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ALICE THROUGH THE LOOK­ING GLASS

This se­quel to the 2010 smash Alice in Won­der­land doesn’t have direc­tor Tim Burton, but many cast mem­bers re­turn — most im­por­tant, Johnny Depp reprises his Mad Hat­ter role. James Bobin di­rects this in­stall­ment, set three years af­ter the first film, in which Alice (Mia Wasikowska) learns that the Mad Hat­ter is get­ting mad­der and sets out to travel through time to save him and all of Won­der­land. In his fi­nal pro­duc­tion credit, Alan Rick­man once more voices the Cater­pil­lar. Rated PG. 113 min­utes. Screens in 2-D only at Regal DeVar­gas; Regal Sta­dium 14; DreamCatcher. (Not re­viewed)

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 pigs, so all bets are off as to what you can ex­pect. Rated PG. 97 min­utes. Screens in 2-D only at Regal Sta­dium 14; DreamCatcher. (Not re­viewed)

A BIG­GER SPLASH

Luca Guadagnino (I Am Love) has taken his ti­tle from a 1967 David Hock­ney paint­ing and his plot from the 1969 Alain Delon thriller La Piscine. Tilda Swin­ton is Mar­i­anne Lane, a rock leg­end whose on­stage per­sona seems lifted from

The Lord of the Rings. But we hardly get to hear her — she’s blown out her voice and is re­cov­er­ing mutely from a throat op­er­a­tion. She’s gone to ground with her lover Paul (Matthias Schoe­naerts) on Pan­tel­le­ria, a windswept is­land in the Strait of Si­cily. Who should show up but her for­mer lover and record pro­ducer, Harry (Ralph Fiennes), an ebul­lient, coke-fu­eled force of na­ture, with his Lolita-ish daugh­ter Pene­lope (Dakota John­son) in tow. Who does not want to do what to whom? That’s the ques­tion that hangs over this at­mo­spheric, car­nal, scenic ad­ven­ture. Flecks of in­for­ma­tion from the past are doled out like fish food, the bare scenery (hu­man and is­land) is invit­ing, and the plot surges and drags through a lit­tle too much time. Rated R. 125 min­utes. In English and Ital­ian with sub­ti­tles. Regal DeVar­gas. (Jonathan Richards)

THE CON­JUR­ING 2

Pa­trick Wil­son and Vera Farmiga re­turn as the real-life para­nor­mal in­ves­ti­ga­tors Ed and Lor­raine War­ren, who in the 1970s and 1980s, looked into a num­ber of spooky hap­pen­ings — in­clud­ing, most fa­mously, the Ami­tyville Hor­ror. In this drama­ti­za­tion of a 1977 in­ves­ti­ga­tion, the cou­ple trav­els to the U.K. to look into pol­ter­geist ac­tiv­ity at a coun­cil house in North Lon­don. Rated R. 133 min­utes. Regal DeVar­gas; Regal Sta­dium 14; DreamCatcher. (Not re­viewed)

DARK HORSE

Around the turn of the mil­len­nium, Janet Vokes, a bar­maid in an eco­nom­i­cally de­pressed Wales min­ing town, con­vinced her friends and cus­tomers to pitch in to­gether, pur­chase a thoroughbred, and pay for its train­ing. They bought and bred Dream Al­liance, and the horse even­tu­ally en­joyed suc­cess on the rac­ing cir­cuit in the U.K. — at­tract­ing a good deal of me­dia at­ten­tion for how the story up­turned class-struc­ture norms. Through new in­ter­views, dra­matic recre­ations, and archival footage, this doc­u­men­tary tells Dream Al­liance’s story. Rated PG. 85 min­utes. Regal DeVar­gas. (Not re­viewed)

DOUGH

“A Jewish baker and an Mus­lim refugee walk into a bak­ery” sounds like the setup to a corny old joke, right? It’s also the be­gin­ning of a plot sum­mary for this light-

the hard-boiled cin­e­matic aes­thet­ics of that time. Writer and direc­tor Shane Black has had a hand in buddy-crime films from

Lethal Weapon to Kiss Kiss Bang Bang, and he’s so smart that he can’t help but sat­isfy. Ryan Gosling (never fun­nier) and Rus­sell Crowe play a pri­vate in­ves­ti­ga­tor and thug-for-hire, re­spec­tively, who re­luc­tantly team up to puz­zle out the ap­par­ent sui­cide of a porn star and un­cover a plot much deeper than they were ex­pect­ing. Their ca­ma­raderie is en­dear­ing, the jokes land, the plot twists are oc­ca­sion­ally shock­ing, and ex­pec­ta­tions are turned on their head when the smartest per­son in ev­ery room is a teenage girl (An­gourie Rice). Rated R. 116 min­utes. Vi­o­let Crown. (Robert Ker)

NOW YOU SEE ME 2

In 2013, Now You See Me — a rel­a­tively un­her­alded movie about four ma­gi­cians who are framed for theft, pull off a se­ries of un­be­liev­able tricks, and fool a master (Mor­gan Free­man) — broke through the block­busters of sum­mer and found an au­di­ence. Those il­lu­sion­ists (Jesse Eisen­berg, Woody Har­rel­son, Dave Franco, and now Lizzy Ca­plan) are back, and this time are forced to pull off their great­est heist yet by a crooked tech­ge­nius mas­ter­mind (Daniel Rad­cliffe). Free­man, Mark Ruf­falo, and Michael Caine also re­turn from the first film. Rated PG-13. 129 min­utes. Regal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

