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Adam McKay’s movie 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 Ryan Gosling, Steve Carell, and Chris­tian Bale. Rated R. 130 min­utes. Re­gal DeVar­gas. (Jonathan Richards)


Melissa Rauch (Bernadette on TV’s The Big Bang The­ory) plays Hope, a young woman who won the bronze medal in gym­nas­tics in the 2004 Olympics and has since par­layed that honor into celebrity sta­tus in her home­town, re­fus­ing to let go of her glory days and liv­ing with her dad. When a young gym­nast (Ha­ley Lu Richard­son) comes through town, Hope be­comes a re­luc­tant men­tor. Rated R. 108 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


The ti­tle credit reads Fal­staff, but it is now gen­er­ally known by its sub­head­ing, Chimes at Mid­night. Orson Welles em­bod­ies the ti­tle char­ac­ter in a screen­play he cob­bled to­gether from the Shake­speare plays in which Sir John ap­pears. The story is one of friend­ship and be­trayal. Prince Hal (an ex­cel­lent Keith Bax­ter) is heir to the English throne of his fa­ther (John Giel­gud) but spends his time carous­ing with a pack of wastrels, hosted by the tav­ern keeper Mistress Quickly (Mar­garet Rutherford) and led by the larger-than-life fig­ure of Fal­staff. The be­tray­als be­tween Hal and Fal­staff are many and mu­tual, but they are leav­ened with a spirit of mis­chief and sport, un­til the ter­ri­ble fi­nal break. Greeted with a tepid re­sponse upon its orig­i­nal re­lease in 1966, this film is now con­sid­ered one of Welles’ mas­ter­pieces. Welles him­self called it his fa­vorite. “If I wanted to get into heaven on the ba­sis of one movie,” he once said, “that’s the one I would of­fer up.” Not rated. 115 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


This spinoff of the X-Men fran­chise thumbs its nose at su­per­hero tropes right from the open­ing cred­its, which in­clude a list of stereo­types (a Bri­tish vil­lain, a hot chick) in lieu of the char­ac­ters’ names. From there, the in­de­struc­tible su­per-an­ti­hero Dead­pool (Ryan Reynolds) breaks the fourth wall and makes crude and self-ref­er­en­tial gags while en route to killing the Bri­tish vil­lain (Ed Skrein) who dis­fig­ured him and win­ning back his hot chick (Morena Bac­carin) with the help of some D-lis­ters from the X-Men. The film doesn’t avoid the clichés it lam­poons, par­tic­u­larly in telling the char­ac­ter’s ori­gin story — which is like ev­ery su­per­hero back­story, only with more cancer and tor­ture — but the jokes of­ten work, even if they can be overly puerile. Dead­pool pro­vides an ir­rev­er­ent new an­gle on the span­dex genre, but it’s never quite as mad­cap as it thinks it is. Rated R. 108 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Robert Ker)


The Diver­gent film se­ries, based on Veron­ica Roth’s book tril­ogy, hasn’t been a mas­sive suc­cess, but it ’s done well enough that the fi­nal book is split into two films, much like the Harry Potter and The Hunger Games adap­ta­tions were. In the first of the two parts, Tris (Shai­lene Wood­ley) and Four ( Theo James) must use their spe­cial gifts to es­cape the walls that sur­round Chicago and save hu­man­ity. Rated PG-13. 121 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)


This fan­tasy, which fea­tures Egyp­tian mythol­ogy but looks a bit like a Trans­form­ers flick, cen­ters on a mor­tal man (Bren­ton Th­waites) who teams up with Horus (Niko­laj Coster-Wal­dau) to stop Set (Ger­ard But­ler) from tak­ing over the Egyp­tian em­pire.

Ge­of­frey Rush plays Ra. Alex Proyas di­rects. Rated PG-13. 100 min­utes. Screens in 2- D only at Re­gal Sta­dium 14. (Not re­viewed)

HELLO, MY NAME IS DORIS This com­edy flips the script on Hol­ly­wood’s usual gen­der for­mula and cen­ters on a quirky ac­coun­tant named Doris (Sally Field) who falls for her young new man­ager (Max Green­field). He takes a shine to her sense of style and over­all pres­ence, and as they grow closer, com­pli­ca­tions arise. The comic ac­tor and writer Michael Showal­ter di­rects. Rated R. 95 min­utes. Re­gal DeVar­gas. (Not re­viewed)


The lat­est drama by Ter­rence Mal­ick ( Tree of Life) tells the story of Rick (Chris­tian Bale), an aim­less writer in Los An­ge­les who tries to find his place in the world through a se­ries of af­fairs with six dif­fer­ent women (Cate Blanchett and Natalie Port­man among them). The ex­per­i­men­tal, spir­i­tu­ally minded film is split into eight parts; each is named for a tarot card — like the ti­tle.

