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Di­vi­sive di­rec­tor Zack Sny­der re­turns for what could be con­sid­ered the se­quel to his 2013 Su­per­man movie Man of Steel but is, more ac­cu­rately, a pre­quel to 2017’s

The Jus­tice League Part One. As such, he crams in a lot of set-up, in­tro­duc­ing Clark Kent (Henry Cav­ill) to Bat­man (Ben Af­fleck), Lex Luthor (Jesse Eisen­berg), and Won­der Woman (Gal Gadot) in a world that is try­ing to fig­ure out what to do when a be­ing of Su­per­man’s ca­pa­bil­i­ties touches down. This is all too much plot for the style-over-story film­maker to bear, and the movie col­lapses be­fore the he­roes come to blows in the fi­nale. There’s much to like: Gadot steals the show, Af­fleck is the best Bat­man yet, the score by Hans Zim­mer and Junkie XL of­fers won­ders, and the ef­fects and ac­tion are all top-notch. It doesn’t fully come to­gether, how­ever, and the dour tone will serve as many view­ers’ Kryp­tonite. Rated PG-13. 153 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Dream­Catcher. Screens in 2-D only at Vi­o­let Crown. (Robert Ker)


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)


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. Vi­o­let Crown. (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)


Colom­bian di­rec­tor Ciro Guerra’s film is a mes­mer­iz­ing tale set in the Ama­zon rain­for­est, with out­stand­ing black-and-white cin­e­matog­ra­phy by David Gal­lego. The story fol­lows two nar­ra­tives, one set in the early 1900s and the other in the 1940s, and moves back and forth be­tween them to fol­low the ad­ven­tures of two men on par­al­lel jour­neys, each search­ing for the rare yakruna, a flower with valu­able heal­ing prop­er­ties. Through the movie’s non­lin­ear struc­ture, we see im­pe­ri­al­ism’s last­ing ef­fects on the rain­for­est, and how the rise of in­dus­try has led to loss of habi­tat and vi­o­lence due to the rub­ber trade. Em­brace of the

Serpent calls at­ten­tion to the tremen­dous loss of knowl­edge and cul­ture in the Ama­zon but does so with­out be­ing di­dac­tic. Not rated. 125 min­utes. In Span­ish, Ger­man, Cata­lan, and Por­tuguese with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts (Michael Abatemarco)


Helen Mir­ren plays Kather­ine Pow­ell, an army colonel lead­ing a drone mis­sion against a ter­ror­ist cell in Kenya. When an in­no­cent nine-year-old girl en­ters the tar­get area, she must make a dif­fi­cult de­ci­sion about whether to pro­ceed or not. Alan Rick­man co-stars in one of his fi­nal roles. Rated R. 102 min­utes.

Re­gal DeVar­gas. (Not re­viewed)


In the two years since the break­out hit God’s Not Dead, God still hasn’t died. To prove it, a com­mu­nity stands up for a teacher (Melissa Joan Hart) who lands in hot wa­ter when she ex­presses her faith to a class­room. Robin Givens and Ernie Hud­son co-star, and Chris­tian rock band News­boys per­form. Rated PG. 121 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)


The spunky, ca­pa­ble Sally Field lifts this by-thenum­bers ro­man­tic com­edy with a May-Novem­ber twist. Doris (Field) is an ec­cen­tric sixty-some­thing of­fice worker who is smit­ten with her com­pany’s new young art di­rec­tor, the hand­some if slightly dorky John (Max Green­field). In­spired by a self-help guru (Peter Gal­lagher) by the no­tion that “im­pos­si­ble” can be read as “I’m pos­si­ble,” she sheds her mousy ways and blos­soms into a music hip­ster, with in­ter­net ad­vice from the teenage daugh­ter of her best friend Roz (the great Tyne Daly). Di­rec­tor Michael Showalter puts us through some ex­cru­ci­at­ing bits of comic awk­ward­ness, and gives a nod to the sur­vival of the sex drive in the so­cial se­cu­rity-gen­er­a­tion. Some­times it’s very funny, some­times it’s mov­ing, but ul­ti­mately the movie plays it safe along the gen­er­a­tion gap. Rated R. 95 min­utes.

