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Artist and film­maker Kath­leen Bren­nan ex­plores the early years of painter Agnes Martin through a se­ries of in­ter­views with friends and col­leagues. Martin spent time in Taos in the 1950s cre­at­ing fig­u­ra­tive com­po­si­tions and biomor­phic ab­strac­tions be­fore mov­ing to the min­i­mal­ist grid paint­ings she’s known for. Co-pro­duced by Bren­nan and Jina Bren­ne­man, for­mer di­rec­tor of ex­hi­bi­tions at the Har­wood Mu­seum of Art in Taos, Agnes Martin: Be­fore the Grid looks at cir­cum­stances sur­round­ing her drive to make art de­spite a life­long strug­gle with schizophre­nia, her long-term re­la­tion­ship with artist Mil­dred Pierce, and the chal­leng­ing re­la­tion­ship with her own work, some of which she de­stroyed. It’s an in­for­ma­tive film that of­fers some in­sights into her need for or­der and pre­ci­sion but fol­lows a staid, talk­ing­heads for­mat that drags it down. 1:15 p.m. Sun­day, June 25, only. Not rated. 55 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)


Writer-di­rec­tor Edgar Wright (Scott Pil­grim vs. the World) re­turns with his lat­est stylish high-en­ergy movie, which this time cen­ters on bank rob­bers, fast cars, and snappy mu­sic. Ansel El­gort (The Fault in Our Stars) plays the ti­tle char­ac­ter, an ace get­away driver who is co­erced by a crime boss (Kevin Spacey) to take part in an out­ra­geous heist. Jamie Foxx, Jon Hamm, and Lily James also star. Opens Wed­nes­day, June 28. Rated R. 113 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed) BEATRIZ AT DIN­NER In this com­edy writ­ten by Mike White (School of Rock), Salma Hayek plays Beatriz, a Mex­i­can-Amer­i­can holis­tic healer who be­comes the out-of-place fire­brand at a din­ner party thrown by her wealthy clients. The sim­i­lar­i­ties of Doug Strutt (John Lith­gow) — an abra­sive, xeno­pho­bic owner of a ho­tel chain — to Don­ald Trump may or may not be in­ten­tional (the movie was shot be­fore the elec­tion), but if viewers dis­like the cur­rent pres­i­dent, they might find the con­fronta­tion be­tween the two char­ac­ters cathar­tic. Rated R. 83 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


This func­tional if un­spec­tac­u­lar doc­u­men­tary about the life and mu­sic of John Coltrane does the job it sets out to do, and lit­tle more — but at least you get some great mu­sic. Coltrane afi­ciona­dos will be fa­mil­iar with ev­ery­thing this film con­tains, and the com­pletely unini­ti­ated may not be in­ter­ested at all. For archival pur­poses though, it’s im­por­tant to cre­ate films like this while sev­eral of Coltrane’s peers are still alive. The talk­ing heads in­clude a num­ber of them, along with a hodge­podge of other praise-gush­ing guests, among them Cor­nel West, Carlos San­tana, and Bill Clin­ton. Not rated. 99 min­utes. Cen­ter for Con­tem­po­rary Arts. (Robert Ker)


Stephen Fry’s 1994 novel is given the film treat­ment courtesy of di­rec­tor John Jencks, and much of the script is as wry and witty as one might ex­pect from a story that first flowed from Fry’s pen. Vet­eran ac­tor Roger Al­lam serves as an ex­cel­lent ve­hi­cle for Fry’s words, play­ing a washed-up poet, now an al­co­holic theater critic, who is sacked from his job and finds him­self trav­el­ing to the coun­try house of an old friend (Matthew Mo­dine) to suss out whether or not his god­son (Tommy Knight) pos­sesses su­per­nat­u­ral heal­ing abil­i­ties. The cast and set-up promise a good time, but prob­lems lie in the tone of the movie, which shifts from cin­e­matic to sit­com, charm­ingly cyn­i­cal to just plain mean, and sub­tly satir­i­cal to broadly hu­mor­ous. This in­con­sis­tency is han­dled with lit­tle grace and is height­ened by a mu­si­cal score that is all over the map. You’re bet­ter off read­ing the book. Not rated. 89 min­utes. Jean Cocteau Cin­ema. (Robert Ker)


Not rated. 91 min­utes. The Screen. Q&A with pro­ducer Abou Far­man at the 7:20 p.m. screen­ing on Fri­day, June 23, and Satur­day, June 24. The 7:20 p.m. screen­ing on Thurs­day, June 29, ben­e­fits SAR. See re­view, Page 45.


