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Direc­tor Bill Con­don seems to call on his col­lec­tive ex­pe­ri­ence di­rect­ing Gods and Mon­sters, Dream­girls, and some Twi­light films to ef­fec­tively imag­ine Dis­ney’s 1991 an­i­mated fairy tale as a Gothic mu­si­cal hor­ror-

ro­mance. Emma Wat­son steps into the role of the book­worm Belle, who is im­pris­oned by the Beast (Dan Stevens) in his cas­tle. Un­be­knownst to her, if she falls in love with him, she will re­lease him and his friends from a curse. Luke Evans cuts a de­li­cious vil­lain as Gas­ton, and Emma Thomp­son, Ewan McGre­gor, and Ian McK­ellen voice some of the Beast’s mag­i­cal knick-knacks. The story hews so closely to the an­i­mated orig­i­nal — which is more charm­ing and con­cise — that this re­make doesn’t fully val­i­date its ex­is­tence, aside from serv­ing as a li­cense for Dis­ney to print money. This won’t mat­ter to the core au­di­ence, how­ever, who will adore the clas­sic-Hol­ly­wood ex­trav­a­gance and the crowd-pleas­ing fi­nale. Rated PG. 129 min­utes. Screens in 2-D only at Dream­Catcher. (Robert Ker)


The lat­est pic­ture by Dis­ney­na­ture, the film im­print that takes often-in­cred­i­ble na­ture footage and con­veys the lives of wild an­i­mals with kid-friendly nar­ra­tive sto­ry­telling, re­turns for its an­nual re­lease, which is usu­ally sched­uled around Earth Day. This time, the film­mak­ers head to China, where they look at sev­eral young an­i­mals — a panda bear cub, a two-year-old golden mon­key, and a fam­ily of snow leop­ards — as they grow and make their way in the world. John Krasin­ski nar­rates. Rated G. 76 min­utes. Vi­o­let Crown. (Not re­viewed)


In this an­i­mated com­edy, Alec Bald­win voices the ti­tle character, who is also the cut­throat CEO of the Baby Cor­po­ra­tion. Boss Baby forms a re­luc­tant al­liance with his jeal­ous older brother (Miles Christo­pher Bak­shi) when they un­cover a das­tardly plot by Fran­cis E. Fran­cis (Steve Buscemi), the CEO of Puppy Co., to desta­bi­lize the bal­ance of love in the world. Rated PG. 97 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)


The friend­ship be­tween Paul Cézanne and Émile Zola be­gins in their school days in Aix-en-Provence in 1852, and re­mains strong through good times and bad as the two men travel very dif­fer­ent ca­reer paths. Zola starts out dirt-poor, but achieves early suc­cess with his writ­ing, grad­u­ally drift­ing into the haute-bour­geoisie that he made his rep­u­ta­tion by crit­i­ciz­ing. Ac­cep­tance as a pain­ter is painfully more elu­sive to Cézanne, who is not con­sid­ered an equal by his peers. The movie, which jumps dizzy­ingly around in time, opens with Cézanne (Guil­laume Gal­li­enne) ar­riv­ing for a visit, near Paris, at the com­fort­able home of Zola (Guil­laume Canet). It soon be­comes clear that Cézanne has been deeply wounded by his old friend’s lat­est book, Zola’s 1886 L’Oeu­vre (The Mas­ter­piece), whose cen­tral pain­ter character is not al­ways flat­ter­ingly built on Cézanne. He is dif­fi­cult, ob­ses­sive, abra­sive and foul-mouthed in po­lite com­pany, and re­peat­edly char­ac­ter­ized by Zola and oth­ers as in­ca­pable of love. Writer-direc­tor Danièle Thomp­son’s weak­ness for rep­e­ti­tion weighs down an oth­er­wise well-drawn and beau­ti­fully acted por­trait of a fas­ci­nat­ing friend­ship. Rated R. 117 min­utes. The Screen. (Jonathan Richards)


