Chiles,

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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. (Robert Ker)

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)

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 lord 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)

CRIM­I­NAL

In this sci­ence-fic­tion thriller, Ryan Reynolds 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. (Not re­viewed)

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)

EM­BRACE OF THE SER­PENT

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)

EV­ERY­BODY WANTS SOME!!

In 1993, Richard Lin­klater took us back to the 1970s with Dazed and Con­fused, an en­sem­ble story about high-school stu­dents pass­ing time and par­ty­ing in 1976 Texas. Now, he re­vis­its the 1980s with a sim­i­lar ap­proach. Train­ing his lens on the mem­bers of a base­ball team dur­ing the first week­end of col­lege in 1980, he me­an­ders through their hazy days of keg­gers, ping-pong, and smok­ing weed, with­out fuss­ing too much with the plot. The movie suf­fers from not hav­ing the gen­der and age di­ver­sity of Dazed and Con­fused, strand­ing us with a bunch of jocks of roughly the same age. As their in­di­vid­ual per­son­al­i­ties emerge, how­ever, the movie set­tles into an agree­able groove, gen­tly nudged along by the fresh­man Jake (Blake Jen­ner) and the easy­go­ing Finnegan (Glen Pow­ell). It’s en­joy­able, some­times Robert Alt­man-es­que fun, and the sur­pris­ingly philo­soph­i­cal mo­ments add some nu­tri­tional con­tent to the end­less bot­tles of beer. Rated R. 116 min­utes. Re­gal DeVar­gas. (Robert Ker)

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)

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 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) HELLO, MY NAME IS DORIS The spunky, ca­pa­ble Sally Field lifts this by-the-num­bers 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)

A HOLO­GRAM FOR THE KING

Tom Tyk­wer’s jokey adap­ta­tion of the Dave Eg­gers novel about the de­cline and out­sourc­ing of the Amer­i­can dream puts to rest the no­tion that Tom Hanks can save what­ever you put him in. As Alan Clay, a sales­man try­ing to ped­dle holo­graphic tele­con­fer­enc­ing soft­ware to the king of Saudi Ara­bia, Hanks sol­diers as best he can through this dreary, desert-bound tale of frus­tra­tion, over­sleep­ing, over­drink­ing, sweat­ing, and reg­u­larly emp­ty­ing sand from his shoes. He man­i­fests his frus­tra­tion with a lump on his back that re­quires sur­gi­cal re­moval, which ush­ers in a sad-eyed, soul­ful doc­tor (Sarita Choud­hury) for a lit­tle ro­mance. There’s a bit of bro­mance as well, with Alan’s Arab driver (Dhaf­fer L’Abidine). But there are pre­cious few oases in these vast desert sands. Rated R. 97 min­utes. Vi­o­let Crown. (Jonathan Richards)

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)

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 both the mon­key King Louie (Christo­pher Walken) and the snake Kaa (Scar­lett Jo­hans­son). Some themes get repet­i­tive, and the tiger is too scary for the lit­tlest ones, but Jon Favreau di­rects with a sure hand; the film is gor­geous, and the an­i­mals are won­der­fully an­i­mated and voiced. Rated PG. 105 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Dream­Catcher. Screens in 2-D only at Vi­o­let Crown. (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)

MILES AHEAD

The great Don Chea­dle pro­duced, co-wrote, and di­rected this walk on the wild side of jazz leg­end Miles Davis — and plays the ti­tle role. One of the film’s few down­ers is the shoe­horn­ing in of a white char­ac­ter (Ewan McGre­gor), with­out whom Chea­dle couldn’t get fi­nanc­ing. The movie comes laced with plenty of Miles Davis mu­sic, but Chea­dle steers clear of an over­view of a life arc with stops at his mu­si­cal mile­stones. In­stead, he has set the story in the lost years in the ‘70s — when Davis be­came a recluse — with flashes back to the younger Miles. Chea­dle’s ap­proach is to let his imag­i­na­tion rip, cre­at­ing a wild story with bul­lets fly­ing and car chases. If you’re won­der­ing, none of that ever hap­pened. But some­how it feels right. Rated R. 100 min­utes. Vi­o­let Crown. (Jonathan Richards)

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 from 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)

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)

Salt of the Earth (1954), plays as part of the New Mex­ico La­bor Film Fes­ti­val at Len­sic Per­form­ing Arts Cen­ter

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