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DEAD­POOL

Marvel and DC su­per­heroes are set to flood cin­e­mas in 2016, and the first such film to ar­rive is an ac­tion- com­edy with enough gore, vi­o­lence, and curs­ing to war­rant an R rat­ing. Ryan Reynolds, who failed to jump­start a su­per­hero fran­chise with 2011’s Green Lan­tern, tries again as Dead­pool, a mer­ce­nary so smart-alecky he’s of­ten called the Merc with a Mouth. This film tells his ori­gin as a can­cer pa­tient who un­der­goes an ex­per­i­men­tal cure that makes him indestructible. He soon finds an en­emy named Ajax (Ed Skrein) and teams up with the X-Man Colos­sus (Stefan Kapičić) to fight him. Rated R. 108 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

DIRTY DANC­ING

The Len­sic Per­form­ing Arts Cen­ter’s 15th-an­niver­sary cel­e­bra­tion con­tin­ues with a “Big Screen Clas­sics” show­ing of the 1987 Pa­trick Swayze and Jen­nifer Grey ro­mance Dirty Danc­ing. Grey plays a teenager in the sum­mer of 1963, who falls in love with the dance in­struc­tor at a lo­cal camp (Swayze). The movie re­mains fa­mous for its dance se­quences and its mu­sic — in this free screen­ing, you just might have the time of your life all over again. 7 p.m. Satur­day, Feb. 13, only. Rated PG-13. 100 min­utes. Len­sic Per­form­ing Arts Cen­ter. (Not re­viewed)

DU­RANT’S NEVER CLOSES

Tom Size­more plays Jack Du­rant, a real-life restau­ra­teur who fa­mously owned a pop­u­lar steak­house in Phoenix. Du­rant, who died in 1987, was a ladies’ man who co­zied up to movie stars and politi­cians, and may have been tied to the mob. Peter Bog­danovich and Michelle Stafford co-star. Not rated.

80 min­utes. Jean Cocteau Cinema. (Not re­viewed)

HOW TO BE SIN­GLE

Rebel Wil­son, who rose to fame thanks in large part to the

Pitch Per­fect films, brings her sassy, raunchy on-screen per­sona to this com­edy, in which she plays a young woman who just wants to help a friend (Dakota John­son) en­joy the sin­gle life in New York City. This life nat­u­rally in­volves a lot of pam­per­ing, al­co­hol, clubs, and one-night stands — all at­tended to with zany aplomb. Rated R. 110 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

IN­GRID BERGMAN: IN HER OWN WORDS

Not rated. 114 min­utes. In English, Swedish, French, and Ital­ian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 46.

JA­NIS: LIT­TLE GIRL BLUE

Not rated. 105 min­utes. The Screen. See re­view, Page 44.

THE MASQUE OF THE RED DEATH

From its omi­nous open­ing scene, di­rec­tor Roger Cor­man’s night­mar­ish The Masque of the Red Death de­liv­ers the chills. In the midst of plague dev­as­tat­ing the me­dieval Ital­ian coun­try­side, the satanic Prince Pros­pero ( Vin­cent Price) has im­pris­oned two of his sub­jects at his cas­tle. Francesca (Jane Asher), the daugh­ter of one of the pris­on­ers, tries to help them es­cape, as Pros­pero brings deca­dence and sadis­tic en­ter­tain­ment to his cas­tle guests and at­tempts to cor­rupt Francesca. But Pros­pero’s de­bauch­ery is un­der­mined by the mys­te­ri­ous pres­ence of a fig­ure in red, who may be Death it­self. Price’s ma­li­cious Prince is mem­o­rable and chill­ing. The film, based on a short story by Edgar Al­lan Poe, is no­table for its psy­che­delic dream se­quence, a Cor­man sig­na­ture, and for its cin­e­matog­ra­phy by di­rec­tor Ni­co­las Roeg (di­rec­tor of The

Man Who Fell to Earth). Masque is among the best of Cor­man’s Poe-in­spired films, made when the cham­pion di­rec­tor of low­brow fare was still at the top of his game. Not rated. 89 min­utes. Jean Cocteau Cinema. (Michael Abatemarco)

PER­FOR­MANCE AT THE SCREEN

The se­ries of high- def­i­ni­tion screen­ings con­tin­ues with a show­ing of The Tam­ing of the Shrew. Jean- Christophe Mail­lot chore­ographed this adap­ta­tion of Shake­speare’s tale specif­i­cally for the Bol­shoi bal­let, whose dancers per­form it here, with mu­sic by Shostakovich. 11:15 a.m. Sun­day, Feb. 14, only. Not rated. The Screen. (Not re­viewed)

TEL­LURIDE MOUN­TAIN­FILM

The ever- pop­u­lar trav­el­ing fes­ti­val fea­tur­ing short f ilms about en­vi­ron­men­tal con­cerns — in­clud­ing con­cerns about dwin­dling nat­u­ral re­sources and kayak­ing in a drainage ditch — re­turns to Santa Fe cour­tesy of lo­cal con­ser­va­tion group WildEarth Guardians. 7 p.m. Thurs­day, Feb. 18, only. Not rated. Ap­prox­i­mately 126 min­utes. Len­sic Per­form­ing Arts Cen­ter. (Not re­viewed)

TUM­BLE­DOWN

Han­nah (Re­becca Hall) is the young widow of a mu­si­cian who died be­fore putting out a se­cond al­bum. She lives in the Maine woods, mourn­ing her loss and try­ing to write his bi­og­ra­phy. En­ter An­drew (Ja­son Sudeikis), a hip pro­fes­sor work­ing on a book about artis­tic geniuses who died too soon, who shows up in town to con­vince her to help him. De­spite its se­ri­ous premise, Tum­ble­down is ba­si­cally a rom-com for pseudo- in­tel­lec­tu­als. Though per­for­mances are strong, the char­ac­ters are cut from genre stock, in­clud­ing An­drew’s shal­low city girl­friend and Han­nah’s dumb brute of a home­town lay, ren­der­ing the over­all view­ing ex­pe­ri­ence un­nerv­ingly pre­dictable. There is real po­ten­tial for a great movie here, but

Tum­ble­down is too slick and too con­ven­tional to make it work.

Rated R. 105 min­utes. The Screen. (Jen­nifer Levin)

WHERE TO IN­VADE NEXT

Rated R. 100 min­utes. Re­gal DeVar­gas. See re­view, Page 42.

ZOOLANDER 2

Ben Stiller once again dons out­ra­geous clothes and puck­ers up for the cam­era as Derek Zoolander — the preen­ing, self­ab­sorbed (and fairly stupid) su­per­model — 15 years af­ter the orig­i­nal film. Since the last movie, Derek has moved to the busi­ness side of the in­dus­try, but when this may fail, he and Hansel (Owen Wil­son) must hit the run­ways again. Bene­dict Cum­ber­batch, Kris­ten Wiig, and Will Fer­rell co-star. Rated PG-13. 102 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

Smart-mouth su­per­hero: Ryan Reynolds in Dead­pool, at Re­gal Sta­dium 14, Vi­o­let Crown, and Dream­Catcher in Es­pañola

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