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THE AN­GRY BIRDS MOVIE

It might seem as if there is lit­tle movie ma­te­rial in the An­gry Birds mo­bile app and video game, which al­lows users to cat­a­pult car­toon birds into var­i­ous struc­tures in order to elim­i­nate pigs. Don’t un­der­es­ti­mate Hol­ly­wood’s abil­ity to make a movie out of any­thing that’s been on a T-shirt at Tar­get. This adap­ta­tion cen­ters on three mis­fit birds (voiced by Ja­son Sudeikis, Josh Gad, and Danny McBride) who must stop the pigs that have taken over their is­land. The trailer features jokes about vomit and drink­ing urine, and Sean Penn voices one of the birds, so all bets are off as to what you can ex­pect. Rated PG. 97 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

BELLADONNA OF SAD­NESS

This an­i­mated film from 1973 Ja­pan screens in a new restora­tion. The story features a woman named Jeanne who, shortly af­ter her wedding, is raped by a lo­cal lord. From there, her life only gets worse un­til she be­comes a pow­er­ful, re­venge-seek­ing witch. With a look that calls to mind the paint­ings of Gus­tav Klimt and 1970s chil­dren’s books, the film of­ten isn’t “an­i­mated” as much as it pans slowly over still wa­ter­color de­pic­tions of the drama. While fre­quently lovely, it is very much a prod­uct of a dif­fer­ent cul­ture and era, fea­tur­ing psy­che­delic music and sur­real im­agery that re­flect long-ago tastes. The erotic im­agery gives it some ca­chet in cult-film cir­cles, but the con­fla­tion of hor­ror and tit­il­la­tion in the (many) sex­ual scenes never feels right in what is pre­sented as a fairy tale, and all of the at­tempts to shock quickly grow tire­some. Not rated. 93 min­utes. In Ja­panese with sub­ti­tles. Jean Cocteau Cinema. (Robert Ker)

HOCK­NEY

David Hock­ney is a sem­i­nal fig­ure in Pop art and a ma­jor fig­ure in 20th-cen­tury art, but his in­flu­ence and sig­nif­i­cance is un­der­stated in di­rec­tor Ran­dall Wright’s doc­u­men­tary, which ex­plores its sub­ject through in­ci­dents, anec­dotes, and the per­sonal rec­ol­lec­tions of those who know him. While this ap­proach of­fers Hock­ney fans a full plate of bi­o­graph­i­cal de­tails, we never re­ally get a sense of why we should care. The film traces Hock­ney’s be­gin­nings, his ex­plo­ration of sex­ual iden­tity in his art dur­ing a time when ho­mo­sex­u­al­ity was still il­le­gal in Eng­land, the loss of many friends dur­ing the AIDS epi­demic, and his mul­ti­fac­eted, con­tin­u­ing ca­reer as a print­maker, painter, pho­tog­ra­pher, and stage de­signer. He comes off as out­spo­ken, some­times can­tan­ker­ous, and al­ways charis­matic, but in lack­ing a crit­i­cal voice to tem­per the praise, the por­trait feels in­com­plete. Not rated. 112 min­utes. The Screen. (Michael Abatemarco)

THE MED­DLER

This movie fits into the genre of main­stream come­dies for women, but its sub­ject mat­ter — a wid­owed mother (Su­san Saran­don) and her strained re­la­tion­ship with her daugh­ter (Rose Byrne) — isn’t very funny. Brook­lyn-born Marnie has moved to L.A. to be closer to her adult daugh­ter — and is driv­ing her crazy. Saran­don’s cringe-in­duc­ing faux-eth­nic shtick makes her an ob­ject of ridicule and pity rather than em­pa­thy. Though Byrne plays the heart­bro­ken Lori as deeply and con­vinc­ingly trou­bled, the movie prefers silli­ness and overt emo­tional ma­nip­u­la­tion to a darker ap­proach that might have bet­ter served the story. Rated PG-13. 100 min­utes. Re­gal DeVar­gas. (Jen­nifer Levin)

NEIGH­BORS 2: SOROR­ITY RIS­ING

In the 2014 hit Neigh­bors, Seth Ro­gen and Rose Byrne played a cou­ple of new par­ents who had to con­tend with an ob­nox­ious fra­ter­nity mov­ing in next door to them. They ended up be­friend­ing Teddy (Zac Efron), the head frat boy, and achiev­ing some peace and quiet — un­til now. In this se­quel, a soror­ity moves in next door (led by Chloë Grace Moretz), and proves to be even more rowdy than the dudes were. Rated R. 92 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

NEON BULL

Not rated. 101 min­utes. In Por­tuguese with sub­ti­tles. The Screen. See re­view, Page 40.

