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Ron Howard lov­ingly di­rects this doc­u­men­tary, which fo­cuses on the tour­ing ca­reer of the Bea­tles be­tween 1963 and 1966 through found con­cert footage (some of it too fa­mil­iar, some of it seem­ingly fresh ma­te­rial), in­ter­views, and press con­fer­ences (when the Fab Four were at their most re­fresh­ingly cheeky). The story is not new by any means, but it’s well told at a fast pace and par­tic­u­larly com­pelling in de­tail­ing the pri­vate hell of be­ing a Bea­tle to­ward the end of their run of live shows. It may in­spire fans or even ca­sual ap­pre­ci­a­tors to dig back into the Bea­tles cat­a­log; af­ter all, as Paul McCartney re­cently ob­served in Rolling Stone, “The thing about the Bea­tles — they were a damn hot lit­tle band.” Not rated. 137 min­utes. Cen­ter for Con­tem­po­rary Arts. (Molly Boyle)


Be­fore writer/di­rec­tor/star Nate Parker’s film about the 1931 Vir­ginia slave re­bel­lion led by Nat Turner even hit the­aters, it had al­ready gen­er­ated a storm of pub­lic­ity, some about the fu­ri­ous bid­ding war its Sun­dance Film Fes­ti­val pre­miere sparked among stu­dios for dis­tri­bu­tion rights, and some re­lat­ing to Parker’s check­ered past. The Birth of a Na­tion it­self is am­bi­tious in its scope but flawed. In fol­low­ing Turner’s tra­jec­tory from min­is­ter to rebel, the movie falls prey to a few fa­mil­iar biopic clichés: the child des­tined for great­ness, overly dra­matic love scenes, a benev­o­lent but my­opic slave-owner, and even the cli­mac­tic up­ris­ing, which

fea­tures Parker strik­ing ma­jes­tic poses as he makes stir­ring speeches — these are all well-trod ter­ri­tory. But the ac­tors are fan­tas­tic, in­clud­ing Parker, Ar­mie Ham­mer (as Turner’s owner), and es­pe­cially Aja Naomi King (as Cherry, Parker’s wife). Their per­for­mances el­e­vate the film, which is ul­ti­mately mov­ing in its un­flinch­ing de­pic­tion of the evils of slav­ery and the power of ris­ing up. Rated R. 120 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium 14; Vi­o­let Crown. (Molly Boyle)


Renée Zell­weger re­turns to play author He­len Field­ing’s beloved hero­ine Brid­get Jones once more. This time, Jones finds her­self in a new pickle: She’s preg­nant and un­cer­tain who the fa­ther is. Could it be the new man she has taken a fancy to (Pa­trick Dempsey) or the old flame who has re-en­tered her life (Colin Firth)? More to the point: who does she want it to be? Rated R. 122 min­utes. Re­gal DeVar­gas. (Not re­viewed)


In 2010, the oil rig in the Gulf of Mex­ico known as Deep­wa­ter Hori­zon tapped into a mas­sive bub­ble of meth­ane gas that caused a series of ex­plo­sions, even­tu­ally pol­lut­ing the Gulf with pe­tro­leum for months on end. Of the 126 work­ers on­board, 11 were killed, and the rest had just min­utes to es­cape the firestorm. In this ac­tion movie set around the eco­log­i­cal dis­as­ter, Mark Wahlberg plays a real-life hero who is de­ter­mined to sur­vive and save his co­work­ers. Rated PG-13. 107 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


When three friends break into the home of an el­derly blind man (Stephen Lang), they think they’re on the way to a quick rob­bery and a mas­sive, easy score. Their plans go awry when the man kills one of them and traps the oth­ers in­side. From there, the chase is on, as the two re­main­ing friends try to evade the man, who pos­sesses both keen hear­ing and some dark se­crets. The sim­ple premise is en­gag­ing, and di­rec­tor Fede Al­varez is up to the chal­lenge, swoop­ing the cam­era around the house in such a way that view­ers have a good sense of where ev­ery­one’s hid­ing and how im­me­di­ate the dan­ger is. Too bad we’re forced to en­dure a gross plot twist and nu­mer­ous false end­ings that ruin the film’s early good­will. Rated R. 88 min­utes. DreamCatcher. (Robert Ker)