Not rated. 106 min­utes. In Ger­man, French, Por­tuguese, Span­ish, and English with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 43.


The lat­est en­try in the Trans­form­ers fran­chise in­ex­pli­ca­bly fea­tures King Arthur (Liam Gar­ri­gan) and the Knights of the Round Ta­ble, who are among the first to come into a Trans­form­ers-made tal­is­man that now spells doom for planet Earth — un­less Cade Yea­ger (Mark Wahlberg) can save the day. The sup­port­ing cast is a ver­i­ta­ble Sun­dance Film Fes­ti­val of tal­ent, in­clud­ing An­thony Hop­kins, Stan­ley Tucci, and John Tur­turro as well as the voices of Steve Buscemi, John Good­man, and Ken Watan­abe — none of whom seem to be en­joy­ing them­selves all that much. By the time the cred­its roll, ex­hausted au­di­ences might feel the same way. Rated PG-13. 149 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Vi­o­let Crown. Screens in 2-D only DreamCatcher. (Robert Ker)


This 16th-cen­tury moral­ity tale and ghost story from Ja­panese mas­ter Kenji Mi­zoguchi was, in 1953, among the first im­ports to open the West to the beau­ties of Eastern cin­ema. It plays with a fairy-tale sim­plic­ity, telling the story of two brothers driven by greed and glory to pur­sue their dreams while ne­glect­ing their wives. Gen­juro (Masayuki Mori) is a pot­ter who braves a war-torn land­scape to sell his wares in town, where he falls into the clutches of a mys­te­ri­ous no­ble­woman (Machiko Kyo). Tobei (Ei­taro Ozawa), a farmer, longs to be a samu­rai. Mi­zoguchi’s grace­ful long takes and beau­ti­fully crafted aura of mys­tery make this an en­dur­ing clas­sic of world cin­ema. Screens as part of the Au­teurs se­ries. Not rated. 96 min­utes. In Ja­panese with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


The year is 1948, and Wla­dys­law Strzemin´ ski (Bo­gusław Linda), an ac­com­plished artist and

dis­abled vet­eran of the Great War, is teach­ing his ador­ing stu­dents at the Łódz´ School of Fine Arts when the Com­mu­nist party’s min­is­ter of cul­ture ar­rives to an­nounce new guide­lines for artists. The mes­sage boils down to this: You are here to help us pro­mote our brand. Strzemin´ ski is not on board, and it ru­ins him. This bi­o­graph­i­cal drama is the last fea­ture from a ti­tan of Pol­ish cin­ema, the pro­lific di­rec­tor An­drzej Wa­jda, who died last Oc­to­ber. It’s a pow­er­ful and af­fect­ing tale, but not a happy one. 1 p.m. Satur­day, June 24, only. Not rated. 99 min­utes. In Pol­ish with sub­ti­tles. The Screen. (Jeff Acker)


Straight Outta Comp­ton, a film that tells the story of rap group NWA, was a run­away suc­cess last sum­mer. This biopic about an­other West Coast rap leg­end, Tu­pac Shakur (Demetrius Shipp Jr.), hopes to re­peat that suc­cess. Shakur’s life cer­tainly of­fers grist for the mill: Raised by a sin­gle mother (Danai Gurira) who was an ac­tivist with the Black Pan­thers, the young boy showed prodi­gious tal­ent across all per­form­ing arts be­fore set­tling on hip-hop. He rose to promi­nence, courted con­tro­versy, and be­came a mar­tyr fig­ure when he was mur­dered in a feud with, among oth­ers, New York City rap­per Big­gie Smalls (Ja­mal Woolard). Rated R. 140 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Af­ter the melt­down of the Chernobyl Nu­clear Power Plant in 1986, a ra­dioac­tive dead zone was es­tab­lished and it be­came il­le­gal for peo­ple to re­turn to their homes. In de­fi­ance of this, about 1,200 peo­ple went back. Over the years the men have died off, and now just a few hun­dred peo­ple, mostly women, are left to farm, eat­ing fish and game that have been de­clared deadly by the Ukrainian govern­ment. Co-directed by Holly Mor­ris and Anne Bog­art, this doc­u­men­tary about the women sub­sist­ing in the re­gion is sad yet up­lift­ing. It is il­le­gal to live in the Ex­clu­sion Zone, but the Ukrainian govern­ment still sends in doc­tors, sci­en­tists, and aid work­ers to pro­vide the women with med­i­cal care, pen­sion funds, and other ser­vices. The women, as iso­lated as they are in the for­est, have been friends since child­hood. Though one woman lacks a thy­roid due to ra­di­a­tion-in­duced can­cer and an­other com­plains of body pain, they are ac­tive and ba­si­cally happy — at­ti­tudes that seem to be keep­ing them alive. The film also fol­lows the on­go­ing ef­forts to con­tain the ra­dioac­tive dust that has been blow­ing around Chernobyl for almost 30 years. Not rated. 72 min­utes. Jean Cocteau Cin­ema. (Jen­nifer Levin)


