­tional dis­tance that the movie never quite man­ages to shake. Maybe it’s too taste­ful, too care­ful. What Lili Elbe did was ter­ri­fy­ingly bold. The movie is el­e­gant and safe. Rated R. 120 min­utes. In French, Ger­man, and English with sub­ti­tles. Re­gal DeVar­gas. (Jonathan Richards)

DIRTY GRANDPA

Robert De Niro plays Dick Kelly, a smirk­ing old-timer who makes in­ap­pro­pri­ate com­ments to women who are a frac­tion of his age. Af­ter his wife passes away, Dick tricks his grand­son (Zac Efron) into tak­ing him to Florida for spring break. Rated R. 102 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

THE 5TH WAVE

In this film adap­ta­tion of the young-adult novel of the same ti­tle, Earth has been hit by four waves of alien at­tacks, which have left the planet nearly en­tirely de­stroyed. With the fifth wave loom­ing, young Cassie (Chloë Grace Moretz) — one of the few re­main­ing sur­vivors — at­tempts to res­cue her five-year-old brother Sam (Zackary Arthur) from an alien camp. She meets a boy her age (Alex Roe), and to­gether they set out to save Sam — and per­haps the world. Rated PG-13. 112 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

FIFTY SHADES OF BLACK

Many peo­ple — crit­ics and fans alike — con­sid­ered the film Fifty

Shades of Grey to be fairly silly and in­con­se­quen­tial. It al­most seems to be too easy a tar­get for a spoof, but that has never stopped Hol­ly­wood be­fore. This send- up fea­tures a young woman (Kali Hawk) who gets into a kinky ro­man­tic re­la­tion­ship with her wealthy boss — played by Mar­lon Wayans, vet­eran of the Scary Movie and A Haunted House fran­chises. Rated R. 92 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

THE FINEST HOURS

In 1952, two oil tankers were cap­sized by a ter­ri­ble storm off the coast of Cape Cod. Four Coast Guards­men were sent to res­cue the crews. This film, based on the 2009 book of the same name, tells this true story with disas­ter-movie ef­fects and what prom­ises to be an in­spi­ra­tional fi­nale. Chris Pine, Casey Af­fleck, and Ben Foster star. Rated PG-13. 117 min­utes. Screens in 3-D and 2D at Re­gal Sta­dium 14. Screens in 2-D only at Re­gal DeVar­gas; Dream­Catcher. (Not re­viewed)

JANE GOT A GUN

The ad­vance pub­lic­ity sur­round­ing this film’s pro­duc­tion prob­lems may have damned it to poor re­views, but all the same it is no bet­ter than an ad­e­quate oater de­spite its in­trigu­ing premise. Natalie Port­man (who car­ries dra­matic weight and a six- gun with equal fer­vor) is the ti­tle char­ac­ter, a New Mex­ico fron­tier­swoman who hires an ex-lover to help her and her hus­band fight off a ruth­less gang of out­laws. Port­man aside, most of the ac­tors give one-note per­for­mances, and the lengthy and un­nec­es­sary flash­backs don’t help. But there’s a few good nuggets in there amid the rhine­stone trim­mings. New Mex­ico, star­ring as it­self, main­tains its dig­nity. Rated R. 98 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas. (Robert Nott)

KUNG FU PANDA 3

The third film in the an­i­mated Kung Fu Panda saga finds the Fu­ri­ous Five un­der at­tack by a su­per­nat­u­ral vil­lain named Kai (J. K. Sim­mons) and Po the panda (voiced by Jack Black once more) re­united with his es­tranged father (Bryan Cranston). Po and his pop travel to their se­cret panda com­mu­nity, but when Kai finds the vil­lage, Po must train a whole fight­ing force of kung-fu pan­das. The an­i­ma­tion and ac­tion is up to the se­ries’ typ­i­cally beau­ti­ful, colorful highs, and the jokes land like karate chops, but the first film in the se­ries is still the most novel and af­fect­ing. Rated PG. 95 min­utes. Screens in 3-D and 2D at Re­gal Sta­dium 14; Dream­Catcher. Screens in 2-D only at Vi­o­let Crown. (Robert Ker)