Kate Winslet stars as Tilly Dun­nage, a dress­maker who in the 1950s re­turns to her home­town in the Aus­tralian Out­back. With her so­phis­ti­cated haute-cou­ture de­signs, she in­vig­o­rates the ru­ral town with new en­ergy. How­ever, she also har­bors a se­cret and is look­ing to ex­act some sweet re­venge. Based on the novel by Ros­alie Ham. Rated R. 119 min­utes. Re­gal DeVar­gas. (Not re­viewed)


Meryl Streep crafts an odd but ap­peal­ing char­ac­ter out of the New York so­cialite who in the 1930s and ’40s earned renown as the world’s worst con­cert singer. Di­rected by Stephen Frears, this highly fic­tion­al­ized tale (ever so selec­tively “based on the in­spir­ing true story”) also elic­its a more sym­pa­thetic por­trayal than you might think likely from Hugh Grant, who plays the hus­band who supports her un­bounded aspirations and en­forces unswerv­ing de­vo­tion from those she seeks to im­press. Si­mon Hel­berg, as her ac­com­pa­nist, helps glue the movie to­gether; he ac­tu­ally plays the pi­ano, and his re­ac­tions to the sounds em­a­nat­ing from “Lady Florence” ex­em­plify stunned dis­be­lief. Streep sings her own bits, con­vey­ing the diva’s dis­tinc­tive style with élan. Rated PG-13. 110 min­utes. Re­gal DeVar­gas. (James M. Keller)


Based on Paula Hawkins’ best­selling 2015 novel, this moody psy­cho­log­i­cal thriller cen­ters on Rachel (Emily Blunt), a de­pres­sive al­co­holic di­vor­cée who takes the train to Man­hat­tan ev­ery day. From the train, she of­ten catches glimpses of Me­gan (Ha­ley Ben­nett) and her hus­band (Luke Evans), who seem to em­body the ideal cou­ple. One day, she sees Me­gan canoodling with a stranger, and the next morn­ing, Rachel wakes up bruised and cov­ered in blood, un­able to re­mem­ber the events of the pre­vi­ous night — and Me­gan is miss­ing. Di­rec­tor Tate Taylor (The Help) man­ages to turn this juicy ma­te­rial into a drawn-out snooze-fest, with an over-re­liance on lin­ger­ing close-ups of his fe­male stars’ faces, as if at­tempt­ing to get the cam­era close enough to re­veal the char­ac­ters’ se­crets. Blunt is com­pelling as she tries to make sense of events through the de­bil­i­tat­ing fog of her al­co­holism, but her pow­er­ful per­for­mance is not enough to carry a film that jumps at the chance to de­volve into tawdry Life­time movie ter­ri­tory. Rated R. 112 min­utes. Re­gal DeVar­gas; Re­gal Sta­dium 14; Vi­o­let Crown. (Molly Boyle)


Di­rec­tor Ron Davis’s trib­ute to Snow­man, the horse that won the triple crown of show jump­ing in 1958, is a Cin­derella story about the bond be­tween two friends. Dutch im­mi­grant Harry deLayer bought the horse off the back of a slaugh­ter­house truck and dis­cov­ered the work­horse’s tal­ent for jump­ing by ac­ci­dent. The film par­al­lels mo­ments in the horses life with that of deLayer who, like the horse, came from noth­ing and strug­gled to make a ca­reer for him­self in a new land. The story has mo­ments of tri­umph and poignancy as Harry and Snow­man’s long re­la­tion­ship takes them on the jump­ing cir­cuit to win nu­mer­ous awards, ap­pear on tele­vi­sion, and be­come leg­ends in their field. It’s a mov­ing film about a chance, but life-al­ter­ing, en­counter be­tween man and beast. Not rated. 84 min­utes. The Screen. (Michael Abatemarco)


New Mex­ico dou­bles for Texas in this film about two broth­ers (Chris Pine and Ben Foster) who take to rob­bing banks while two ex­pe­ri­enced law­men (Jeff Bridges and Gil Birm­ing­ham) doggedly pur­sue them. As a heis­tac­tion film, the story of­fers lit­tle that’s new, but Taylor Sheri­dan’s in­sight­ful script and David Macken­zie’s deft di­rec­tion trans­form the tale into an in­volv­ing drama about the bonds of love and loy­alty and the lengths to which mod­ern-day out­laws and law­men will go to up­hold their re­spec­tive codes of the West. Rated R. 102 min­utes. Re­gal DeVar­gas. (Robert Nott)


