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APRIL AND THE EX­TRA­OR­DI­NARY WORLD

The ex­tra­or­di­nary world of the film’s ti­tle refers to an al­ter­nate re­al­ity, where the lead­ing sci­en­tists at the turn of the 20th cen­tury have been kid­napped, and the peo­ple in 1941 France live in a steam­punk so­ci­ety rife with con­flict and an ab­sence of na­ture. It is here that a woman named April (voiced by Mar­ion Cotil­lard) strives to learn what hap­pened to her par­ents, stay­ing just ahead of op­pres­sive gov­ern­ment forces. The plot, how­ever, is just a ve­hi­cle for the ideas and vi­su­als, which seem in­spired by Hayao Miyazaki’s films and Hergé’s Ad­ven­tures of Tintin comics. Rated PG. 106 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Robert Ker)

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 2-D only 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. (Not re­viewed)

THE CLAN

Set i n Buenos Aires in the early 1980s as Ar­gentina tran­si­tions from a mil­i­tary regime to democ­racy, The Clan is a tense look in­side an or­ga­nized crime ring. Arquímedes Puc­cio (Guillermo Fran­cella) is chilling as a for­mer op­er­a­tive once in­volved in a cam­paign of state­spon­sored ter­ror who, find­ing him­self out of work, turns kid­nap­ping, ex­tor­tion, and mur­der into a fam­ily business.

The story, based on fact, fo­cuses on Arquímedes’ re­la­tion­ship with his son Ale­jan­dro (Peter Lan­zani), a ris­ing rugby star too naive for his own good who re­sists his fa­ther’s groom­ing but is lured by the prom­ise of easy money. The Puc­cio clan’s kid­nap­pings hap­pened in the full light of day, their vic­tims kept in a locked room in their home. The air of nor­malcy the Puc­cios project con­trasts with screams and pleas for help com­ing from be­hind locked doors. The youngest mem­bers of the fam­ily live in de­nial and fear. The older mem­bers live with com­plic­ity. Di­rec­tor Pablo Trap­ero’s biopic is a sear­ing look at a so­ci­ety grown ac­cus­tomed to dis­ap­pear­ances and cries in the night. Rated R. 110 min­utes. In Span­ish with sub­ti­tles. The Screen. (Michael Abatemarco)

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)

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)

GREEN ROOM

When the mem­bers of a broke punk rock band strapped for cash take a gig in the back­woods of Ore­gon, they wit­ness a mur­der and find them­selves the tar­gets of a group of Nazi skin­heads. The band mem­bers (An­ton Yelchin, Alia Shawkat, Cal­lum Turner, and Joe Cole) bar­ri­cade them­selves in the club’s green room while the skin­heads, led by Pa­trick Stewart in a vil­lain­ous turn, at­tempt to reach them and elim­i­nate wit­nesses. Stewart is in­tim­i­dat­ing as a man who com­mands with a steady, quiet voice, but at times he comes off as too so­phis­ti­cated and in­tel­li­gent to waste his time with rab­ble. Imo­gen Poots puts in a strong per­for­mance as Am­ber, a for­mer white su­prem­a­cist and friend of the mur­der vic­tim who aids the band. There is noth­ing tongue-in- cheek about the bloody car­nage that en­sues ( Green Room is not for the squeamish), but when the pal­pa­ble sense of dread has run its course and the tables have turned, the film settles too com­fort­ably into stan­dard thriller fare. Rated R. 95 min­utes. Vi­o­let Crown. (Michael Abatemarco)

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)

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)

KEANU

The pop­u­lar comic duo Key and Peele (Kee­gan-Michael Key and Jor­dan Peele) make their film de­but as a head­lin­ers with this ca­per about a cat named Keanu. Rell (Peele) finds the kit­ten on his doorstep, which cheers him up af­ter a bad breakup. When Keanu is kitty-napped, how­ever, the mil­que­toast Rell and his cousin Clarence (Key) must pose as ruth­less drug deal­ers to get it back. Rated R. 98 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium 14; DreamCatcher. (Robert Ker)

MILES AHEAD

The great Don Chea­dle pro­duced, co-wrote, and di­rected this walk on the wild side of jazz legend Miles Davis — and he 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)

MOTHER’S DAY

Ev­ery holiday seems to have its own feel- good movie, so it’s a won­der that Mother’s Day never re­ally had one — un­til now. En­ter di­rec­tor Garry Mar­shall, who has al­ready given us Valen­tine’s Day (2010) and New Year’s Eve (2011), to fill this crit­i­cal gap in our film canon. He casts Ju­lia Roberts, Kate Hud­son, Jen­nifer Anis­ton, Ja­son Sudeikis, and many oth­ers in this en­sem­ble dram­edy that ex­am­ines the ups and downs of moth­er­hood from a va­ri­ety of an­gles. Rated PG-13. 118 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium14; DreamCatcher. (Not re­viewed)

PAPA: HEM­ING­WAY IN CUBA

Gio­vanni Ribisi plays Ed My­ers, a jour­nal­ist who trav­els to Cuba to in­ter­view his hero, Ernest Hem­ing­way (Adrian Sparks). The two men be­come friends as the Cuban rev­o­lu­tion erupts around them. This film, by Bob Yari, is the first Hol­ly­wood movie to be shot in Cuba since 1959. Rated R. 109 min­utes. Re­gal DeVar­gas. (Not re­viewed)

RATCHET & CLANK

The Ratchet & Clank video games, which have been pub­lished by Sony In­ter­ac­tive En­ter­tain­ment since 2002, are en­er­getic, col­or­ful, and full of jokes. This an­i­mated adap­tion cen­ters on the outer-space ad­ven­tures of a cat­like crea­ture named Ratchet (voiced by James Arnold Tay­lor) and his ro­bot Clank (David Kaye), who save the galaxy from Dr. Ne­far­i­ous (Ar­min Shimerman). The film is so faith­ful to the games that it of­ten looks and feels like one. That isn’t a knock on the an­i­ma­tion, as video- game graph­ics have come a long way to catch up with cin­e­matic ef­fects. How­ever, the plot and char­ac­ter de­vel­op­ment are not ef­fec­tively fleshed out for a 94- minute movie, mak­ing the whole thing a bore. Rosario Daw­son, Paul Gia­matti, Sylvester Stal­lone, and John Good­man round out a solid cast, but they’re recit­ing lines from a script that feels like an af­ter­thought. Rated PG. 94 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)

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)

The Mer­maid, at Jean Cocteau Cin­ema

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