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THE AC­COUN­TANT

Ben Af­fleck plays a math­e­mat­ics sa­vant with a lethal streak in this com­bi­na­tion of the cere­bral and the vis­ceral. Plot threads twist, flash­backs flash, ex­po­si­tion un­folds, and bul­lets fly. Af­fleck’s “high-func­tion­ing autis­tic” is at the cen­ter of it all, re­liv­ing mem­o­ries of a child­hood with his toughlove dad and his kid brother, as well as a prison stint where he learned skills from his mob ac­coun­tant cell­mate (Jef­frey Tam­bor) that he uses to laun­der money for in­ter­na­tional arms deal­ers. Mean­while he’s un­rav­el­ing fi­nan­cial chi­canery at John Lith­gow’s cor­po­ra­tion while shyly ro­manc­ing its in-house whis­tle-blower (Anna Ken­drick) and stay­ing a step ahead of trea­sury agents (J.K. Sim­mons and Cyn­thia Ad­dai-Robin­son). On a par­al­lel track, a hit man named Brax (Jon Bern­thal) keeps up a steady and re­lated stream of as­sas­si­na­tions. Bill Dubuque’s screen­play is a com­plex, some­times ex­as­per­at­ing puz­zle, but di­rec­tor Gavin O’Con­nor man­ages to gather in the reins and keep things en­ter­tain­ing. Rated R. 128 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Jonathan Richards)

THE BEA­TLES: EIGHT DAYS A WEEK  THE TOUR­ING YEARS

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)

BRID­GET JONES’ BABY

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)

DEEPWATER HORI­ZON

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)

DE­NIAL

This court­room drama, based on Deb­o­rah E. Lip­stadt’s book His­tory on Trial: My Day in Court

with a Holo­caust De­nier, de­scribes the real-life le­gal bat­tle that oc­curred in the late 1990s when in­fa­mous Holo­caust de­nier David Irv­ing (Ti­mothy Spall) sued Lip­stadt (Rachel Weisz) for li­bel — a re­sult of her call­ing him a Holo­caust de­nier. She and her lawyers then must prove that the Holo­caust ac­tu­ally hap­pened and that Irv­ing in­ten­tion­ally fal­si­fied his his­tor­i­cal writ­ing to ar­gue oth­er­wise. This no-frills film fo­cuses on the trial and leaves small bits of char­ac­ter de­vel­op­ment to the su­perb cast (which also in­cludes An­drew Scott and the ever-charm­ing Tom Wilkin­son). It’s not a ter­ri­bly stylish movie, but the court case it highly com­pelling, es­pe­cially given that the court was es­sen­tially just prov­ing that a truth was true. Rated PG-13. 110 min­utes. Re­gal DeVar­gas. (Robert Ker)

DESIERTO

Jonás Cuarón (son of famed film­maker Al­fonso Cuarón, who pro­duces) makes his di­rec­to­rial de­but with this film star­ring Gael Gar­cía Ber­nal as the leader of a group of Mex­i­can mi­grant work­ers look­ing for a new life in Amer­ica by sneak­ing across the bor­der. When they run into a blood­thirsty Amer­i­can vig­i­lante (Jef­frey Dean Mor­gan), they find them­selves in a fight for their lives. Rated R. 94 min­utes. In English and Span­ish with sub­ti­tles. Re­gal Sta­dium 14. (Not re­viewed)

THE DRESS­MAKER

Kate Winslet stars as Tilly Dun­nage, a dress­maker who in the 1950s re­turns to her home­town in the Aus­tralian Out­back. She and her so­phis­ti­cated haute-cou­ture de­signs in­vig­o­rate 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)

THE GIRL ON THE TRAIN

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 her win­dow, 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 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 near enough to re­veal the char­ac­ters’ se­crets. Blunt is com­pelling as she tries to make sense of events through the de­bil­i­tat­ing fog of her char­ac­ter’s 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)

IXCANUL HARRY AND SNOW­MAN

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 horse’s life with that of deLayer, who (like Snow­man) came from noth­ing but even­tu­ally found suc­cess 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)

HELL OR HIGH WA­TER

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 heist-ac­tion 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)