Re­gal DeVar­gas. (Jonathan Richards)


We now have our Hank Wil­liams biopic for this gen­er­a­tion. And it is dead in the back seat. The brunt of the telling by writer/di­rec­tor Marc Abraham gets bogged down in dreary scenes of al­co­holism, bick­er­ing, par­ty­ing, wo­man­iz­ing, di­vorce papers, and con­trac­tual squab­bles. None of it feels like much fun. True, Wil­liams (Tom Hid­dle­ston) sang a lot about heart­break, but he also showed a joy in per­form­ing that con­nected him with his au­di­ences, and that joy sel­dom makes it­self felt on screen. In­stead, there seems to be an in­creas­ing con­tempt for au­di­ences, col­leagues, con­certs, and the music it­self as Wil­liams sinks deeper into al­co­hol and drugs. Wil­liams’ life flamed out early, when he was found dead of heart fail­ure in the back seat of his pow­der-blue 1952 Cadil­lac on the way to a New Year’s Day con­cert in Canton, Ohio. He was twenty-nine years old. Rated R. 123 min­utes. Re­gal DeVar­gas. (Jonathan Richards)


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. (Not re­viewed)


The 2013 hor­ror film The Purge has another se­quel com­ing later in the year, but if you can’t wait that long, then this par­ody could tide you over. Mike Epps plays Carl Black, a fa­ther who moves his African-Amer­i­can fam­ily to Beverly Hills. When “the purge” comes around — the one night a year when all crimes are le­gal — his racist neigh­bors try to break into his house and kill every­one, to many laughs. Mike Tyson and Ge­orge Lopez co-star. Rated R. 90 min­utes. Re­gal Sta­dium 14. (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 near-death ex­pe­ri­ence, the dis­or­der dis­ap­pears from her body. Rated PG. 109 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)


It’s been years since Toula (Nia Varda­los) and Ian (John Cor­bett) tied the knot in the in­die smash My Big Fat Greek Wed­ding. Their mar­riage is on the rocks, as their daugh­ter (Elena Kam­pouris) pre­pares for col­lege. Mean­while, Toula’s par­ents (Lainie Kazan and Michael Con­stan­tine) dis­cover they’ve never legally been hitched, lead­ing to another big fat Greek wed­ding. Rated PG-13. 94 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (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)


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)


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. Vi­o­let Crown; Dream­Catcher. (Robert Ker)


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 on-cam­era 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)


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. Screens in 2-D only at Vi­o­let Crown; Dream­Catcher. (Robert Ker)


Cen­ter for Con­tem­po­rary Arts, 505-982-1338 11 a.m. Satur­day and Sun­day, April 9 and 10: A Mid­sum­mer

Night’s Dream, a BBC pro­duc­tion (1971). No charge.

Jean Cocteau Cinema, 505-466-5528 1 p.m. Sun­day, April 10: Great Amer­i­can Dance: Alvin Ailey Amer­i­can Dance The­ater.

The Screen, 505-473-6494 11:15 a.m. Sun­day, April 10: A reper­toire of work chore­ographed by Ben­jamin Millepied, Jerome Rob­bins, Ge­orge Balan­chine from the Paris Opera Bal­let.


Jean Cocteau Cinema, 505-466-5528 7 p.m. Mon­day, April 11: Game of Thrones sea­son 5, episodes 7 and 8.

La Tienda Per­for­mance Space 7 Caliente Road off Avenida Vista Grande in El­do­rado; call 505-466-1634 for in­for­ma­tion. 7 p.m. Thurs­day, April 14: Reel New Mex­ico presents

The Grey Fox (1982).

Read movie re­views on­line at santafe­newmex­i­

The Boss, at Re­gal Sta­dium 14, Vi­o­let Crown, and Dream­Catcher

Pi­anist Leif Ove And­snes in Con­certo: A Beethoven Jour­ney, at The Screen






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