Based on the 2003 book by Dave Eg­gers, this adap­ta­tion stars Emma Wat­son as Mae, a young woman who lands a job at a ma­jor tech com­pany. As she rises through the ranks, she dis­cov­ers that their sig­na­ture prod­uct — the “SeeChange,” a de­vice that al­lows its users to be mon­i­tored around the clock, osten­si­bly for full transparency in pub­lic of­fi­cials — may be over­reach­ing into pri­vate lives. She must de­cide if she has enough courage and fight in her to stop a full-sur­veil­lance so­ci­ety. Tom Hanks, Pat­ton Oswalt, and Bill Pax­ton, in his fi­nal film role, also star. Rated PG-13. 110 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


De­vel­oper Robert Moses was one of the big­gest and most con­tro­ver­sial fig­ures of 20th-cen­tury New York. He ac­crued enough power within city gov­ern­ment that he could raze en­tire neigh­bor­hoods and re­place them with ex­press­ways and hous­ing projects, in the name of ur­ban re­newal. Jane Ja­cobs (1916-2006) was a jour­nal­ist and au­thor who dis­agreed with the mod­ernist de­sign­ers who saw cities as con­cepts rather than or­ganic, func­tional places de­fined by the peo­ple who lived there. When Moses’ devel­op­ment en­croached upon Wash­ing­ton Square Park and swaths of Ja­cobs’ West Vil­lage neigh­bor­hood, she shifted from writer to ac­tivist and suc­cess­fully fought City Hall. This doc­u­men­tary traces both of their lives and their clash. It of­fers lit­tle new to those fa­mil­iar with the city’s his­tory and doesn’t re­ally get cook­ing un­til the fi­nal third, when it tack­les race and the high­way sys­tem, but it’s a fas­ci­nat­ing look at a strug­gle that per­sists in ur­ban cen­ters to this day. Not rated. 92 min­utes. Cen­ter for Con­tem­po­rary Arts. (Robert Ker)


This 2016 doc­u­men­tary about the Colorado River boasts a score of stun­ning vo­cal mu­sic with cin­e­matograpy that is al­ter­nately awe-in­spir­ing (the Rocky Moun­tains in Colorado and the Grand Canyon) and de­press­ing (the dams, the Sal­ton Sea, and the dried-up delta in Mex­ico). Mark Ry­lance nar­rates text writ­ten by Santa Fe au­thor Wil­liam deBuys and direc­tor Mu­rat Eyuboglu. The film’s mul­ti­di­men­sional por­trait of the river in­cludes spot­lights on a 17th-cen­tury Je­suit map­maker, a 19th-cen­tury ex­plorer, and a 20th-cen­tury farm­worker. The doc­u­men­tary of­fers an ed­u­ca­tional im­mer­sion in ecol­ogy and re­gional his­tory, and it’s just a joy of an ex­pe­ri­ence. Not rated. 91 min­utes. Jean Cocteau Cin­ema. (Paul Wei­de­man)


As fans of the enig­matic art­house film­maker David Lynch gear up for the big re­turn of his tele­vi­sion se­ries Twin Peaks later this month, they can tide them­selves over with this doc­u­men­tary. It fo­cuses on his early years in life, as he de­scribes some for­ma­tive ex­pe­ri­ences and of­fers in­sight into how he gained his per­spec­tive on the world. The doc­u­men­tary fo­cuses not only on Lynch’s work as a direc­tor but also on his painting and mu­sic-mak­ing. 5 p.m. Wed­nes­day, May 17, only. Not rated. 90 min­utes. Jean Cocteau Cin­ema. (Not re­viewed)


In the crew of his star­ship En­ter­prise, Star Trek creator Gene Rod­den­berry sought to rep­re­sent the var­ied peo­ples of planet Earth, along with a few other life forms. A new mi­cro­cosm of hu­man di­ver­sity showed up in 2001 with The Fast

and the Fu­ri­ous, about a multi-cul­tural band of broth­ers and sis­ters united by their sin­gu­lar in­abil­ity to drive fifty-five. The