Rated R. 118 min­utes. Re­gal DeVar­gas. (Not re­viewed)


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; Dream­Catcher. (Not re­viewed)


This adap­ta­tion of the faith-based mem­oir by Christy Beam (Jen­nifer Gar­ner) ex­am­ines an event in the life of Christy’s daugh­ter, Anna (Kylie Rogers). Anna suf­fers from a di­ges­tive disor­der that forces her to use feed­ing tubes. When she falls down the hol­low of a cot­ton­wood tree and sur­vives a neardeath ex­pe­ri­ence, the disor­der dis­ap­pears from her body. Rated PG. 109 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)


This movie starts in 1999 and flashes for­ward twice — to 2014 and then to 2025. The story be­gins with the rit­ual of courtship; two young men try var­i­ously to woo a friend, Tao (Zhao Tao). Liangzi (Liang Jin Dong) works in a coal mine, whereas Jin­sheng (Zhang Yi) has just bought a coal mine. Tao’s char­ac­ter re­tains her sense of dig­nity and hu­mor through­out life’s tra­vails. The last third of the film fol­lows Tao’s son, but it is fit­ting it ends with her. At that point, the Pet Shop Boys come through with “Go West” — and pro­vide a happy mar­riage of char­ac­ter rev­e­la­tion and tone that closes this highly re­lat­able film. Not rated. 131 min­utes. In Man­darin with sub­ti­tles. The Screen. (Priyanka Ku­mar)


This 1991 an­i­mated fea­ture by Isao Taka­hata ( The Tale of the Princess Kaguya) was nearly lost to time but is now back with a new English voice cast that in­cludes Daisy Ri­d­ley ( Star Wars: The Force Awak­ens) in the star­ring role. She voices Taeko, a rest­less young woman who re­calls her child­hood while trav­el­ing and won­ders if she’s lost the joy of her youth. Rated PG. 118 min­utes. Dubbed in English. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


Two brothers in a sheep- rais­ing com­mu­nity — the film is set in Baroard­alur, Ice­land — have nur­tured a frigid si­lence for 40 years, de­spite be­ing neigh­bors. The bu­colic life­style of the vil­lagers is shat­tered when a vet­eri­nar­ian de­ter­mines that a dreaded dis­ease has in­fected some sheep and all of their herds must be de­stroyed. The catas­tro­phe in­ten­si­fies the en­mity of the brothers, but be­fore the end they must co­op­er­ate to sur­vive ... but do they? Rated R. 93 min­utes. The Screen. (Paul Wei­de­man)


Akira Kuro­sawa’s 1985 mas­ter­piece springs to life in a re­cent 4K restora­tion. Set in 16th­cen­tury Ja­pan, it tells the story of an ag­ing war­lord, Hidetora

Ichi­monji ( Tat­suya Nakadai), who has a vision and soon af­ter re­nounces his king­dom, di­vid­ing it among his three sons, Taro (Akira Terao), Jiro (Jin­pachi Nezu), and Saburo (Daisuke Ryu). Af­ter Hidetora’s two older sons be­tray him, his fool pro­claims: “Heaven is very far away, but hell can be reached in a day.”

Ran il­lus­trates, as richly as has been done, how very close hell can be. Rated R. 162 min­utes. In Ja­panese with sub­ti­tles. Jean Cocteau Cinema. (Priyanka Ku­mar)


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 hews closely to them. Mauled by a bear and left to die by his com­pan­ions, Glass 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. Rated R. 158 min­utes. In English, French, Pawnee, and Arikara with some sub­ti­tles. Re­gal Sta­dium 14. (Jonathan Richards)


Joseph Fi­ennes plays Clav­ius, a Ro­man cen­tu­rion tasked with find­ing out what hap­pened to the body of Je­sus of Nazareth af­ter the cru­ci­fix­ion and whether its dis­ap­pear­ance has any­thing to do with ru­mors of a risen Mes­siah. Peter Firth is Pi­late.

Rated PG-13. 107 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


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

Spot­light but an in­sti­tu­tion. In Tom McCarthy’s 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 hard­work­ing 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.