OS­CAR NOM­I­NATED SHORT FILMS

Watch­ing the Os­car- nom­i­nated shorts is a speedy tour of in­ter­na­tional sto­ry­telling. In the live-ac­tion cat­e­gory, Ave Maria, a fam­ily of Is­raeli set­tlers crashes their car on the grounds of a con­vent in the West Bank. In the nu­anced live-ac­tion drama,

Day One, an Afghan-Amer­i­can woman be­gins work as an in­ter­preter for the U. S. forces in war torn Afghanistan. In Ev­ery­thing

Will Be Okay, an­other live-ac­tion drama, a di­vorced father takes his eight-year- old daugh­ter out for a sur­real week­end. Among the an­i­ma­tion nom­i­nees is Bear Street, in which a soli­tary bear ped­dles his me­chan­i­cal dio­rama. Cloning will play a sig­nif­i­cant part in the fu­ture, es­pe­cially for those who are well off and hope to live for­ever; World of To­mor­row, an an­i­mated drama, ex­plores this premise. Last Day of Free­dom is a gem of a doc­u­men­tary in which an African-Amer­i­can man de­cides to turn in his brother, a Viet­nam vet who has com­mit­ted a crime. Not rated. Var­i­ous run­ning times. The Screen. (Priyanka Ku­mar)

THE REVENANT

The ad­ven­tures of Hugh Glass, one of the leg­endary moun­tain men of the Amer­i­can fron­tier, make for spell­bind­ing sto­ry­telling. Whether they make a spell­bind­ing movie is most likely in the eye of the be­holder. The facts of this tale are grisly, and di­rec­tor Ale­jan­dro G. Iñár­ritu (last year’s Os­car- win­ner with Bird­man) hews closely to them. Mauled by a bear and left to die by his com­pan­ions, Glass (Leonardo DiCaprio) in­cred­i­bly sur­vived, made it back over hun­dreds of miles of wilder­ness to civ­i­liza­tion, and sought re­venge on the men who had aban­doned him. A man be­ing at­tacked by a bear is riv­et­ing cinema; a man drag­ging him­self over hun­dreds of miles of frozen land­scape is not. The true story of Hugh Glass is a tes­ta­ment to man’s ca­pac­ity for en­durance. For bet­ter or for worse, so is the movie, which has none­the­less drawn 12 Os­car nom­i­na­tions, in­clud­ing Best Pic­ture, Di­rec­tor, Ac­tor, and Sup­port­ing Ac­tor. Rated R. 158 min­utes. In English, French, Pawnee, and Arikara with some sub­ti­tles. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Jonathan Richards)

RIDE ALONG 2

The pair­ing of Ice Cube’s bad cop with Kevin Hart as the bel­liger­ent, of­ten-an­noy­ing brother-in-law was such a hit that the duo is get­ting back into the squad car for a se­quel. This time, the set­ting shifts to Mi­ami, but the premise re­mains the same: There’s a bad guy to fight, a few ac­tion se­quences, and lots of od­dcou­ple com­edy. Rated PG-13. 101 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

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, — and in the run­ning for sev­eral Os­cars, in­clud­ing Best Pic­ture, Di­rec­tor, and Ac­tress. 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)

SEM­BENE!

