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Not rated. 88 min­utes. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 49.


Rated R. 133 min­utes. The Screen. See Screen Gems, Page 45.


Poor Dono­van didn’t stand a chance. In one in­deli­ble scene from D.A. Pen­nebaker’s pi­o­neer­ing rock­u­men­tary of Bob Dy­lan’s 1965 tour of Eng­land, the Scot­tish singer of hip­pie-dip­pie dit­ties trades a gui­tar back and forth with Dy­lan, who is cap­tured here at the height of his hip­ster pre­ten­sions. Dono­van comes off as a scared and shy wannabe, while the brash, edgy Dy­lan con­de­scends to and out­shines the younger folkie. The film, a fas­ci­nat­ing doc­u­ment of the singer at the height of his fame and rel­e­vance, is re­spon­si­ble for mint­ing Dy­lan as an icon of fash­ion (he would never do bet­ter than those sun­glasses and that turtle­neck), mu­sic (see his com­pan­ion­able back­stage duet with Joan Baez here on Hank Wil­liams’ “Lost High­way”), and straight-up sass (to a Time mag­a­zine re­porter, he snarls, “I don’t need Time mag­a­zine and I don’t think I’m a folk singer — you’ll prob­a­bly call me a folk singer.”). Boy­ishly egged on by record pro­ducer Bob Neuwirth and re­port­edly fu­eled by no small amount of am­phet­a­mines, a fid­gety and swag­ger­ing Dy­lan rou­tinely tan­gles with press in in­ter­views, then reads their fawn­ing mis­con­cep­tions aloud to his en­tourage, which in­cludes Baez and man­ager Al­bert Gross­man. The por­trait that emerges here is riv­et­ing — of a bril­liant young man reck­on­ing with his sta­tus as the in­ter­na­tional voice of his gen­er­a­tion — and the mu­si­cal per­for­mances here only prove Dy­lan’s bona fides. With brief ap­pear­ances by Allen Gins­berg and Mar­i­anne Faith­full, among oth­ers. 96 min­utes. Not rated. Screens at 6 p.m. Tues­day, May 16, only. Cen­ter for Con­tem­po­rary Arts. (Molly Boyle)


Not rated. 128 min­utes. In Ro­ma­nian with sub­ti­tles. The Screen. See re­view, Page 47.


Aus­tralian film­maker Ben Young makes his fea­ture de­but with this low-key hor­ror film in which a cou­ple named John and Eve­lyn (Stephen Curry and Emma Booth) kid­nap a teenager named Vicki (Ash­leigh Cum­mings) and chain her to a bed in their shabby apart­ment un­til it comes time to kill her. Their mo­tives come from a blend of sadism and sex­ual arousal, and as Vicki tries to rea­son with Eve­lyn in or­der to es­cape, a heavy sub­text of class, gen­der roles, and how women can end up trapped in bad re­la­tion­ships bub­bles to the sur­face. Those themes don’t stand much chance to con­nect, how­ever — the film is not ni­hilis­tic or scary enough to work as hor­ror, and much too un­pleas­ant to work as a drama. Young shows a clever use of mu­sic and slow mo­tion, but it’s never clear to what end these de­vices are used, and whether this kind of story is a great use of any­one’s tal­ents. Not rated. 108 min­utes. Jean Cocteau Cin­ema. (Robert Ker)


In 2009, direc­tor Guy Ritchie reimag­ined the Sher­lock Holmes stories as a ki­netic ac­tion flick. Now, he at­tempts to give another Bri­tish myth a sim­i­lar trans­for­ma­tion by ap­ply­ing his vis­ual style to King Arthur. This story fo­cuses on the years sur­round­ing Arthur’s (Char­lie Hun­nam) pulling the sword from the stone and be­com­ing a some­what re­luc­tant king. Astrid BergèsFris­bey, Jude Law, Dji­mon Houn­sou, and Eric Bana also star. Rated PG-13. 126 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at Dream­Catcher. (Not re­viewed) Set in East LA, this drama cen­ters on Danny (Gabriel Chavar­ria), a teenage graf­fiti artist who is en­cour­aged by his fa­ther (Demián Bichir) to be­come a me­chanic and join the fam­ily busi­ness. When his no-good brother (Theo Rossi) re­turns from prison and seeks to com­pete with their fa­ther at a lowrider com­pe­ti­tion, Danny must choose his al­le­giances. Rated PG-13. 99 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


Rated PG-13. 125 min­utes. Vi­o­let Crown. See re­view, Page 46. In the lat­est Amy Schumer com­edy, she plays Emily, a woman who is dumped by her boyfriend just be­fore they are sched­uled to em­bark on a trip to South Amer­ica. In­stead she coaxes her home­body mother (Goldie Hawn, in her first film role since 2002) to join her for a lit­tle bond­ing in par­adise. Their ad­ven­ture goes awry when they are kid­napped and must work to­gether to get away from their cap­tors. Rated R. 91 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; Dream­Catcher. (Not re­viewed) There is a cer­tain brand of thriller in which the story’s he­roes are trapped in one place with an un­seen en­emy out to get them — last year’s shark movie The Shal­lows is a good ex­am­ple. This film by Doug Li­man (The Bourne Iden­tity) takes the con­cept to the war in Iraq, where two Amer­i­can sol­diers (Aaron Tay­lorJohn­son and John Cena) are trapped be­hind a wall in the mid­dle of the desert by an un­seen Iraqi sniper. If they at­tempt to move from their po­si­tion, they’ll be killed. Rated R. 81 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

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