Be­tween shoot­ing Juras­sic World films and his up­com­ing Star

Wars gig, di­rec­tor Colin Trevor­row takes a breather with this small movie about a sin­gle mother (Naomi Watts) try­ing to raise two boys. One of them, named Henry (Jae­den Lieber­her), is a ge­nius who be­friends Christina (Mad­die Ziegler), the girl next door. When Henry finds out this girl is be­ing abused by her step­fa­ther (Dean Nor­ris), he en­lists his mom to help her. Rated PG-13. 105 min­utes. Vi­o­let Crown. (Not re­viewed)


So many big-bud­get an­i­mated movies look and feel like sec­ond- or third-rate Pixar films that it’s re­fresh­ing when a stu­dio takes a dif­fer­ent path. This time, DreamWorks An­i­ma­tion fol­lows its muse straight into the bath­room, faith­fully adapt­ing the vis­ual style, scat­o­log­i­cal hu­mor, and break­neck pace of the Cap­tain Un­der­pants books with a sur­pris­ing amount of heart. The story cen­ters on two fourth­grade friends (voiced by Kevin Hart and Thomas Mid­dled­itch) who make their own comics. When Prin­ci­pal Krupp (Ed Helms) puts them into dif­fer­ent classes to curb their in­ces­sant clown­ing, they hyp­no­tize him into be­liev­ing he’s Cap­tain Un­der­pants, a hero who wears noth­ing but a cape and a pair of white briefs. When he gets real pow­ers, Cap­tain Un­der­pants must then fight the vil­lain­ous Prof. Poopy­pants (Nick Kroll). This isn’t Mas­ter­piece Theatre, ex­cept per­haps to those young enough to re­mem­ber be­ing potty trained. It’s also brisk, brief, and clever enough that their par­ents won’t mind. Rated PG. 89 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; DreamCatcher. (Robert Ker)


Pixar’s Cars fran­chise is now of­fi­cially run­ning on fumes, as Light­ning McQueen (Owen Wil­son), now with his odome­ter get­ting up there in num­bers, sets out for a come­back against a new breed of race­car that is ca­pa­ble of go­ing much faster than he can. This plot is old hat for Pixar An­i­ma­tion, which has fea­tured char­ac­ters be­ing made ob­so­lete by new tech­nol­ogy since 1995’s Toy Story. As McQueen grad­u­ally shifts gears from de­nial to anger to ac­cep­tance with the help of a younger trainer voiced by Cris­tela Alonzo, his whole arc isn’t un­pleas­ant — it’s just bor­ing and about 20 min­utes too long. Larry the Ca­ble Guy’s tow truck Mater re­mains an ac­quired taste, the look of the char­ac­ters still feels off, and the world it­self re­mains weird — why do these talk­ing cars live in a world de­signed for hu­mans? For the tykes who wear Light­ning McQueen pa­ja­mas to bed, this in­stall­ment will likely be a pass­able new ad­di­tion to their DVD shelf. For the rest of us, the movie of­fers an ac­tion­packed scene in a de­mo­li­tion derby and not much else. Rated G. 109 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D at Vi­o­let Crown; DreamCatcher. (Robert Ker)


This 2016 doc­u­men­tary about the Colorado River boasts a score of stun­ning vo­cal mu­sic with cin­e­matog­ra­phy 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 a joy of an ex­pe­ri­ence. Not rated. 91 min­utes. Jean Cocteau Cin­ema. (Paul Wei­de­man)


The lat­est shark-at­tack movie stars Mandy Moore and Claire Holt as two sis­ters va­ca­tion­ing and ad­ven­ture-seek­ing in Mex­ico. While on a boat, they are talked into get­ting into a me­tal cage that is then low­ered into the ocean, where they can ex­pe­ri­ence what it’s like to swim with the great whites. It’s good, scary fun at first, but then the ca­ble snaps, send­ing the cage and their lim­ited oxy­gen sup­ply down to the ocean floor. Rated PG-13. 89 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)