Fast se­ries’ cast­ing depart­ment struck gold, par­tic­u­larly with the easy rap­port be­tween leads Vin Diesel and Michelle Ro­driguez, but the films’ scope has ex­panded to such an ex­tent that the last few en­tries min­i­mize street rac­ing in fa­vor of cocka­mamie clap­trap about in­ter­na­tional ter­ror­ists and sav­ing the world. The trend is par­tic­u­larly galling in this movie, which opens with an en­joy­able romp in Cuba’s clas­sic-car scene and then swerves with zero ex­pla­na­tion into a na­tional-se­cu­rity-re­lated heist in Ber­lin. Did the pro­jec­tion­ist skip a reel? By the time we’ve reached the fi­nale, in­volv­ing ve­hic­u­lar com­bat be­tween cars and a sub­ma­rine, it’s clear that the fran­chise has rel­e­gated its lik­able char­ac­ters to the back seat. What mat­ters isn’t what’s un­der the hood, it’s who’s be­hind the wheel, or so goes the wis­dom of Do­minic Toretto (Diesel). The Fast movies should take that sen­ti­ment to heart and fo­cus more on peo­ple and less on things that go boom. Rated PG-13. 136 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Jeff Acker)


In this brief break be­tween Marvel movies, Chris Evans puts down Cap­tain Amer­ica’s shield to play Frank Adler, a man tasked with rais­ing his niece (Mckenna Grace), who is a child prodigy. He’s han­dling the re­spon­si­bil­ity as best he can, but when his mother (Lind­say Dun­can) shows up at his door, she feels she could do a bet­ter job, so a cus­tody bat­tle en­sues. Marc Webb (who also dab­bled in su­per­heroes with the Amaz­ing Spider-Man films) di­rects, and Jenny Slate plays Frank’s love in­ter­est. Rated PG-13. 101 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


A buddy-heist movie must de­liver two things: good bud­dies and a good heist. Zach Braff’s re­make of a 1979 geri­atric caper flick comes through on the first count, bring­ing to­gether three cin­e­matic trea­sures — in Mor­gan Free­man, Michael Caine, and Alan Arkin — who plot to rob a bank. Un­for­tu­nately, the caper it­self falls flat. We want clev­er­ness in our movie heists, and there’s not enough of that here to knock off a 7-Eleven, much less a bank. The script and di­rec­tion never rise to the chal­lenge, but the three old pros (plus An­nMar­gret) still make good on their hour and a half of screen time, dis­play­ing a cou­ple of cen­turies worth of charm and act­ing chops to make this palat­able. Rated PG-13. 96 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Jonathan Richards)


The gang from the 2014 space opera re­turns: Chris Pratt as Star Lord, Zoe Sal­dana as Gamora, and Dave Bautista as Drax, with Vin Diesel voic­ing the tree­like Groot (in adorably minia­tur­ized form this time around) and Bradley Cooper voic­ing the snarky rac­coon Rocket. The plot is thor­oughly un­in­volv­ing, but you won’t no­tice amid all the in­ter­ga­lac­tic fire­works and daz­zling ac­tion se­quences chore­ographed to the sounds of Fleet­wood Mac, ELO, and Cheap Trick. The high­light is the rapid-fire zinger-laden di­a­logue, es­pe­cially as de­liv­ered by Bautista, whose comic tim­ing is im­pec­ca­ble. All the ex­plo­sions get tire­some and the vi­o­lence can be trou­bling, but at mo­ments the movie plays like Se­in­feld in space. Rated PG-13. 136 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only Dream­Catcher. (Jeff Acker)


Mex­i­can com­edy star Eu­ge­nio Der­bez gets his big­gest shot to cross over into the United States yet. He plays Máx­imo, a man who has cre­ated a pam­pered life for him­self by se­duc­ing wealthy older women. When he is hum­bled and must move in with his sis­ter (Salma Hayek), he learns lessons about what is re­ally im­por­tant in life. Rob Lowe also stars. Rated PG-13. 115 min­utes. Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)