The Cen­ter for Con­tem­po­rary Arts’ Ja­son Sil­ver­man co- di­rects, along with Samba Gad­jigo, this mov­ing, au­thor­i­ta­tive doc­u­men­tary on Sene­galese nov­el­ist and film­maker Ous­mane Sem­bène (1923-2007). Known as the “father of African cinema,” Sem­bène made films that chal­lenged the lin­ger­ing ef­fects of colo­nial­ism in the wake of Sene­gal’s in­de­pen­dence from France in 1960. He was the first black African to make a sub-Sa­ha­ran film on the con­ti­nent that fea­tured African sub­jects, lan­guages, and ac­tors. The film is told largely from the per­spec­tive of Gad­jigo, who is com­mit­ted to preserving the film­maker’s legacy. It’s a la­bor of love made for any­one who cares about the state of film­mak­ing, not only in Africa, but in de­vel­op­ing na­tions around the world as well. As much as it’s about Sem­bène, it’s also about the life- chang­ing power of cinema. Not rated. 86 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)

SPOT­LIGHT

It’s not a re­li­gion that comes un­der the glare of Spot­light, but an in­sti­tu­tion. In Tom McCarthy’s splen­did, crack­ling ode to jour­nal­ism, the “Spot­light” in­ves­tiga­tive team at The Bos­ton Globe tack­les pe­dophilia and its coverup within the Catholic Church. McCarthy is care­ful not to glam­or­ize his re­porters. They’re played as hard work­ing stiffs by a su­perb cast that in­cludes Mark Ruf­falo, Michael Keaton, Rachel McA­dams, and Liev Schreiber. 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. The film is up for sev­eral Academy Awards, in­clud­ing Best Pic­ture, Di­rec­tor, and Sup­port­ing Ac­tor and Ac­tress. Rated R. 128 min­utes. Re­gal DeVar­gas. (Jonathan Richards)

STAR WARS: THE FORCE AWAK­ENS

It has been more than 30 years since Re­turn

of the Jedi (1983), but now the First Or­der has arisen from the Em­pire’s ashes, want­ing con­trol of the galaxy. With the help of Finn (John Boyega), a re­formed Stormtrooper, the Re­sis­tance seeks the as­sis­tance of Luke Sky­walker (Mark Hamill), who some be­lieve is only a leg­end. Finn joins Re­sis­tance fighter Poe Dameron (Os­car Isaac), the scav­enger Rey (Daisy Ri­d­ley), Han Solo (Har­ri­son Ford), and Chew­bacca while pur­sued by the First Or­der’s Kylo Ren (Adam Driver), who’s bent on light­ing up the cos­mos with a Death Star-like weapon. Helmed by J. J. Abrams, this spir­ited sev­enth chap­ter in the saga is the Star Wars movie you’ve been wait­ing for — and nom­i­nated for sev­eral Os­cars, in­clud­ing Best Vis­ual Ef­fects and Score. Ap­plaud you will. Rated PG-13. 135 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown. (Michael Abatemarco)

THEEB

Theeb (Jacir Eid Al-Howei­tat) 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-Sal­i­heen). When Hus­sein is sent to guide a Bri­tish of­fi­cer to a se­cret lo­ca­tion, Theeb fol­lows them. This gor­geous film, nom­i­nated for a Best For­eign Lan­guage Film Os­car, is told en­tirely from Theeb’s point of view and is at heart a lit­tle boy’s ad­ven­ture tale — but this story 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- Howei­tat 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)

13 HOURS: THE SE­CRET SOL­DIERS OF BENG­HAZI

Di­rec­tor Michael Bay takes a break from the Trans­form­ers se­ries to bring his whiz-bang ac­tion se­quences, over­sat­u­rated color, hy­per­ki­netic edit­ing, and jin­go­ism to tell the story of the at­tack on the Amer­i­can diplo­matic com­pound in Beng­hazi, Libya. Based on the book by Mitchell Zuck­off, this movie cen­ters on six mem­bers of a se­cu­rity team who fought to de­fend the com­pound. A beefed-up John Krasin­ski leads the cast. Rated R. 144 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

Ge­orge Clooney in Hail Cae­sar! at Re­gal Sta­dium 14 and Vi­o­let Crown in Santa Fe.

Dead River at Jean Cocteau Cinema

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