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 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown. (Jeff Acker)


Daniel Blake (vet­eran standup comic Dave Johns) is a six­ty­ish New­cas­tle car­pen­ter who has suf­fered a heart at­tack. His doc­tor tells him he can’t yet re­turn to work. The bu­reau­cracy says he’s fit for em­ploy­ment and de­nies him ben­e­fits. His baf­fled help­less­ness is com­pounded by the fact that Daniel is a stranger to the com­puter tech­nol­ogy that has taken over the sys­tem. There are no pa­per forms for ap­peal; you have to do that on­line. This story be­comes one in which or­di­nary peo­ple have to help each other, be­cause in postThatcher Bri­tain, the state is not there for the lit­tle guy. Leg­endary Bri­tish di­rec­tor Ken Loach brings a sym­pa­thetic un­der­stand­ing of his char­ac­ters, beau­ti­fully evoked by these ac­tors, to give this lit­tle movie a big wal­lop. It won the 2016 Palme d’Or at Cannes. Not rated. 100 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


In this small hor­ror film, a fam­ily takes refuge from an apoc­a­lyp­tic event by board­ing them­selves up in a house and re­main­ing rel­a­tively calm and sane through the or­deal. When an­other fam­ily shows up, this up­sets the bal­ance of the shel­ter — just as what­ever is outside creeps closer. Rated R. 97 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


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)


Set in East LA, this drama fo­cuses 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. DreamCatcher. (Not re­viewed)


This 1970 Western, filmed en­tirely in New Mex­ico, may seem dated to to­day’s au­di­ences. Yet it still packs a punch, re­main­ing a pow­er­ful tale about racism. Fea­tur­ing Burl Ives, Brock Peters, David Car­ra­dine, Nancy Kwan, and Jack Palance, the movie re­counts the grue­some

re­cep­tion a black Union vet­eran faces af­ter com­ing home at the end of the Civil War, as white cit­i­zens con­spire to put an end to his dream of a idyl­lic post­war life spent ranch­ing. In­stead of the cav­alry, a tribe of mis­treated Na­tive Amer­i­cans comes to his res­cue, re­mind­ing movie­go­ers about the bet­ter an­gels of our na­ture. The di­a­logue may at times be stilted, the mono­logues a bit preachy, but the film’s gutsy ap­proach to racism at a time when moviemak­ers ig­nored the topic, along with its un­for­tu­nate con­tem­po­rary rel­e­vance, make this one worth watch­ing. Not rated. 89 min­utes. Jean Cocteau Cin­ema. (James McGrath Mor­ris)


Based on a true story, this film traces the re­la­tion­ship be­tween a Ma­rine named Me­gan Leavey (Kate Mara) sta­tioned in Iraq, and Rex, her com­bat dog. Rex is dif­fi­cult at first, but Me­gan trains him to the point where he is able to save many lives. When they are both in­jured, she fights for the op­por­tu­nity to adopt Rex. Rated PG-13. 116 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


Univer­sal Stu­dios once had a royal flush of mon­ster movies star­ring the fear­some likes of the Bride of Franken­stein, Drac­ula, the Wolf­man, and more. Now they’re bring­ing the mon­sters back, at­tempt­ing to weave them into a shared uni­verse like the Mar­vel su­per­heroes. It all kicks off in the desert, where a for­tune hunter (Tom Cruise) try­ing to re­trieve a trea­sure winds up awak­en­ing the Mummy (Sofia Boutella). Rated PG-13. 110 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Here is an epic about a mys­te­ri­ous woman who ac­com­plishes ex­tra­or­di­nary things with the force of her fem­i­nine power — and no, it’s not Won­der Woman. Rachel (Rachel Weisz) ar­rives at the Corn­wall es­tate of her late hus­band Am­brose un­der a cloud of sus­pi­cion. They had met and mar­ried while Am­brose was win­ter­ing in Italy, and his let­ters to his cousin and heir Philip (Sam Claflin) raise the specter of mur­der. But she soon has Philip eat­ing out of her hand and pre­pared to give her ev­ery­thing. Then things take a darker turn. In the ca­pa­ble hands of Roger Michell and with su­perb cam­er­a­work by Mike Eley, this 1951 Daphne du Mau­rier tale makes an en­ter­tain­ing sum­mer di­ver­sion. It’s Weisz’s picture, and she de­liv­ers a fas­ci­nat­ing, lay­ered, am­bigu­ous char­ac­ter that will leave you won­der­ing, as you leave the theater, just what she’s been up to for the past hour and three-quar­ters. Rated PG-13. 106 min­utes. Vi­o­let Crown. (Jonathan Richards)


