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BAR­BER­SHOP: THE NEXT CUT

The Bar­ber­shop fran­chise re­turns for the first time since 2004’s

Bar­ber­shop 2: Back in Busi­ness. Many of the same char­ac­ters are putting their aprons back on, in­clud­ing Ice Cube’s Calvin, Cedric the En­ter­tainer’s Ed­die, and Eve’s Terri. This time, the group ex­pands to in­clude char­ac­ters played by Com­mon, Nicki Mi­naj, and Regina Hall. In be­tween their many jokes, they must con­front in­creas­ing neigh­bor­hood vi­o­lence. Rated PG-13. 112 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

BAT­MAN V SU­PER­MAN: DAWN OF JUS­TICE

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 grap­pling with the idea of a be­ing of Su­per­man’s ca­pa­bil­i­ties. This is all too much plot 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, and the score, 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. Screens in 2-D only at Vi­o­let Crown; Dream­Catcher. (Robert Ker)

THE BIG SHORT

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. They bet big against the econ­omy — and they won. That McKay is able to

ex­plain the col­lapse — 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)

BORN TO BE BLUE

Like a jazz riff that takes a fa­mil­iar melody and bends it, Robert Bu­dreau’s semi-biopic about Chet Baker (Ethan Hawke) uses episodes from the West Coast trum­peter’s life and shakes them out in ways meant to evoke rather than faith­fully rep­re­sent. Writer- di­rec­tor Robert Bu­dreau gives us an im­pres­sion­is­tic story of ge­nius, self- de­struc­tion, and re­demp­tion. Hawke, in a per­for­mance that gets deep and painful, plays a Baker who is only cool on the sur­face. Un­der­neath, he’s an anx­ious boy. Car­men Ejogo ( Selma) brings a beauty of a per­for­mance to her role as a com­pi­la­tion of the women in Baker’s life. The movie is a bit of a mess, but it’s not an un­holy mess. Rated R. 97 min­utes. The Screen. (Jonathan Richards)

THE BOSS

In Melissa McCarthy’s lat­est com­edy, she plays a Martha Ste­wart-like mogul who is re­cently re­leased from prison af­ter serv­ing a sen­tence for in­sider trad­ing. Ea­ger to mend her im­age while con­tend­ing with a lot of an­gry friends and as­so­ci­ates, she moves in with an em­ployee named Claire (Kris­ten Bell) and finds a way back to the top through Claire’s daugh­ter (Ella An­der­son). Peter Din­klage and Kathy Bates also star. Rated R. 99 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

CITY OF GOLD

This ac­ces­si­ble, en­light­en­ing documentary pro­files Los An­ge­les–based Jonathan Gold, the only food writer thus far to win a Pulitzer. A plain­spo­ken and gen­er­ous cham­pion of the taco truck, the hot- dog stand, and the strip-mall curry house, Gold nav­i­gates the streets of Los An­ge­les in his pickup truck, vis­it­ing his fa­vorite spots for Thai cof­fee, mole, and doro wat. The film is loose, re­laxed, and ad­mir­ing, which means it’s also short on emo­tional stakes, but it suc­ceeds in its mis­sion: to paint a pic­ture of Los An­ge­les as a mi­cro­cosm of the Amer­i­can dream. Rated R. 96 min­utes. Vi­o­let Crown. (Lau­rel Glad­den)

CON­CERTO: A BEETHOVEN JOUR­NEY

Di­rec­tor Phil Grab­sky’s the documentary fol­lows renowned Nor­we­gian pi­anist Leif Ove And­snes, who per­forms Beethoven’s five pi­ano con­cer­tos at more than 100 in­ter­na­tional venues. Ove And­snes’ nar­ra­tive is the back­drop for an ex­am­i­na­tion of Beethoven’s re­la­tion­ship to the con­cer­tos. Grab­sky’s film is au­thor­i­ta­tive but not de­fin­i­tive. He finds an un­com­mon an­gle to pro­vide a fas­ci­nat­ing glimpse of the sub­ject of a con­tem­po­rary mu­si­cian and his source in­spi­ra­tion. Ove And­snes’ un­der­stand­ing of the com­poser chal­lenges the no­tion that Beethoven was a reclu­sive, an­ti­so­cial artist. The pi­anist finds the pas­sion in the mu­sic and mar­ries it to his own pas­sion for play­ing. The re­sult is of­ten beau­ti­ful and stir­ring. Not rated. 93 min­utes. The Screen. (Michael Abatemarco)

CRIM­I­NAL

In this sci­ence- f ic­tion thriller, Ryan Reynolds (fresh from

Dead­pool) plays a CIA agent who dies in the mid­dle of an as­sign­ment. This mis­sion was so im­por­tant, how­ever, that his mem­ory and skills were trans­ferred to an ex- con (Kevin Cost­ner) to fin­ish the job. Gary Old­man and Tommy Lee Jones also star. Rated R. 113 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