IN A VAL­LEY OF VI­O­LENCE

Up-and-com­ing hor­ror film­maker Ti West (The House of the

Devil) tries his hand at his first Western. Ethan Hawke plays a mil­i­tary man who rolls into 19th-cen­tury Den­ton, Texas, and picks a fight with the whole town. John Tra­volta plays the mar­shal who must some­how mit­i­gate the vi­o­lence. Rated R. 104 min­utes. Vi­o­let Crown. (Not re­viewed) 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)

JACK REACHER: NEVER GO BACK

As best­selling au­thor Lee Child’s for­mi­da­ble Jack Reacher, the age­less Tom Cruise is still punch­ing through car win­dows, smash­ing peo­ple’s heads into desks, and tak­ing out mul­ti­ple bruis­ers us­ing only his bare hands. This time Reacher must un­cover a ma­jor gov­ern­ment con­spir­acy in­volv­ing the death of sol­diers be­fore he is taken out by the en­emy. Ed­ward Zwick di­rects. Rated PG-13. 118 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

KEEP­ING UP WITH THE JONE­SES

Zach Gal­i­fi­anakis and Isla Fisher play the Gaffneys, a pleas­antly dull mar­ried cou­ple who get a jolt of ex­cite­ment when the Jone­ses (Gal Gadot and Jon Hamm) move to their neigh­bor­hood. An odd sort of friend­ship blos­soms, and when the Gaffneys do a bit of am­a­teur spy work to in­ves­ti­gate the Jone­ses, they learn that their new neigh­bors are pro­fes­sional spies. Comic an­tics en­sue when the Gaffneys are drawn into the world of in­ter­na­tional es­pi­onage. Rated PG-13. 101 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

THE MAG­NIF­I­CENT SEVEN

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)

MID­DLE SCHOOL: THE WORST YEARS OF MY LIFE

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)

MISS HOKUSAI

This un­usual and re­ward­ing ex­er­cise in an­i­mated bi­o­graph­i­cal drama is an adap­ta­tion of Hi­nako Sugiura’s manga, a form of Ja­panese comic book. It ap­proaches the life and work of the leg­endary painter Kat­sushika Hokusai (best known for his clas­sic wood­block print The Great Wave

off Kana­gawa) through the cen­tral char­ac­ter of his daugh­ter Kat­sushika Ōi, a gifted artist in her own right. Where di­rec­tor Kei­ichi Hara’s am­bi­tious un­der­tak­ing fails as a movie is in its in­abil­ity to cre­ate a through line of story; the film breaks down into a se­ries of episodes that are some­times ar­rest­ing but don’t build or pay off. And while there is some won­der­ful vi­su­al­iza­tion of the art of the Kat­sushikas, père et fille, it leaves us crav­ing a lot more. Still, de­spite its short­com­ings, this is grown-up en­ter­tain­ment well off the beaten track and a journey worth tak­ing. Rated PG-13. 93 min­utes. Re­gal DeVar­gas. (Jonathan Richards)

MISS PEREGRINE’S HOME FOR PE­CU­LIAR CHIL­DREN

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; Vi­o­let Crown; DreamCatcher. (Robert Ker)

OUIJA: ORI­GIN OF EVIL

A pre­quel to 2014’s Ouija, this hor­ror film cen­ters on a sin­gle mom in 1967 Los An­ge­les who at­tempts to gain in­come through a scam in which she and her daugh­ters pre­tend to con­tact the dead us­ing a Ouija board. But then spir­its come through the board, pos­sess the youngest girl, and turn her into a sadis­tic su­per­nat­u­ral killing ma­chine. Rated PG-13. 99 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)

STORKS

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; DreamCatcher. (Not re­viewed)

TYLER PERRY’S BOO! A MADEA HAL­LOWEEN

Writer, di­rec­tor, and ac­tor Tyler Perry’s pop­u­lar Madea char­ac­ter — a no-non­sense grandma played by Perry in drag — has starred in two Christ­mas movies, but this Hal­loween film is a first. Madea’s go­ing to need all of her surly, gun-crazy ways to fend off the waves of zom­bies, ghouls, and ghosts (not to men­tion un­ruly teenagers) that rain down on her house on Oct. 31. Rated PG-13. 103 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)

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