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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)

AN ART THAT NA­TURE MAKES: THE WORK OF ROSAMOND PUR­CELL

This doc­u­men­tary looks at the ca­reer and process of ac­claimed pho­tog­ra­pher Rosamond Pur­cell. Her work re­veals her fas­ci­na­tion with cap­tur­ing both nat­u­ral and man-made things in vary­ing de­grees of de­cay, as she shoots ev­ery­thing from junk­yards to an­i­mal car­casses in ways that ren­der her sub­jects abs­tract. Stephen Jay Gould and Er­rol Mor­ris ap­pear in the film to ex­press ad­mi­ra­tion for her work. Not rated. 75 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)

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)

BE­ING 17

Teenage boys are of­ten moody and un­com­fort­able, young enough to still be good at heart but too awk­ward to ex­press even their best in­ten­tions — none of which makes for feel-good cin­ema. But Be­ing 17 is one of the most hon­est char­ac­ter stud­ies of teenage boys in re­cent mem­ory, and it is even more re­mark­able for the fact that it was co-writ­ten and di­rected by sev­enty-three-year-old French film­maker An­dré Téch­iné. This com­ing-of-age ro­mance cen­ters on two boys (Kacey Mot­tet Klein and Corentin Fila) with ab­sent par­ents who live in a moun­tain town dom­i­nated by the mil­i­tary and agri­cul­ture. The ro­man­tic in­ter­est they sense in each an­other man­i­fests it­self in school­yard vi­o­lence — for a time. The plot un­folds in sat­is­fy­ing fash­ion, thanks to their won­der­ful act­ing and the film’s lively, thought­ful edit­ing. San­drine Kiber­lain de­serves spe­cial no­tice for her em­pa­thetic per­for­mance as the mother to one boy and mother fig­ure to the other. Not rated. 116 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Robert Ker)

CER­TAIN WOMEN

In muddy, win­try south­ern Mon­tana, Laura (Laura Dern), a lawyer, is con­tend­ing with the un­rea­son­able de­mands of an un­hinged client. Mean­while, Gina (Michelle Wil­liams) is de­ter­mined to build her dream home, and Beth (Kris­ten Ste­wart) is tack­ling a gru­el­ing com­mute to teach a con­tin­u­ing-ed­u­ca­tion class where she makes an un­likely friend (Lily Glad­stone). Di­rec­tor Kelly Re­ichardt’s qui­etly im­pres­sion­is­tic film stitches to­gether these three tales with in­vis­i­ble seams, bol­ster­ing the rep­u­ta­tion the in­die film­maker has de­vel­oped as a poet of the mun­dane. Buoyed by the vir­tu­oso per­for­mances of Dern, Wil­liams, and Ste­wart, along with the mag­netic Glad­stone, the film’s best mo­ments ex­ist in sly non­ver­bal ges­tures: in Dern’s un­tan­gling of a scarf after she puts on a bul­let­proof vest over it, or Glad­stone’s rev­er­ent brush­ing of the horses she cares for. It’s a pro­found re­minder of the ev­ery­day vis­ual po­et­ics that tether a per­son’s in­te­ri­or­ity to the out­side world. Rated R. 107 min­utes. Vi­o­let Crown. (Molly Boyle)

DE­NIAL

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

With a Holo­caust De­nier, de­scribes the 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 had to 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 is com­pelling, as is the con­cept of hav­ing to prove in court that a widely known truth is true. Rated PG-13. 110 min­utes. Re­gal DeVar­gas. (Robert Ker)

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 Sta­dium 14; Vi­o­let Crown. (Molly Boyle)

HARRY AND SNOW­MAN

Di­rec­tor Ron Davis’ 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 lifeal­ter­ing chance en­counter be­tween man and beast. Not rated. 84 min­utes. The Screen. (Michael Abatemarco)

IN­FERNO 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) Tom Hanks re­turns to play au­thor Dan Brown’s wildly pop­u­lar pro­fes­sor Robert Lang­don of The Da Vinci Code once more. This time, Lang­don wakes up in a hospi­tal, suf­fer­ing from am­ne­sia that doesn’t hin­der his ex­ten­sive knowl­edge of his­tory but af­fects his mem­ory of the last few days. He teams up with Dr. Si­enna Brooks (Felicity Jones) to solve a mys­tery in­volv­ing Dante’s In­ferno that could lead to count­less deaths. Rated PG-13. 121 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (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 DeVar­gas; Re­gal Sta­dium 14; 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. (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. (Robert Nott)

MISS PERE­GRINE’S HOME FOR PE­CU­LIAR CHIL­DREN

Tim Bur­ton presents a haunted house of a movie, con­tain­ing chil­dren in creepy masks, walk­ing skele­tons, eye­bal­leat­ing 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

STORKS

chil­dren with un­usual pow­ers are kept safe from so­ci­ety by the shape-shift­ing Miss Pere­grine (Eva Green). The movie’s first half is 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 runs 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)

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) 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. (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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