DE­MO­LI­TION

Jake Gyl­len­haal stars as Davis, a banker who loses his wife in a car crash and re­sponds to the tragedy by tak­ing apart his house­hold ap­pli­ances and writ­ing let­ters to the cus­tomer-ser­vice de­part­ment of a vend­ing ma­chine com­pany. When one of the com­pany’s reps (Naomi Watts) gets back to him, the two form a friend­ship and Davis be­comes a men­tor of sorts to her son (Ju­dah Lewis). Rated R. 100 min­utes. Vi­o­let Crown. (Not re­viewed)

EM­BRACE OF THE SER­PENT

Colom­bian di­rec­tor Ciro Guerra’s f ilm 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)

EYE IN THE SKY

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)

HELLO, MY NAME IS DORIS

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), 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)

THE JUN­GLE BOOK

This ad­ven­ture film is not so much an adap­ta­tion of Rud­yard Ki­pling’s 1894 orig­i­nal as it is a live-ac­tion take on Dis­ney’s 1967 an­i­mated ver­sion of the story — with a darker tone and more ac­tion. Neel Sethi (a lit­tle hit and miss) plays young Mowgli, the hu­man raised by wolves who must es­cape the deadly tiger Shere Khan (voiced by Idris Elba). On his jour­ney, Mowgli is guided by the pan­ther Bagheera (Ben Kings­ley), be­friends the bear Baloo (Bill Mur­ray), and faces off against the mon­key King Louie (Christo­pher Walken), and as the snake Kaa (Scar­lett Jo­hans­son). Jon Favreau di­rects with a sure hand; the film is gor­geous, and the an­i­mals are won­der­fully an­i­mated and voiced. Some themes get too repet­i­tive, how­ever, and the tiger is def­i­nitely too scary for the lit­tlest ones. Rated PG. 105 min­utes. Screens in 3- D and 2- D at Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Robert Ker)

MAR­GUERITE

French movie star Cather­ine Frot finds many di­men­sions in the ti­tle char­ac­ter, a wealthy baroness with a laugh­ably aw­ful voice who nur­tures her delu­sion that she is a for­mi­da­ble con­cert singer. Egged on by syco­phants, she sets her sights ever higher and achieves a sort of tran­scen­dence that over­laps with de­range­ment. In­spired, at some dis­tance, by the life of the Amer­i­can singer Florence Fos­ter Jenk­ins, the film is hand­some to be­hold, and the scenes are con­sis­tently in­ter­est­ing in their de­tails. Rated R. 129 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (James M. Keller)

MID­NIGHT SPE­CIAL

Al­ton Meyer, a child with su­per­nat­u­ral abil­i­ties, has been ab­ducted from a cult in Cen­tral Texas. He’s in the back­seat of a get­away car hurtling to­ward an undis­closed lo­ca­tion and an un­known mis­sion, his es­cape aided and abet­ted by his fa­ther (Michael Shan­non) and a fam­ily friend (Joel Edger­ton). Mean­while, an NSA agent (Adam Driver) is quickly fig­ur­ing out both the child’s des­ti­na­tion and his po­ten­tial for de­struc­tion, and the cult’s leader (Sam Shep­ard) just wants the kid back so Al­ton can save the re­li­gious group from its im­pend­ing dooms­day. Mid­night Spe­cial dis­plays writer/ di­rec­tor Jeff Ni­chols’ ( Mud) sig­na­ture propen­sity for grace jux­ta­posed with in­ex­pli­ca­ble strangeness. But the film­maker’s habit of re­veal­ing only the most es­sen­tial mech­a­nisms of the plot works against him here. Since we are mostly blind to the stakes, the oth­er­wise-pow­er­ful fi­nale is tem­pered by dis­tance and mild con­fu­sion on the part of the viewer. Still, the images are in­deli­ble, and Dunst and Shan­non mov­ingly em­body the par­ent-child bond in the face of sci-fi in­ter­fer­ence. Rated PG-13. 112 min­utes. Vi­o­let Crown. (Molly Boyle)

MIR­A­CLES FROM HEAVEN

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 tree and sur­vives a near- death ex­pe­ri­ence, the dis­or­der dis­ap­pears f rom her body. Rated PG. 109 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)

MY BIG FAT GREEK WED­DING 2

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. (Not re­viewed)

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 moun­tain town of Geiranger, where 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)

WHERE TO INVADE NEXT

In this good- hearted documentary of ideas, Michael Moore sets off for Europe to see what other coun­tries have that we don’t. 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 a smor­gas­bord of ideas to chew on. Rated R. 110 min­utes. Re­gal DeVar­gas. (Jonathan Richards)

WHISKEY TANGO FOX­TROT

Tina Fey plays 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)

ZOOTOPIA

Dis­ney’s lat­est an­i­mated com­edy takes place in the town of its ti­tle — an im­pres­sively re­al­ized and vis­ually clever city full of talk­ing an­i­mals. 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. 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 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Robert Ker)

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