TEENAGE MU­TANT NINJA TUR­TLES: OUT OF THE SHAD­OWS

The 2014 Michael Bay-pro­duced re­boot of the Teenage Mu­tant

Ninja Tur­tles fran­chise gets a se­quel, as the four he­roes must once more save New York City and chow down on pizza, dude. This time, the CGI ef­fects that an­i­mated the tur­tles are ap­plied to a wider ar­ray of their vil­lains, in­clud­ing the warthog Be­bop (Gary Anthony Wil­liams), the rhi­noc­eros Rock­steady (Stephen Far­relly), and the alien Krang (Brad Gar­rett). Megan Fox reprises her role as April O’Neil, the tur­tles’ hu­man friend. Rated PG-13. 112 min­utes. Screens in 2-D only at Regal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

VITA AC­TIVA: THE SPIRIT OF HAN­NAH ARENDT

A movie about Han­nah Arendt is a movie about the power of thought. One of the out­stand­ing philo­soph­i­cal and crit­i­cal minds of the 20th cen­tury, she achieved her great­est pop­u­lar (or un­pop­u­lar) fame with her cov­er­age for The New

Yorker mag­a­zine of the 1961 war-crimes trial of Adolf Eich­mann. And she came up with the tag “the ba­nal­ity of evil.” But this doc­u­men­tary from Ada Ush­piz cov­ers a lot more ground than the Eich­mann trial. It has footage of Hitler, cor­re­spon­dence with her teach­ers Martin Hei­deg­ger (also her lover) and Karl Jaspers, and film clips of the era in which Arendt was ma­tur­ing as a thinker, ex­pertly edited in to give a you-arethere con­text to the post-WWI world that was de­vel­op­ing in Europe. Ush­piz sug­gests an un­set­tling cor­re­la­tion be­tween that world and our world today. If thought is ac­tion, as Arendt pro­posed, then this is an ac­tion movie to ri­val any­thing from Arnold Sch­warzeneg­ger. Not rated. 125 min­utes. In English, He­brew, Ger­man, and French, with sub­ti­tles. The Screen. (Jonathan Richards)

WAR­CRAFT

If you’re one of the mil­lions of sub­scribers to the World of War­craft MMORPG (mas­sively mul­ti­player on­line role-play­ing game), then it’s time to leave the PC for the mul­ti­plex, as the big-screen adap­ta­tion is here. If you’re of the bil­lions who have never joined an on­line guild to com­plete a quest (or never heard the term MMORPG), don’t fret — the movie is just your ba­sic ef­fects-heavy, orcs-and-war­riors fan­tasy flick. Dun­can Jones

(Moon) di­rects. Rated PG-13. 123 min­utes. Screens in 3-D and 2-D at Regal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Not re­viewed)

WEINER

Anthony Weiner was a New York City con­gress­man, a ris­ing star in the Demo­cratic Party, and a fre­quent guest on news and late night shows. He was con­nected to the top tier of po­lit­i­cal power — his wife, Huma Abe­din, is a close aide to Hil­lary Clin­ton. And then the roof fell in. He was, it seems, given to sex­ting and send­ing pic­tures of his bulging un­der­wear to strangers via so­cial me­dia. He re­signed. And then a few years later he an­nounced his come­back by fil­ing to run for mayor of New York City. En­ter film­mak­ers Josh Krieg­man (a for­mer Weiner staffer) and El­yse Stein­berg, with a pro­posal to follow the can­di­date through the cam­paign. The re­sult is one of the most fas­ci­nat­ing and ex­cru­ci­at­ing po­lit­i­cal doc­u­men­taries you will ever see. At the end of the film, Krieg­man asks him, “Why have you let me film this?” Weiner can only shrug. Rated R. 96 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)

XMEN: APOCA­LYPSE

This year, su­per­hero films have got­ten much darker and over­stuffed with char­ac­ters, and the worst of­fender yet is this en­try in the X-Men se­ries, the fourth to be di­rected by Bryan Singer. The mega-pow­er­ful vil­lain Apoca­lypse (Oscar Isaac) has awak­ened from cen­turies-long slum­ber and has a plan to de­stroy the world that is so com­plex that it takes an hour to set up with­out ever to­tally mak­ing sense. He en­lists Mag­neto (Michael Fass­ben­der), along with other mu­tants who are given about eight lines of dia­logue each, to fight the X-Men (led by Jen­nifer Lawrence’s Mys­tique) in a duel in which the fate of the planet is on the line, though it also weirdly feels like there’s noth­ing at stake. An ex­cel­lent scene with the speedy Quick­sil­ver (Evan Peters) marks the only point of lev­ity in this mostly Wolver­ine-free movie. Some in­sider nods to long­time comic-book fans can’t com­pen­sate for the movie’s crush­ing self-se­ri­ous­ness and spotty spe­cial ef­fects in what seems like a fran­chise-killing dud. Rated PG-13. 144 min­utes. Screens in 2-D only at Regal Sta­dium 14; Vi­o­let Crown. (Robert Ker)

Hsu Feng in Touch of Zen (1971), at Jean Cocteau Cinema

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