French film­maker Yann Arthus-Ber­trand’s mon­u­men­tal tes­ta­ment to hu­man­ity in its cur­rent state is a mov­ing look at peo­ple from all walks of life and from all con­ti­nents. With a team of 16 jour­nal­ists, Arthus-Ber­trand trav­eled the globe, vis­it­ing 60 coun­tries and con­duct­ing count­less in­ter­views. He has one story to tell and al­lows it to be told through many voices: Syr­ian refugees, sol­diers, sur­vivors of the Kh­mer Rouge and the Rwan­dan geno­cide, peo­ple ek­ing out a mea­ger ex­is­tence among moun­tains of trash in the de­spoiled re­gions of third world na­tions, no­mads, and veter­ans, to name a few. They share their ac­counts of per­sonal ex­pe­ri­ence with­out added con­text or re­port­ing; they don’t give their names; and the film com­bines these poignant in­ter­views with po­etic images of aerial and slow-mo­tion pho­tog­ra­phy. What emerges is a por­trait of hu­man­ity that is di­verse but shares in univer­sal suf­fer­ing, the search for a mean­ing to ex­is­tence, and ex­pres­sions of love. It’s a com­pelling and beau­ti­ful film with the power to move you to tears of sor­row and of joy. Not rated. 143 min­utes. In mul­ti­ple lan­guages with sub­ti­tles. The Screen. (Michael Abatemarco)


Direc­tor Ceyda Torun grew up sur­rounded by the street cats of Istanbul. “They were my friends and con­fi­dants,“she wrote, “and I missed their pres­ence in all the other cities I ever lived in.” This warm­hearted film, shot partly from hu­man per­spec­tive and partly from cat height, is a love let­ter to the fe­lines and the peo­ple who share her na­tive city. “Peo­ple who don’t love an­i­mals can’t love peo­ple ei­ther — I know that much,” ob­serves one mat­ter-of-fact fish­mon­ger. Yet the film is not sappy, just gen­er­ous and wise. By the end, you’ll feel as if a cat has been purring on your lap for 80 min­utes. Not rated. 80 min­utes. In Turk­ish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (James Keller)


Could there be any­thing more ex­ot­i­cally ro­man­tic than a cen­tury-old real-life ad­ven­ture down the un­charted wilder­ness of the Ama­zon? It’s a tale that seems ripped si­mul­ta­ne­ously from news­pa­per head­lines and from the pages of Boy’s Own Mag­a­zine. And it’s all true. Or most of it. Or some of it. Col. Percy Fawcett (Char­lie Hun­nam) was an ad­ven­turer who made a num­ber of ex­pe­di­tions down the Ama­zon in search of a ru­mored lost civ­i­liza­tion near the turn of the 20th cen­tury. Fawcett’s ad­ven­tures must have been in­cred­i­bly chal­leng­ing, dan­ger­ous, and ex­cit­ing. Writer-direc­tor James Gray, adapt­ing David Grann’s 2009 non­fic­tion best­seller, cap­tures some of that, but he sur­ren­ders too often to the clichés of the movies. Rated R. 141 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Jonathan Richards)


In the 1990s, au­thor Kent Ner­burn was con­tacted by a Na­tive Amer­i­can el­der named Dan to help him write a book that con­veyed Dan’s wis­dom, po­lit­i­cal opin­ions, and so­cial com­men­tary. That col­lab­o­ra­tion be­came the 1995 book Nei­ther Wolf Nor Dog, and now Ner­burn has adapted the book into a screen­play about the jour­ney the two men un­der­took. Christo­pher Sweeney plays Ner­burn, and Dave Bald Ea­gle plays Dan, in this telling of how Ner­burn ac­cepted this re­spon­si­bil­ity while travers­ing Lakota coun­try. 2:20 p.m. Tues­day, May 16, only. Not rated. 110 min­utes. Jean Cocteau Cin­ema. (Not re­viewed)


Laura Poitras, who won an Oscar for Ci­ti­zen­four, her 2014 doc­u­men­tary on Ed­ward Snow­den, re­turns with an in­side look at the life and work of another con­tro­ver­sial fig­ure, Ju­lian As­sange, the founder of Wik­iLeaks. It’s a con­flicted por­trait, both ad­mir­ing and crit­i­cal, as she gets in­ti­mate ac­cess to his dis­cus­sions and his at­ti­tudes. As­sange him­self is a stew of con­tra­dic­tions, a cham­pion of gov­ern­ment transparency who is coolly guarded in his own life. As­sange has been a vir­tual pris­oner for the past five years in Lon­don’s Ecuado­rian Em­bassy, where he was granted asy­lum to pre­vent his ex­tra­di­tion to Swe­den on 2010 charges of sex­ual as­sault. Poitras has re­cut the film since its 2016 Cannes show­ing, tem­per­ing her en­thu­si­asm for her sub­ject in the af­ter­math of the Trump vic­tory and al­le­ga­tions of col­lu­sion be­tween Wik­iLeaks and Rus­sian gov­ern­ment-backed hack­ers to sway that elec­tion. Not rated. 95 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