Think of Paris Can Wait as a mod­ern Doris Day-Rock Hud­son ro­mance with­out the wit and snappy repar­tee. It’s also a road movie, a trav­el­ogue, and a gas­tro­nomic sam­pler with a lit­tle au­to­bi­og­ra­phy. It’s based on a page from the life of its writer/di­rec­tor, Eleanor Cop­pola (wife of Fran­cis Ford Cop­pola), mak­ing her nar­ra­tive fea­ture de­but at 80. Anne (Diane Lane) is at Cannes with her pro­ducer hus­band, Michael (Alec Bald­win), and ac­cepts a ride to Paris with his busi­ness as­so­ciate Jac­ques (Ar­naud Viard). Jac­ques has scarcely cleared Cannes and pointed his Peu­geot north when he pulls off for lunch at a Miche­lin-rated joint. Anne protests, but not too much, and al­lows her­self to be se­duced — by wine, gourmet food, and scenery — into slow­ing down and smelling the roses. The big ques­tion, of course, is whether she will al­low her­self to be se­duced into any­thing more — how do you say — French? Rated PG. 92 min­utes. Vi­o­let Crown. (Jonathan Richards)


Johnny Depp ap­plies Jack Spar­row’s eye­liner for one more turn at the helm of the Pi­rates of the Caribbean fran­chise, this time as he seeks out the tri­dent of Po­sei­don. Un­for­tu­nately for Spar­row, an old en­emy (Javier Bar­dem) has es­caped from the Devil’s Tri­an­gle and is hot in pur­suit with re­venge in mind. Ge­of­frey Rush, Or­lando Bloom, and Keira Knight­ley also re­turn. Keith Richards once played Spar­row’s fa­ther; in this film, Paul McCart­ney plays his un­cle. Rated PG-13. 129 min­utes. Screens in 2-D at Re­gal Sta­dium 14. (Not re­viewed)


Scar­lett Jo­hans­son tries her hand at main­stream com­edy in this movie by Lu­cia Aniello, best known for her work on the TV se­ries

Broad City. She plays one of sev­eral women at a bach­e­lorette party in Mi­ami who find them­selves in a mad­cap ca­per when the strip­per they’ve hired dies un­ex­pect­edly. Kate McKin­non, Ilana Glazer, and Zoë Kravitz co-star. Rated R. 101 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


The box-of­fice suc­cess of Won­der Woman is cause to cel­e­brate be­yond the girl power of the film it­self. With the pair­ing of charis­matic star Gal Gadot and savvy di­rec­tor Patty Jenk­ins, Hol­ly­wood has fi­nally pro­duced a su­per­hero fran­chise to root for and not groan over. The thrilling first act de­tails the ori­gin story of Diana, the su­per­pow­ered princess of an ad­mirable race of strong, ca­pa­ble Ama­zons cre­ated by the gods to pro­tect hu­mankind against the wrath of Ares, the god of war. When Al­lied spy Steve Trevor (Chris Pine, in fine form) crash-lands on Diana’s re­mote is­land, Ger­man sol­diers (led by a rogu­ish Danny Hus­ton) in hot pur­suit, he con­vinces the young war­rior to help him halt the de­vel­op­ment of a deadly mus­tard gas. Diana — who con­sid­ers it her destiny to stop Ares, whom she be­lieves to be the mas­ter­mind of World Warm I — leaves the Ama­zo­nian out­post to seek her for­tune in the or­di­nary world, where plenty of fish-out-of-wa­ter fem­i­nist hi­jinks oc­cur. The sweet chem­istry be­tween Trevor and the princess is pal­pa­ble, the movie’s plot sal­lies forth at a good clip, and Gadot proves as for­mi­da­ble a fighter as she is a beauty. The last third may be over­long and draggy, but the film is nonethe­less a cut above the monotony of Mar­vel and other caped-cru­sader crap. Rated PG-13. 141 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Molly Boyle)

Baby got back: Masayuki Mori and Machiko Kyo in Ugetsu, at Cen­ter for Con­tem­po­rary Arts

Dean Ridge and Roger Al­lam in The Hippopotamus, at Jean Cocteau Cin­ema

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