OPEN­ING THIS WEEK

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COLO­NIA

Emma Wat­son (Hermione in the Harry Pot­ter films) is Lena, a woman in 1973 Chile who be­comes en­tan­gled in the protests against Gen. Au­gusto Pinochet. When her boyfriend (Daniel Brühl) is kid­napped, she finds him in the Colo­nia Dig­nidad, a cult from which no­body has ever es­caped. Not rated. 110 min­utes. In English and Span­ish with sub­ti­tles. Jean Cocteau Cin­ema. (Not re­viewed)

COM­PADRES

This com­edy from Mex­ico stars Omar Cha­parro as Garza, a rugged ex- cop who is out to get San­tos ( Erick Elías), a crime l ord who framed him. Garza teams up with a geeky Amer­i­can hacker ( Joey Mor­gan) who stole mil­lions from San­tos, and the duo forms an un­likely friend­ship. Eric Roberts also stars. Not rated. 101 min­utes. In Span­ish with sub­ti­tles. Re­gal Sta­dium 14. (Not re­viewed)

DON’T BE AFRAID TO POGO

This is the tale of The Gears, a punk rock band that rose from north­east Los An­ge­les in the late ‘ 70s. Di­rected by the group’s man­ager, Chris Ash­ford, it ’s crammed full of in­ter­views with band mem­bers past and present, t es­ti­mony f r om other par t i cipants in t he Cal­i­for­nia punk world in­clud­ing The Min­ute­men’s Mike Watt, live footage, photos, and all sorts of Gear lore. Screens 9 p.m. Thurs­day, April 28, only, with the di­rec­tor and some band mem­bers in at­ten­dance. Not rated. 135 min­utes. Jean Cocteau Cin­ema. (See Ter­rell’s Tune-Up, Page 22)

ELVIS & NIXON

The 1970 pho­to­graphs of a flam­boy­antly dressed Elvis Pres­ley shak­ing hands with Pres­i­dent Richard Nixon in the White House have cap­tured the pub­lic’s imag­i­na­tion for decades. What could that sum­mit of two of the most-fa­mous men in the world have been like? This movie imag­ines a comedic an­swer to that ques­tion, star­ring Michael Shan­non as Pres­ley and Kevin Spacey as Nixon. Rated R. 86 min­utes. Re­gal DeVar­gas. (Not re­viewed)

EVERY­BODY WANTS SOME!!

In 1993, Richard Lin­klater took us back to the 1970s with Dazed

and Con­fused, an ensem­ble story about high-school stu­dents in 1976 Texas. Now, he re­vis­its the 1980s through a sim­i­lar lens: He touches on the rock songs of the era and un­spools a high-school com­edy that looks at the jocks, geeks, and ston­ers, and the par­ties where they all min­gle. Rated R. 116 min­utes. Re­gal DeVar­gas. (Not re­viewed)

THE FIRST MON­DAY IN MAY

This plea­sur­able, bustling be­hind-the-scenes documentary looks at the mak­ing of China: Through

the Look­ing Glass, the Metropoli­tan Mu­seum of Art’s 2015 ex­hi­bi­tion and its star-stud­ded kick­off gala. It suc­ceeds as eye candy for fash­ion­istas and as a sally in the war over whether fash­ion can be con­sid­ered art; as a documentary with real meat on its bones, less so. Di­rec­tor An­drew Rossi ( Page One) fo­cuses pri­mar­ily on An­drew Bolton, cu­ra­tor of the Met’s Cos­tume In­sti­tute, and Anna Win­tour, gala chair and Vogue ed­i­tor in chief. Rossi builds some ten­sion around the com­pli­cated lo­gis­tics of cre­at­ing and in­stalling the ex­hi­bi­tion and or­ches­trat­ing the gala’s guest list, but while his film in­tro­duces po­ten­tially thorny ob­sta­cles — is­sues of im­pe­ri­al­ism and cul­tural ap­pro­pri­a­tion — it never reveals how they are avoided or re­solved. Rated PG-13. 90 min­utes. Cen­ter for Con­tem­po­rary Arts. (Lau­rel Glad­den)

A HOLO­GRAM FOR THE KING

Dave Eg­gers’ 2012 novel is brought to life by di­rec­tor Tom Tyk­wer ( Run Lola Run) and ac­tor Tom Hanks. The story cen­ters on an Amer­i­can busi­ness­man named Alan Clay (Hanks), who, at a cross­roads in life, jour­neys to Saudi Ara­bia to sell his idea for a holo­gram ma­chine to a rich monarch and ends up find­ing re­newed pur­pose in life. Rated R. 97 min­utes. Vi­o­let Crown. (Not re­viewed)

THE HUNTS­MAN: WIN­TER’S WAR

The 2012 fan­tasy ad­ven­ture Snow White and the Hunts­man was a mi­nor suc­cess, and this se­quel ditches Snow White to fo­cus on the hunky hunts­man, with Chris Hemsworth ( Thor) once more wield­ing the axe in the role. Even with­out Snow White, the movie of­fers Char­l­ize Theron and Emily Blunt as sis­ters who are ri­val queens. Rated PG-13. 114 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed)

KING GE­ORGES

When chef Ge­orges Per­rier opened his now­iconic (and - de­funct) Le Bec- Fin in Philadel­phia in 1970, he was de­ter­mined to bring the lux­u­ri­ous food and for­mal­ity of Europe’s finest restau­rants to dis­cern­ing U. S. din­ers, but that level of un­abashed op­u­lence has fallen out of fa­vor in the cur­rent era of “fast- ca­sual” em­pires like Chipo­tle. Writer-di­rec­tor-pro­ducer Erika Frankel’s en­ter­tain­ing doc is sen­ti­men­tal and brief, and she es­chews the typ­i­cal “food porn” in fa­vor of an hon­est be­hind-the-scenes glimpse of high-pres­sure restau­rant kitchen life and a lov­able culi­nary tyrant com­ing to terms with the end of his reign. Not rated. 77 min­utes. In French and English with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Lau­rel Glad­den)

MILES AHEAD

Rated R. 100 min­utes. Vi­o­let Crown. See re­view, Page 48.

SOLD

Lak­shmi (Ni­yar Saikia) is twelve when she is sold into ser­vice at a brothel in In­dia where she is raped re­peat­edly. Sold is a bru­tal movie that doesn’t go out of its way to be graphic. It suc­ceeds as an anti-sex-traf­fick­ing mes­sage film but is weak­ened by its re­liance on white-savior fig­ures, played by Gil­lian An­der­son and David Ar­quette, who as­sist in a res­cue at­tempt of the child sex slaves. Per­for­mances are strong through­out, and the re­la­tion­ships be­tween the chil­dren re­veal that joy­ful mo­ments can hap­pen even in the midst of the direst suf­fer­ing imag­in­able. Rated PG-13. 97 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jen­nifer Levin)

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