María (María Mercedes Coroy) is a seven­teen-year-old Kaqchikel girl who lives on the side of an ac­tive vol­cano in Gu­atemala. Her par­ents have ar­ranged a mar­riage for her, which means she must live in the un­com­fort­able alien en­vi­ron­ment of the city. When she be­comes preg­nant, and the preg­nancy be­comes com­pli­cated, she must rely on the mod­ern world she shies from. Not rated. 93 min­utes. In Maya and Span­ish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


The hero­ine of this en­chant­ing an­i­mated film is a strong-willed aris­to­cratic young woman, and much of the ac­tion takes place in icy northerly re­gions. Sim­i­lar­i­ties aside, this is def­i­nitely no Frozen — it’s the di­rec­to­rial de­but of Rémi Chayé (who cut his teeth with work on The

Se­cret of Kells, among oth­ers). Sacha, a daugh­ter of no­bil­ity in Czarist-era Rus­sia, be­lieves she has found a clue to the where­abouts of her grand­fa­ther, an ex­plorer who set off for the North Pole, never to re­turn. She’ll do what­ever it takes to find his ship, even it means leav­ing her fam­ily and her com­fort­able

home and scrub­bing dishes in a port­side bar. While most mod­ern an­i­mated films are loud, crude, and manic, this is a calm, clear ex­am­ple of the ex­pres­sive power of sim­plic­ity. And Sacha is a role model par­ents should be happy to in­tro­duce to their chil­dren — no catchy pop tunes, toys, or fast-food meals re­quired. Rated PG. 81 min­utes. Cen­ter for Con­tem­po­rary Arts. (Lau­rel Glad­den)


Af­ter a promis­ing start, An­toine Fuqua’s re­make of the famous 1960 film about seven gun­men who de­fend an iso­lated town from Mex­i­can ban­dits in or­der to pre­serve their place in the West turns into a stan­dard shoot-’em-up with fly­ing lead mak­ing up for the lack of smart di­a­logue. Den­zel Washington, Chris Pratt, and Ethan Hawke hold their own in the sad­dle, but some of the oth­ers sort of dis­ap­pear into the bul­let-frac­tured wood­work, and the vil­lainy is played for one note border­ing on the lu­di­crous. Rated PG-13. 132 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Nott)


Zach Gal­i­fi­anakis, Les­lie Jones, Kate McKinnon, Ja­son Sudeikis, Kris­ten Wiig, and Owen Wil­son play a bunch of goof­balls who pull off a mas­sive bank rob­bery and ab­scond with 17 mil­lion dol­lars. That was the easy part — the hard part is trust­ing one another with the cash when ev­ery part­ner is a half-wit­ted dou­ble-crosser. Rated PG-13. 94 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Rafe (Grif­fin Gluck) is a tween stuck in a school with what could be the worst principal ever (An­drew Daly). Faced with an op­pres­sive list of rules de­signed to sti­fle any sem­blance of cre­ativ­ity or ex­pres­sion, Rafe in­vents his own guide­lines: Break ev­ery rule in the book. Rated PG. 92 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)


Just in time for Hal­loween, Tim Bur­ton presents a haunted house of a movie con­tain­ing chil­dren in creepy masks, walk­ing skele­tons, eye­ball-eating vil­lains, and many other ghastly and ghoul­ish de­lights. It comes in the form of an adap­ta­tion of Ran­som Riggs’ whim­si­cally Gothic young-adult novel, in which a boy named Jake (Asa But­ter­field) fol­lows a mys­tery to a se­cret in­sti­tu­tion where chil­dren with un­usual pow­ers are kept safe from so­ci­ety by the shape-shift­ing Miss Pere­grine (Eva Green). The movie’s first half is too slow, and the premise even­tu­ally re­veals it­self to be more con­vo­luted than nec­es­sary, but it’s a rare fam­ily film (roughly for ages nine and up) that’s spooky, silly, and some­times gross. Rated PG-13. 127 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Re­gal DeVar­gas; Vi­o­let Crown; DreamCatcher. (Robert Ker)