Wil­liam P. Young’s 2007 self-pub­lished faith-based novel, which has sold mil­lions of copies and dom­i­nated best­seller lists, comes to the big screen. Sam Wor­thing­ton plays a man whose daugh­ter is mur­dered in a shack on a camp­ing trip. Strug­gling with grief, he re­turns to the shack and meets a woman named Papa (Oc­tavia Spencer) and two other strangers, who ease him into a spir­i­tual world where he re­con­nects with God and heals him­self. 2 p.m. Thurs­day, May 11, only. Rated PG-13. 132 min­utes. Dream­Catcher. (Not re­viewed)


Any­one who has ever watched The Smurfs — ei­ther the 1980s car­toon se­ries or the most re­cent films — has prob­a­bly won­dered why there is only one fe­male in the vil­lage, the heels-wear­ing Smur­fette (voiced here by Demi Lo­vato). This movie seeks to an­swer that ques­tion by send­ing a hand­ful of Smurfs to a lost vil­lage, which is pre­sum­ably where Smur­fette came from. Ju­lia Roberts, Rainn Wil­son, and Mandy Patinkin also sup­ply voice­work. Rated PG. 89 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Dream­Catcher. (Not re­viewed)


By turns funny, ro­man­tic, mov­ing, and har­row­ing, this movie about movies, war, and fe­male em­pow­er­ment hits ev­ery note with the ex­quis­ite ping of a fork struck to fine crys­tal. Gemma Arter­ton is Ca­trin Cole, a young woman who in blitz-rav­aged Lon­don un­ex­pect­edly finds her­self hired by the Bri­tish Min­istry of In­for­ma­tion’s film divi­sion as a screen­writer to han­dle the “slop” (women’s di­a­logue) for pro­pa­ganda movies. The as­sign­ment is to find real wartime hu­man in­ter­est stories and turn them into morale-rais­ing pot­boil­ers. The per­fect cast­ing in­cludes Sam Claflin as her writ­ing part­ner and per­haps more, Bill Nighy as an ag­ing star, Ed­die Mars­den as his agent, plus He­len McCrory, Richard E. Grant, Jeremy Irons, and many more. To see Nighy raise an eye­brow, or sing an Ir­ish air in a pub, is pure cin­ema magic. Im­pec­ca­bly directed by Dan­ish film­maker Lone Sher­fig and adapted by Gaby Chi­appe from Lissa Evans’s 2009 novel Their Finest Hour

and a Half (a ti­tle they should have kept), this is cer­tainly one of the year’s finest to date. Rated R. 117 min­utes. Vi­o­let Crown. (Jonathan Richards)


In 1979, six years af­ter the sign­ing of the Paris Peace Ac­cords, a young anti-war move­ment vet­eran named Glenn Sil­ber (with co-direc­tor Barry Alexan­der Brown) made a doc­u­men­tary about the Viet­nam anti-war protest move­ment as it un­folded on and around the Univer­sity of Wis­con­sin in the decade from 1963 to the war’s end. It was nom­i­nated for an Acad­emy Award. Sil­ber, now a Santa Fean, traces the es­ca­la­tion from peaceful protest to con­fronta­tion with club-wield­ing po­lice. The stakes rose with the chaos at the ’68 Demo­cratic Con­ven­tion in Chicago, and the sub­se­quent elec­tion of Richard Nixon. It turned deadly with the Na­tional Guard’s killing of four stu­dents at Kent State and a bomb­ing of the U.S. Army Math­e­mat­ics Re­search Cen­ter on the Madi­son cam­pus that killed a grad­u­ate stu­dent. The film is “not a nos­tal­gic blast from the past,” Sil­ber says. “It does con­nect. It’s al­most like a cliff notes on how to re­sist.” The Jean Cocteau projects this as the first of a se­ries called Films of Re­sis­tance, which Sil­ber will help to cu­rate. Not rated. 100 min­utes. The Screen. (Jonathan Richards)

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