OPEN­ING THIS WEEK

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THE BEGUILED

Sofia Cop­pola’s lat­est pic­ture, which won her the Best Di­rec­tor award at the 2017 Cannes Film Festival, is set at a Civil War-era girls’ school in Vir­ginia. When an in­jured Union sol­dier (Colin Far­rell) shows up at their door, he trans­forms their shel­tered ex­is­tence into some­thing more du­plic­i­tous and vi­o­lent. Nicole Kid­man plays the school­mas­ter, and Kirsten Dunst and Elle Fan­ning also star. Based on the novel by Thomas Cul­li­nan, which was also made into a 1971 film. Rated R. 93 min­utes. Vi­o­let Crown. (Not re­viewed)

DESPICABLE ME 3

Steve Carell is back as the voice of Gru, the das­tardly mas­ter­mind at the cen­ter of the highly pop­u­lar an­i­mated comedy se­ries. This time, how­ever, he also voices Dru, Gru’s long-lost evil-ge­nius brother. When Gru meets Dru, he’s talked into giv­ing up the straight life as a fam­ily man to re­turn to vil­lainy for one last heist. Kristen Wiig and Steve Coogan also lend their voices, and Gru’s beloved Min­ions re­turn. Rated PG. 90 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Not re­viewed)

THE EX­CEP­TION

This World War II drama is set pri­mar­ily in a cas­tle in the Nether­lands, where Kaiser Wil­helm (Christopher Plum­mer) lives in ex­ile. Jai Court­ney (Sui­cide Squad) plays a young Ger­man sol­dier who is tasked with find­ing out if the Dutch re­sis­tance has planted a spy to watch over Wil­helm. His mis­sion be­comes com­pli­cated, how­ever, when he falls for a Jewish maid (Lily James) at the es­tate. Rated R. 107 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)

THE HERO

Rated R. 96 min­utes. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 49.

THE HOUSE

Will Fer­rell and Amy Poehler play a sub­ur­ban cou­ple who dis­cover they have ac­ci­den­tally destroyed their daugh­ter’s en­tire col­lege fund shortly be­fore she is sched­uled to leave. To make the money back, they let a friend (Ja­son Mant­zoukas) con­vince them to open an il­le­gal casino in their base­ment — com­plete with strip­pers, DJs, and “fight night.” It doesn’t take them long be­fore they dis­cover they en­joy the crim­i­nal life.

Rated R. 88 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

MALI BLUES

Mali, a land­locked African na­tion en­gulfed by the Sa­hara, un­der­goes ran­corous tur­moil as rad­i­cal Is­lamists ter­ror­ize the cities in the north­ern desert, no­tably Tim­buktu. This doc­u­men­tary in­tro­duces a di­verse group of mu­si­cians who op­pose the ter­ror­ists and still give col­or­ful, pas­sion­ate con­certs in the south­ern cap­i­tal city of Ba­mako. We never come to un­der­stand what mo­ti­vates the un­seen ter­ror­ists, who are de­stroy­ing in­stru­ments and threat­en­ing per­form­ers. But the mu­sic is quite en­thralling, fea­tur­ing pop singer Fa­toumata Di­awara (pre­vi­ously in­tro­duced in Tim­buktu), rap­per Master Soumy, Tuareg desert gui­tarist Ahmed Ag Kaedi, and Mali’s na­tional trea­sure, Bassékou Kouy­até, whose griot song­man­ship closely re­sem­bles that of the Amer­i­can blues tra­di­tion. Not rated. 93 min­utes. In French with sub­ti­tles. Jean Cocteau Cin­ema. (Jon Bow­man)

SA­CRED

While some athe­ists de­scribe God as “an in­vis­i­ble sky mon­ster” and many Chris­tian and Is­lamic fun­da­men­tal­ists wish to im­pose their own strict doc­trines on oth­ers, peo­ple all over the world ex­pe­ri­ence faith as pri­mary to their cul­tural iden­tity and ba­sic ex­is­tence. In Sa­cred, di­rected by Thomas Len­non, more than 40 film­mak­ing teams trav­eled the globe to doc­u­ment an ar­ray of re­li­gious ob­ser­vances, in­clud­ing the birth, death, mar­riage, and mourn­ing rit­u­als of Hin­duism, Chris­tian­ity, Ju­daism, Is­lam, Bud­dhism, and other faiths. The movie is largely vis­ual with no guid­ing nar­ra­tive; in­di­vid­ual peo­ple speak about their faith as it af­fects their daily lives and the way they con­sider the fu­ture. Loss of faith is ex­plored through the dev­as­ta­tion wrought by the Ebola virus in Africa, while at the Louisiana State Pen­i­ten­tiary, God can serve as a ray of hope for those who are locked up for life. Not rated. 87 min­utes. The Screen. (Jen­nifer Levin)