THE NICE GUYS

Shane Black re­turns to the buddy-com­edy genre that made him fa­mous with movies in­clud­ing Lethal Weapon (which he wrote) and Kiss Kiss Bang Bang (which he di­rected). The new movie pairs Rus­sell Crowe and Ryan Gosling as rough-and-tum­ble pri­vate dicks in 1970s Los An­ge­les. In the course of in­ves­ti­gat­ing the ap­par­ent sui­cide of a porn star, they un­cover a plot much deeper than they were ex­pect­ing. Rated R. 116 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

NOTFILM

Samuel Beck­ett un­der­took his first and only stab at moviemak­ing with Film (1965), an ex­plo­ration of the roles of the ob­server and the ob­served, and their ef­fect on one an­other. It starred the great Buster Keaton, who later con­fessed, “I was confused when we shot it, and I’m still confused.” Keaton’s friend, the ac­tor James Karen, who ap­peared in Film, muses an­grily over the neo­phyte film­maker’s ar­ro­gant fail­ure to con­sult with Keaton, one of the masters of the medium, for ad­vice. Ross Lip­man has set out to make sense of Film, which was more panned than cel­e­brated on its re­lease, and by and large, he does a re­mark­able job. Much of this as­sem­blage of in­ter­views with par­tic­i­pants (in­clud­ing leg­endary Grove Press founder Bar­ney Ros­set), out­takes, and ex­cerpts from Film is fas­ci­nat­ing, even thrilling. There are even snip­pets of Beck­ett pro­duc­tion con­ver­sa­tions, de­spite the play­wright’s aver­sion to be­ing cap­tured on film or au­dio­tape. But in his en­thu­si­asm, Lip­man can’t seem to leave any­thing out, and the two-hour-plus run­ning time feels padded and di­gres­sive. Still, this is not to be missed by Beck­ett fans. 7 p.m. Thurs­day, May 26 only, with Karen in con­ver­sa­tion with au­thor Kirk El­lis. Not rated. 128 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)

OUR LAST TANGO

This doc­u­men­tary tells the story of Ar­gen­tine tango dancers María Nieves Rego and Juan Car­los Copes, a pair who achieved con­sid­er­able fame, got mar­ried, and had a very un­happy di­vorce. The dancers, now in their eight­ies, were in­ter­viewed for the film and even dance to­gether one last time. The film also con­tains dra­matic recre­ations of early mo­ments in their lives. Not rated. 85 min­utes. In Span­ish with sub­ti­tles. Jean Cocteau Cinema. (Not re­viewed)

TIM’S VERMEER

In­ven­tor Tim Jeni­son is on hand to meet the pub­lic and par­tic­i­pate in aQ & A about Tim’s Vermeer, the 2013 doc­u­men­tary about his at­tempts to fig­ure out how Dutch master Jo­hannes Vermeer was able to paint the way he did. The screen­ing ben­e­fits the Drug Pol­icy Al­liance of New Mex­ico. 6 p.m. Tues­day, May 24 only. Rated PG-13. 80 min­utes. Jean Cocteau Cinema. (Not re­viewed)

VIVA

Rated R. 100 min­utes. in Span­ish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 41.

CAP­TAIN AMER­ICA: CIVIL WAR

There’s a crowd-pleas­ing cen­ter­piece in the lat­est Marvel Stu­dios ex­trav­a­ganza, in which a num­ber of its he­roes — Black Widow (Scar­lett Jo­hans­son), Fal­con (An­thony Mackie), War Ma­chine (Don Chea­dle), Hawk­eye (Jeremy Ren­ner), Ant-Man (Paul Rudd), and more — en­gage in a gi­ant rumble. This roughly 40-minute scene is full of the jokes, ac­tion, and spe­cial ef­fects that fans have come to as­so­ciate with the fran­chise. That set piece is fun, but it’s sur­rounded by a pon­der­ous, un­pleas­ant plot in which Iron Man (Robert Downey Jr.) and Cap­tain Amer­ica (Chris Evans) square off over whether or not su­per­heroes should be reg­u­lated by the United Na­tions. This part of the film boasts dead chil­dren, tor­ture, sui­cide, ter­ror­ism, peo­ple be­ing punched to death, and a real vi­cious­ness from the lead he­roes. The mix of grim vi­o­lence with yuks from Spi­der-Man (new to the Marvel movies, played by Tom Hol­land) is un­easy, but Civil War is partly res­cued by the in­tro­duc­tion of Chad­wick Bose­man’s dig­ni­fied, cap­ti­vat­ing Black Pan­ther. Rated PG-13. 146 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Robert Ker)

THE DARK­NESS

A fam­ily on a Grand Canyon va­ca­tion dis­cover a cave once in­hab­ited by in­dige­nous peo­ple. The boy (David Ma­zouz) brings home a stone he finds there, only to dis­cover that it con­tains an­gry spir­its which pos­sess him. He leaves black hand­prints ev­ery­where, but some­thing much scarier is lurk­ing. Kevin Ba­con plays the dad. Rated PG-13. 93 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