In this com­edy from Mex­ico, Omar Cha­parro stars as Ze­qui, a bank rob­ber who dis­guises him­self as a sub­sti­tute teacher at an un­ruly high school in or­der to ac­cess some money that he buried on the school grounds. As he whips the kids into shape us­ing un­ortho­dox meth­ods, he dis­cov­ers he has a knack for teach­ing. Rated PG-13. 100 min­utes. In Span­ish with sub­ti­tles. Re­gal Sta­dium 14. (Not re­viewed)


Dis­ney’s lat­est feel-good sports movie tells the real-life story of Phiona Mutesi (Mad­ina Nal­wanga), a young Ugan­dan girl who learns to play chess, dis­cov­ers her in­cred­i­ble abil­ity at the game, and goes on to com­pete at the World Chess Olympiad. Lupita Ny­ong’o plays Mutesi’s mother, and David Oyelowo plays a mis­sion­ary who teaches her how to play. Rated PG. 124 min­utes. Vi­o­let Crown. (Not re­viewed)


Once upon a time, storks de­liv­ered ba­bies to new par­ents. Af­ter that be­came un­prof­itable, they switched to de­liv­er­ing pack­ages. That’s the premise of this an­i­mated com­edy, which cen­ters on one stork (voiced by Andy Sam­berg) who, on the eve of a big pro­mo­tion, ac­ci­den­tally ac­ti­vates the com­pany’s old “baby mak­ing ma­chine” and then at­tempts to de­liver the lit­tle tykes be­fore his boss finds out. Rated PG. 89 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


This is a trashy (in mostly good ways) story of a bunch of dan­ger­ous crim­i­nals who are forced by the gov­ern­ment to fight su­per­pow­ered vil­lains. It nails its cast­ing — Will Smith as the sharp­shoot­ing Dead­shot, Mar­got Rob­bie as ni­hilis­tic Har­ley Quinn, and Vi­ola Davis as the no-non­sense bu­reau­crat Amanda Waller — all of whom are ex­cel­lent. How­ever, di­rec­tor David Ayer sends them on an un­ex­cit­ing mis­sion, ren­dered in a murky visual pal­ette, with a for­get­table cli­max. He tries to usher things along by us­ing dozens of pop­u­lar rock and rap songs, but the re­sult is a mess. Still, seeds are planted for a su­pe­rior se­quel. Rated PG-13. 130 min­utes. Screens in 2-D only at Re­gal Sta­dium 14. (Robert Ker)


Clint East­wood takes one of the most pub­li­cized news sto­ries of re­cent years and turns it into nail­bit­ing sus­pense, with Tom Hanks com­fort­ably fill­ing the role of Capt. Ch­es­ley “Sully” Sul­len­berger, who coolly brought his dis­abled US Air­ways jet down on the Hud­son River af­ter los­ing both engines to a flock of geese mo­ments af­ter take­off. All 155 on board (in­clud­ing Santa Fean David Son­tag) sur­vived with only a few mi­nor in­juries, and Sully was hailed as a hero. But East­wood amps up the drama by height­en­ing the con­fronta­tional as­pect of the Na­tional Trans­porta­tion Safety Board, whose in­ves­ti­ga­tors ques­tion whether the aquatic land­ing was nec­es­sary, sug­gest­ing Sully could and should have made it to an air­port. East­wood and screen­writer Todd Ko­mar­nicki jump around in time and in con­scious­ness, in­ter­spers­ing Sully’s night­mares of what might have been. Good sup­port comes from Aaron Eck­hart as Jeff Sk­iles, Sully’s co-pi­lot, and Laura Lin­ney in her fa­mil­iar thank­less role as the suf­fer­ing wife. Rated PG-13. 96 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Jonathan Richards)

Is­lands in the stream: Marie Wawa and Mun­gau Duin in Tanna, at Jean Cocteau Cin­ema

Bean coun­ters: Anna Ken­drick and Ben Af­fleck in The Ac­coun­tant, at Re­gal Sta­dium 14, Vi­o­let Crown, and DreamCatcher

Dazed and con­fused: Amer­i­can Honey, at Re­gal DeVar­gas

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