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OPEN­ING THIS WEEK THE BIG SICK

Rated R. 119 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. See re­view, Page 61.

LOST IN PARIS

The mar­ried com­edy duo of Fiona Gor­don and Do­minique Abel (Rhumba) re­turn with an­other broad romp that will de­light some and dis­may oth­ers. Fiona (Gor­don), a meek li­brar­ian in a snow-globe Cana­dian ham­let, gets a let­ter from her long-lost Aunt Martha (the late Em­manuelle Riva) in Paris, beg­ging her to come. Fiona ar­rives, finds Martha has dis­ap­peared, and mis­ad­ven­tures en­sue, many of which in­volve a lanky hobo named Dom (Abel). The do­ings are thick with gags, some in­spired, some flat­tened through a wringer. This movie misses the magic of the cou­ple’s 2005

L’Ice­berg, but it has a lot of the same el­e­ments of silent moviein­spired phys­i­cal com­edy, and a lovely se­quence of danc­ing feet fea­tur­ing Riva and fel­low French film vet­eran Pierre Richard. At times mem­o­rable, at times for­get­table, at a tidy 85 min­utes, it might be worth the gam­ble. Not rated. 85 min­utes. In English and French with sub­ti­tles. The Screen. (Jonathan Richards) MAUDIE Not rated. 115 min­utes. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 58. THE OR­NITHOL­O­GIST Not rated. 117 min­utes. In Por­tuguese, Man­darin, Mi­ran­dese, Latin, and English with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 63. REST­LESS CREA­TURE: WENDY WHELAN Not rated. 90 min­utes. The Screen. See re­view, Page 59. WAR FOR THE PLANET OF THE APES In 1968’s Planet of the Apes, Charl­ton He­ston’s George was over­taken with emo­tion upon real­iz­ing that the Planet of the Apes that he was trapped on was in­deed Earth. How were hu­mans over­taken by simi­ans? Be­gin­ning with 2011’s Rise of the

Planet of the Apes, this new suite of movies has set out to an­swer that very ques­tion. In this third in­stall­ment, ten­sions be­tween man and simian have risen to all-out con­flict, with Cae­sar (a mo­tion-cap­tured Andy Serkis) tak­ing the most prom­i­nent ape role and Woody Har­rel­son play­ing the ruth­less colonel in charge of pre­serv­ing hu­mankind as the dom­i­nant species. Rated PG-13. 140 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Not re­viewed) WISH UPON Clare (Joey King) is a high-school stu­dent who is frus­trated with her life, un­til she finds the so­lu­tion to all of her prob­lems: a magic mu­sic box that grants its user seven wishes. At first, this seems like an in­cred­i­ble gift. After a lit­tle more re­search, how­ever, she dis­cov­ers that each pre­vi­ous owner of the mu­sic box has ul­ti­mately met a grisly fate, both for them­selves and all of their loved ones. This Faus­tian deal that Clare has made comes due when the mu­sic stops, leav­ing a trail of death in its wake. Rated PG-13. 90 min­utes. Re­gal Sta­dium 14; DreamCatcher. (Not re­viewed)

NOW IN THE­ATERS 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. 4:20 p.m. Wed­nes­day, July 19, only. Not rated. 72 min­utes. Jean Cocteau Cinema. (Jen­nifer Levin)

BABY DRIVER

From the mo­ment Baby (Ansel El­gort), the get­away driver of the film’s ti­tle, ex­e­cutes a jaw­drop­ping chase se­quence chore­ographed to the Jon Spencer Blues Ex­plo­sion’s propul­sive “Bell­bot­toms,” it’s clear the doors of cin­e­matic pos­si­bil­ity have been kicked wide open for this fast-paced, rhyth­mic ac­tion movie. Writer-di­rec­tor Edgar Wright mar­ries clas­sic Hol­ly­wood mu­si­cals to The Fast and the Fu­ri­ous with elec­tric verve. At its core is a sweet ro­mance be­tween Baby and a diner wait­ress named Deb­ora (Lily James), which is put in jeop­ardy be­cause of Baby’s debt to a crime lord (Kevin Spacey) and his en­tan­gle­ments with the ec­cen­tric so­ciopaths in that cir­cle (Jon Hamm, Jamie Foxx). Though the edit­ing might be the movie’s star, the script isn’t too shabby, and the cast is strong enough across the board that you won’t feel the movie is sim­ply a stylis­tic ex­er­cise. Rather, it’s the kind of ex­hil­a­rat­ing, startling romp that be­trays how con­ser­va­tive most block­buster movies are. Rated R. 113 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)

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. Vi­o­let Crown. (Jen­nifer Levin)