SEVEN BEAU­TIES

This bold, sweep­ing World War II comic drama thrust Italy’s Lina Wert­müller into the spot­light in 1975, as she be­came the first woman ever nom­i­nated for an Acad­emy Award for best di­rec­tor. It’s a dark and bit­ing farce, an un­flinch­ing por­trait of a cad and dandy from Naples (played with puck­ish gusto by Gian­carlo Gian­nini) who is im­pris­oned by the Ger­mans af­ter flee­ing from the Ital­ian army. All around him, in­no­cents are be­ing butchered, but he has a strong will to sur­vive, aided by the many women he woos, chief among them the buxom com­man­dant of his prison camp (played by the late Shirley Stoler), whom he se­duces with las­civ­i­ous glee. With a newly re­stored print for the screen that high­lights the lush cin­e­matog­ra­phy by Tonino Delli Colli, view­ers will grasp why he was se­lected to shoot Italy’s first color movie. Rated R. 113 min­utes. In Ital­ian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Jon Bow­man)

NOW IN THE­ATERS AGNES MARTIN: BE­FORE THE GRID

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 she had 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 talk­ing-head for­mat that drags it down. Not rated. 55 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco) ALL EYEZ ON ME 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 the 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. (Not re­viewed)

THE BABUSHKAS OF CH­ER­NOBYL

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)

BABY DRIVER

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. Rated R. 113 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)

BEATRIZ AT DIN­NER

Salma Hayek stars as the ti­tle char­ac­ter, a body­worker who winds up as an im­promptu din­ner guest in the home of wealthy clients, where she en­coun­ters and then stands up to the ob­nox­ious race and class bi­ases of real es­tate mogul Doug Strutt (John Lith­gow). Per­for­mances are uni­formly su­perb in this com­pli­cated, of­ten un­com­fort­able lit­er­ary char­ac­ter study that con­cludes in am­bi­gu­ity so star­tling it is bound to leave view­ers di­vided. As the story moves be­yond hos­tile com­ments about Beatriz’s im­mi­gra­tion sta­tus and into deeper wa­ters of per­sonal ide­ol­ogy and themes of mor­tal­ity and ecology, the guests do not know what to make of some­one who is not be­holden to their sta­tus as im­por­tant busi­ness­peo­ple — and their mock­ery drives Beatriz to des­per­a­tion. Rated R. 83 min­utes. Re­gal Sta­dium 14 Vi­o­let Crown. (Jen­nifer Levin)

CAP­TAIN UNDERPANTS: THE FIRST EPIC MOVIE

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 fourth-grade 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. (Robert Ker)

CARS 3

Pixar’s Cars fran­chise is 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 prob­a­bly be a pass­able new ad­di­tion to their DVD shelf. For the rest of us, the movie of­fers an ac­tion-packed scene in a de­mo­li­tion derby and not much else. Rated G. 109 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)

CHAS­ING TRANE: THE JOHN COLTRANE DOC­U­MEN­TARY

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)

THE COLORADO

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)

47 ME­TERS DOWN

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)

ICAROS: A VI­SION

An­gelina (Ana Cecilia Stieglitz) has come to the Peru­vian Ama­zon to face her fear of death by tak­ing ayahuasca, a blend of psy­chotropic plants used in heal­ing and spir­i­tual cer­e­monies. She stays with a fam­ily of shamans in a bare-bones jun­gle re­treat, along with a hand­ful of oth­ers on sim­i­lar per­sonal jour­neys. In this highly vis­ual movie, di­a­logue is min­i­mal and the sto­ry­line is a scaf­fold­ing for viewer pro­jec­tion and ex­trap­o­la­tion. The tone is set by open­ing stretches of na­ture im­agery and poetic voice-overs from an old woman who gath­ers the plants, gen­tly ex­hort­ing view­ers to lis­ten to the sounds of the for­est. 3:15 p.m. Satur­day, July 1, only. Not rated. 91 min­utes. The Screen. (Jen­nifer Levin)

ME­GAN LEAVEY

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)

THE MUMMY

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. (Not re­viewed)

PI­RATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

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)

ROUGH NIGHT

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. (Not re­viewed)

TRANS­FORM­ERS: THE LAST KNIGHT

The new 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. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Robert Ker)

WON­DER WOMAN

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 War 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)

They nursed it and re­hearsed it: Fa­toumata Di­awara (left) in Mali Blues, at Jean Cocteau Cin­ema

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