Rated R. 128 min­utes. Re­gal DeVar­gas. (Jonathan Richards)

10 CLOVER­FIELD LANE This fol­low- up to the giant-mon­ster film Clover­field may con­found any­one ex­pect­ing a se­quel. The movies are like two long episodes of The Twi­light Zone, both shep­herded by pro­ducer J. J. Abrams, shar­ing a su­per­nat­u­ral slant — and that’s it. This time, a woman (Mary El­iz­a­beth Win­stead) wakes up from a car ac­ci­dent in a cel­lar. The strange man with her (John Good­man) in­sists that an apoc­a­lyp­tic event has oc­curred out­side and that he is keep­ing her safe, but she’s not so sure. It mostly plays out as a claus­tro­pho­bic hor­ror film, and Good­man is men­ac­ing in one of his darker roles, but it’s hard to stay in­vested in the base­ment drama with the lin­ger­ing mys­tery above. When that mys­tery is fi­nally re­vealed, it’s too silly to truly sat­isfy. Rated PG-13. 105 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Robert Ker)


“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 clichés, 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)


In this good- hearted doc­u­men­tary of ideas, Michael Moore sets off for Europe to see what other coun­tries have that we don’t, and he claims what he can for the Stars and Stripes. He invades Italy first, then France, and cuts a swath through other Euro­pean coun­tries, with a side trip to North Africa. In each place he fo­cuses on an as­pect of the cul­ture — po­lit­i­cal, eco­nomic, or ed­u­ca­tional — that he can bring home as booty. On one level, this movie might seem to smack of wide- eyed naiveté. But Moore’s thrust is sub­ver­sively canny. He hasn’t in­vaded Europe to ex­pose its rot­ten un­der­belly; he’s there to cap­ture the best of its ideas. In do­ing so, he pro­vides for all of us — whether we’re lib­eral, con­ser­va­tive, lib­er­tar­ian, or march­ing to the drum­mer of our choos­ing — a smor­gas­bord of ideas to chew on. Rated R. 110 min­utes. Re­gal DeVar­gas. (Jonathan Richards)


The won­der­ful Tina Fey has ac­cu­mu­lated a lot of good­will for her witty tele­vi­sion work, but she has trou­ble shed­ding that im­age when she takes to film and tries to dis­ap­pear into a char­ac­ter. This messy ve­hi­cle isn’t much help. As Kim Baker (short­ened by an “r” from the real-life model, Kim Barker), a desk jockey at a New York news sta­tion who vol­un­teers for on­cam­era re­porter duty in Afghanistan in 2003, she plunges into a chaotic war-zone frenzy of ac­tion and par­ty­ing. It’s at least an hour be­fore you care what’s go­ing on. It’s nom­i­nally a com­edy, but the laughs are rare enough to re­mem­ber them in­di­vid­u­ally. New Mex­ico stands in for Afghanistan, and does well. There are good ac­tors on hand, but all of them, in­clud­ing the ones play­ing Afghans, are An­g­los (Al­fred Molina, Christo­pher Ab­bott) with fa­cial hair and ac­cents. The ti­tle is from the mil­i­tary pho­netic al­pha­bet for WTF, a sen­ti­ment that ap­plies here. Rated R. 112 min­utes. Re­gal DeVar­gas. (Jonathan Richards)


The lat­est film about the life of Je­sus stars young Adam GreavesNeal in the role. Based on Anne Rice’s Christ the Lord: Out of Egypt, the story cen­ters on Je­sus’ child­hood, as he flees Egypt for his home in Nazareth and dis­cov­ers more about who he is and what he is des­tined to be­come. Sean Bean also stars as Severus. Rated PG-13. 111 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


Dis­ney’s lat­est an­i­mated com­edy takes place in the town of its ti­tle — an im­pres­sively re­al­ized and vis­ually clever city full of talk­ing an­i­mals. It is here that a rabbit police of­fi­cer (voiced by Gin­nifer Good­win), fresh from the coun­try on her first day on the job, learns that cer­tain an­i­mals are dis­ap­pear­ing. She forms an un­likely al­liance with a fox (Ja­son Bate­man), a small-time con man, to blow the lid off the con­spir­acy. The trail per­haps takes them on one plot turn too many, adding to a slightly bloated run­ning time. How­ever, the mys­tery is sat­is­fy­ing, the an­i­ma­tion is ex­tra­or­di­nary, the jokes are cute and funny, and the moral — about trust, un­der­stand­ing, and not judg­ing oth­ers or letting your­self be judged based on race (in this case, an­i­mal species) — is touch­ing and timely. Rated PG. 108 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Dream­Catcher. Screens in 2-Donly at Vi­o­let Crown. (Robert Ker)

Nil­bio Tor­res in Em­brace of the Ser­pent, at Cen­ter for Con­tem­po­rary Arts

The Great San­tini, at Jean Cocteau Cinema

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