THE BEGUILED

Sofia Cop­pola’s lat­est, which won her the Best Di­rec­tor award at this year’s Cannes Film Fes­ti­val, is a moody pe­riod piece re­con­fig­ured from the 1971 film, which starred Clint East­wood and was based on a novel by Thomas P. Cul­li­nan. In Civil War-torn Vir­ginia, a wounded Union cor­po­ral (Colin Far­rell) is brought to con­va­lesce at a nearby girls’ board­ing school presided over by Miss Martha Farnsworth (Ni­cole Kid­man). Though the shel­tered pupils and their teacher (an un­der­stated and lovely Kirsten Dunst) are at first sus­pi­cious of the en­emy sol­dier, they come to dote on him, fas­ci­nated by his mas­cu­line en­ergy, which threat­ens to up­end the or­der of the school. Cop­pola’s mis­sion to in­vert di­rec­tor Don Siegel’s lurid and male-dom­i­nated per­spec­tive from the orig­i­nal in­fuses the re­make with her trade­mark thought­ful fe­male gaze. The de­ci­sions she makes in the ser­vice of this goal are sub­tle and en­gross­ing, though her choice to cut a key slave char­ac­ter from the orig­i­nal nar­ra­tive stands out as a missed op­por­tu­nity for fur­ther com­plex­ity. Bol­stered by the per­for­mances of Kid­man, Dunst, Far­rell, and a de­light­fully over­sexed Elle Fan­ning, the up­date is a tour-de-force of gauzy, clois­tered fem­i­nin­ity — as with Cop­pola’s The Vir­gin Sui­cides and Marie An­toinette, the dresses are not to be missed — com­bined with the can­dlelit black magic of a South­ern gothic psy­cho­log­i­cal thriller. Rated R. 93 min­utes. Vi­o­let Crown. (Molly Boyle)

CARS 3

Race car Light­ning McQueen (Owen Wil­son), now with his odome­ter get­ting up there in num­bers, hits the track once more and 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. (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)

DE­SPI­CA­BLE ME 3

With two movies and a Min­ions spinoff now un­der its belt, this an­i­mated com­edy series has its hero, Gru — the das­tardly mas­ter­mind with a heart of gold — meet­ing his long-lost brother, Dru. In voic­ing both char­ac­ters, Steve Carell man­ages once more to con­vey a sur­pris­ing amount of per­son­al­ity for some­one shout­ing in a weird East­ern Euro­pean ac­cent, but the real stars are once more the yel­low, one-eyed Min­ions, as well as the vil­lain — a 1980s-ob­sessed rogue voiced by South

Park’s Trey Parker. The story un­furls in a lively enough fash­ion, but the movie has too many un­re­lated sub­plots for a rel­a­tively scant run­ning time, sug­gest­ing that the fran­chise is run­ning low on ideas and sim­ply cob­bling to­gether what­ever they’ve got. Rated PG. 90 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown. (Robert Ker)

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 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)

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)

THE HERO

This movie rides the lean shoul­ders, the droopy mus­tache, and the deep, drawl­ing bari­tone of Sam El­liott with a lop­ing gait, as writer-di­rec­tor Brett Ha­ley steers us through a col­lec­tion of clichés so fa­mil­iar they could have sprung from a soft­ware pro­gram. Lee Hay­den (El­liott) is a griz­zled old ac­tor down on his luck, es­tranged from his fam­ily with a ter­mi­nal di­ag­no­sis, a last lusty fling with a younger woman, and end­less melan­choly walks along the Cal­i­for­nia coast­line as the surf rolls in. The bet is that El­liott’s charm will hold it all to­gether, and the bet pays off. The good sup­port­ing cast in­cludes Lee’s ex-wife (Katharine Ross), his daugh­ter (Krys­ten Rit­ter), his pot­head friend (Nick Of­fer­man), and the beau­ti­ful woman half his age (Laura Pre­pon) who finds him ir­re­sistible.

The Hero is an un­abashedly self-ref­er­en­tial movie, and a nice trib­ute to a vet­eran char­ac­ter ac­tor get­ting his turn in the spot­light. Rated R. 96 min­utes. Cen­ter for Con­tem­po­rary Arts; Vi­o­let Crown. (Jonathan Richards)

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; DreamCatcher. (Not re­viewed)