EVA HESSE

Di­rec­tor Mar­cie Be­gleiter’s new doc­u­men­tary is an en­gag­ing and mov­ing bi­og­ra­phy of Ger­man-born sculp­tor Eva Hesse, who died in 1970 at the age of thirty-four. Re­ly­ing on the ac­counts of con­tem­po­raries in­clud­ing artists Richard Serra, Carl An­dre, Nancy Holt, and oth­ers, Be­gleiter re­veals Hesse to be an in­flu­en­tial artist and an al­lur­ing fig­ure who, in a short life marked by tragedy, helped usher in Post-Min­i­mal­ism and touched the lives of many. The doc­u­men­tary cov­ers her fam­ily’s flight from Nazi Ger­many to New York, her school­ing at Pratt In­sti­tute, Cooper Union, and Yale, her failed mar­riage to artist Tom Doyle, her artis­tic suc­cesses, and her strug­gle with brain can­cer, which ended her life just when her light was burn­ing bright­est. Eva Hesse isa thor­ough, in­sight­ful, and emo­tion­ally rich por­trait en­livened by its ‘60s-era music and count­less views of Hesse’s phe­nom­e­nal art. Not rated. 105 min­utes. 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 about 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. Cen­ter for Con­tem­po­rary Arts. (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)

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)

HIGHRISE

Tom Hid­dle­ston stars in an adap­ta­tion of the 1975 book by J. G. Bal­lard. This dystopian al­le­gory for eco­nomic dis­par­ity cen­ters on a doc­tor (Hid­dle­ston) who moves into a top floor of a large apart­ment build­ing, where the rich peo­ple on the higher floors live out­ra­geously lav­ish lives while the poor suf­fer on the lower floors. Even­tu­ally, there is an up­ris­ing. Jeremy Irons and Si­enna Miller co-star. Rated R. 119 min­utes. Jean Cocteau Cinema. (Not re­viewed)

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; 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. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (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 Sta­dium 14. (Robert Ker)

THE MAN WHO KNEW IN­FIN­ITY

This man­nered, if clichéd, drama tells the true story of Srini­vasa Ra­manu­jan (Dev Pa­tel), a bril­liant math­e­ma­ti­cian from Madras, In­dia, who is ad­mit­ted to Cam­bridge Univer­sity in 1914. Thanks in part to the men­tor­ship and friend­ship of Prof. G.H. Hardy (Jeremy Irons), he over­comes cul­tural bar­ri­ers and his lack of for­mal math­e­mat­i­cal training to grow fa­mous from his the­o­ries. Pa­tel im­bues his role with pride and a dogged de­ter­mi­na­tion, and Irons em­bod­ies a man who is firm yet sym­pa­thetic. The story cen­ters on their re­la­tion­ship, and its pleas­ant mo­ments are drawn out by the ac­tors. It all falls along a well-worn path, how­ever, and there’s noth­ing par­tic­u­larly cin­e­matic about how it is staged. Rated PG-13. 108 min­utes. Re­gal DeVar­gas. (Robert Ker)

THE MER­MAID

The lat­est film by di­rec­tor Stephen Chow (Kung-Fu Hus­tle )is the high­est-gross­ing film in China’s his­tory. Deng Chao plays Liu Xuan, a busi­ness­man who aims to de­stroy all of the sea life in a re­cently pur­chased gulf. Lin Yun plays a mer­maid from the gulf who is sent to as­sas­si­nate him. When they end up fall­ing for each other, it leads them both on a comic ad­ven­ture. Rated R. 94 min­utes. In Man­darin with sub­ti­tles. Jean Cocteau Cinema. (Not re­viewed)

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)

MONEY MON­STER

Ge­orge Clooney and Ju­lia Roberts team up once again in this story about a tele­vi­sion fi­nan­cial ad­vi­sor named Lee Gates (Clooney). The stu­dio is taken hostage by an armed man (Jack O’Con­nell) who lost all of his money based on bad ad­vice from the show. Gates and his pro­ducer (Roberts) must fig­ure out how to defuse the sit­u­a­tion. Jodie Foster di­rects. Rated R. 98 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

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 Sta­dium 14; 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)

SING STREET

Writer and di­rec­tor John Car­ney made a big splash with 2007’s Once, and now he of­fers an­other movie about music and ro­mance on the cob­ble­stone streets of Dublin. This time, he takes view­ers back to the 1980s for a com­ing-of-age film about a boy (Fer­dia Walsh-Peelo) who joins a new school, where he starts a band to im­press a girl (Lucy Boynton). Rated PG-13. 106 min­utes. Re­gal DeVar­gas. (Not re­viewed)

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. (Robert Ker)

Strange bed­fel­lows: Samuel Beck­ett and Buster Keaton in NOTFILM, at Cen­ter for Con­tem­po­rary Arts

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