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The trav­el­ing fes­ti­val re­turns with its slate of short f ilms about ex­otic lo­ca­tions and cul­tures, and the con­ser­va­tion ef­forts and out­doors ad­ven­tures that hap­pen there. Screens at 7 p.m. Mon­day, March 7, and Tues­day, March 8, only, with dif­fer­ent pro­grams each day. Len­sic Per­form­ing Arts Cen­ter.

(Not re­viewed)


This an­i­mated fa­ble from Mamoru Hosoda cen­ters on an or­phan boy who finds a father fig­ure in an un­likely place. He en­ters a fan­tas­tic beast world and meets a war­rior who takes him as an ap­pren­tice. Dubbed in English for mati­nee screen­ings; in Ja­panese with sub­ti­tles for evening screen­ings. Rated PG-13.

119 min­utes. Re­gal DeVar­gas. (Not re­viewed)


Not rated. 115 min­utes. Cen­ter for Con­tem­po­rary Arts. See Screen Gems, Page 46.


Food­ies can thumb their noses at bar­be­cued meats all they want. For sev­eral es­tab­lish­ments in Cen­tral Texas, bar­be­cue is as much a pas­sion as cook­ing is for any chef. For the Love of Meat fo­cuses on the peo­ple who take their bbq se­ri­ously. Some even see it as a call­ing. Known as pit masters, folks like Toot­sie To­manetz, owner of Snow’s BBQ in Lex­ing­ton, and Aaron Franklin of Franklin Bar­be­cue in Austin de­tail the ef­fort it takes to cre­ate melt-in­y­our- mouth brisket, sausage, and other cuts of meat. From the var­i­ous types of wood used in smok­ing meats to rubs and sauces, this doc­u­men­tary will leave you sali­vat­ing. It’s a must for the down-to- earth epicurean. Screens at 7 p. m. Wed­nes­day, March 9, only, as part of the CineBrew film se­ries that pairs screen­ings with se­lected craft beers. Not rated.

54 min­utes. Vi­o­let Crown. (Michael Abatemarco)


This se­quel to 2013’s Olym­pus Has Fallen takes the ac­tion from the White House to the United King­dom. Ger­ard But­ler is once more Se­cret Ser­vice agent Mike Ban­ning, in Lon­don for the fu­neral of the prime min­is­ter. When Ban­ning dis­cov­ers a shad­owy plot to kill all of the world lead­ers at the fu­neral, it’s up to him to save the day. Mor­gan Free­man, An­gela Bas­sett, and Aaron Eck­hart are among the re­turn­ing cast mem­bers. Rated R. 99 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)


Not rated. 115 min­utes. In Dan­ish with sub­ti­tles. The Screen. See re­view, Page 48.


“We have reg­is­tered 300 un­sta­ble moun­tain­sides in Nor­way to­day. It’s only a mat­ter of time be­fore the next big rock­slide.” Thus be­gins the Nor­we­gian flick The

Wave. This story is a nail-bit­ing, edge- of-your-seat thriller that boasts amaz­ing spe­cial ef­fects and beau­ti­ful scenic pho­tog­ra­phy. It’s set in the town of Geiranger, nes­tled among Nor­way’s moun­tains and fjords. Kris­tian (Kristof­fer Joner) is a ge­ol­o­gist mon­i­tor­ing un­sta­ble ar­eas in the re­gion for im­pend­ing rock slides. The town was dev­as­tated by one such event in 1905, which re­sulted in a mas­sive tsunami, and it wouldn’t be a disas­ter movie if such a thing didn’t hap­pen again. The Wave grabs you from the open­ing scenes and doesn’t let up. It’s a sim­ple story, and while it doesn’t es­cape genre cliches, it’s ef­fec­tively told with some fine act­ing by the cast and a re­al­is­tic look and feel that puts most Hol­ly­wood disas­ter films to shame. Plus, it’s a whole lot of fun. Rated R. 105 min­utes. In Nor­we­gian with sub­ti­tles. Jean Cocteau Cinema. (Michael Abatemarco)


Tina Fey stars as Kim Barker, a war correspondent in Afghanistan, in this com­edy based on Barker’s mem­oir. As an ur­bane and some­what goofy woman, Barker is a fish out of wa­ter in the mil­i­tary hot zone, but be­friends a fel­low jour­nal­ist from Scot­land (Martin Free­man). Billy Bob Thorn­ton plays a gruff gen­eral that she must work with. Filmed in Al­bu­querque, Santa Fe, Je­mez Pue­blo, and La­guna Pue­blo. Rated R. 112 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas. (Not re­viewed)


This pow­er­ful, dev­as­tat­ing com­men­tary on iden­tity and de­cep­tion has been adapted by screen­writer/di­rec­tor Dana Rot­berg from a novel by the great Maori writer Witi Ihi­maera. It deals with the prices to be paid in deny­ing one’s her­itage. The story is set in the early 20th cen­tury in a bru­tally racist ru­ral New Zealand. Paraiti (the Maori singer/ song­writer Whir­i­mako Black), a vil­lage el­der and medicine woman, is sum­moned to the aid of a haughty young white gentle­woman, Re­becca (An­to­nia Preb­ble) and her Maori ser­vant Maraea (Rachel House), to help con­ceal a dark se­cret that could po­ten­tially ruin the young woman’s mar­riage and her place in her world. Es­sen­tially a three-han­der, beau­ti­fully played by all three women, and exquisitely shot by New Zealand’s Alun Bollinger, it was that coun­try’s en­try in the 2013 Os­cars in the Best For­eign Lan­guage Film cat­e­gory. Rated R. 96 min­utes. In English and Maori with sub­ti­tles. Jean Cocteau Cinema. (Jonathan Richards)


Dis­ney’s lat­est an­i­mated com­edy takes place in a town full of talk­ing an­i­mals. A rab­bit po­lice of­fi­cer (voiced by Gin­nifer Good­win), on her first day on the job, learns that cer­tain an­i­mals are dis­ap­pear­ing. She teams up with a fox (Ja­son Bate­man), a small-time crook, to blow the lid off the con­spir­acy. Idris Elba and J.K. Sim­mons also lend their voices to var­i­ous crit­ters. Rated PG. 108 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

A mem­ber of the lamestream me­dia: Tina Fey in Whiskey Tango Fox­trot, at Re­gal Sta­dium 14 and Re­gal DeVar­gas

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