LET­TERS FROM BAGH­DAD

A spec­tac­u­lar trove of archival footage from early 20th-cen­tury Iraq, Syria, Egypt, and other Mid­dle East­ern lo­cales pro­vides the vis­ual back­drop for the re­mark­able story of Gertrude Bell, an English ar­chae­ol­o­gist, au­thor, and diplo­mat who worked fer­vently to es­tab­lish an in­de­pen­dent Arab state (which be­came Iraq) after the First World War. The words are Bell’s own, taken di­rectly from her cor­re­spon­dence with her fam­ily and friends and spo­ken by Tilda Swin­ton (who also served as an ex­ec­u­tive pro­ducer). Tes­ti­monies from those who knew Bell are wo­ven in as “in­ter­views” with ac­tors who ad­dress the cam­era (their words, too, are lifted from sur­viv­ing let­ters and other sources). A few ti­tle cards rep­re­sent the soli­tary in­tru­sion of the film­mak­ers, who need not ed­i­to­ri­al­ize — the con­flict that has plagued the re­gion and the per­sis­tence of dilem­mas that kept Bell up at night speak for them­selves. This is a beau­ti­ful el­egy for a world that seems long gone. Not rated. 95 min­utes. In English and Ara­bic with sub­ti­tles. The Screen. (Jeff Acker)

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)

MONTEREY POP

This 1968 coun­ter­cul­ture clas­sic from D.A. Pen­nebaker, shot in his trade­mark vérité style, tells an episodic and non­lin­ear tale of the Monterey Pop Fes­ti­val. Held 50 years ago on a sunny week­end in June, the mu­sic fest fea­tured the for­mi­da­ble lineup of Jimi Hen­drix, Ja­nis Jo­plin, Otis Red­ding, the Ma­mas and the Pa­pas (Papa John Phillips or­ga­nized the fes­ti­val with Lou Adler), the Who, Hugh Masekela, and Ravi Shankar. It’s the yang to Gimme Shel­ter’s yin, show­cas­ing the Sum­mer of Love at its most care­free, ide­al­is­tic, and fash­ion­able (come for the mu­sic, stay for the out­fits). But con­sid­er­ing that the im­me­di­ate fu­ture held in store the tragic deaths of the con­cert’s stand­out stars (Red­ding, Hen­drix, Jo­plin, and Mama Cass), view­ers may not be able to es­cape a vague sense of fore­bod­ing, watch­ing these stars burn­ing at their bright­est and hottest. 79 min­utes. Not rated. Cen­ter for Con­tem­po­rary Arts. (Molly Boyle)

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)

PARIS CAN WAIT

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 and di­rec­tor: Eleanor Cop­pola (wife of Fran­cis Ford Cop­pola), mak­ing her nar­ra­tive fea­ture de­but at eighty. 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. Jean Cocteau Cinema. (Jonathan Richards)

SPI­DERMAN: HOME­COM­ING

After fac­ing di­min­ish­ing re­turns with the Amaz­ing

Spi­der-Man films, Sony Pic­tures Stu­dio fi­nally col­lab­o­rated with Marvel Stu­dios to re­unite Spidey with Cap­tain Amer­ica, the Hulk, and all of his other bud­dies from Marvel’s comics. In this first solo film for the new Spi­der-Man (after a brief ap­pear­ance in Cap­tain Amer­ica: Civil War, the char­ac­ter is a high-school stu­dent (played with ex­u­ber­ance by Tom Hol­land), hang­ing with his pals and wait­ing for the call to of­fi­cially join the Avengers. Mean­while, a lo­cal crook called the Vul­ture (a mag­nif­i­cent Michael Keaton) is scoop­ing up alien tech and sell­ing it on the black mar­ket, prompt­ing Spidey to in­ves­ti­gate. Marvel Stu­dios’ mar­quee draw, Iron Man (Robert Downey Jr.), also el­bows his way in as a men­tor fig­ure. Mov­ing Spi­der-Man into the Marvel Stu­dios sta­ble should have pro­pelled the char­ac­ter to greater sto­ries, but the movie feels con­fined by this tran­si­tion: The Avengers tie-in bogs the movie down, and Spidey’s ad­ven­tures — once vis­ually thrilling as di­rected by the sin­gu­lar Sam Raimi — now look and feel like ev­ery other Marvel movie. A de­light­fully di­verse cast and a lively spirit help lift this new web-slinger’s in­au­gu­ral ad­ven­ture, but hope­fully the real goods are yet to come. Rated PG-13. 133 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Robert Ker)

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 2-D only at Re­gal Sta­dium 14; DreamCatcher. (Robert Ker)

WON­DER WOMAN

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. Won­der Woman’s 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, 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 for the or­di­nary world, where plenty of fish-out-ofwa­ter 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. Rated PG-13. 141 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Molly Boyle)

The French con­nec­tion: Do­minique Abel and Fiona Gor­don in Lost in Paris, at The Screen

The simi­ans are seething: War for the Planet of the Apes, at Re­gal Sta­dium 14, Vi­o­let Crown, and DreamCatcher

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