Chile Pages

Pasatiempo - - ON THE COVER - — com­piled by Robert Ker


If you like watch­ing peo­ple get beaten to a bloody pulp, this is the movie for you — es­pe­cially if you’d like to see a woman on both ends of the beat­ing. Char­l­ize Theron plays Lor­raine Broughton, an MI6 agent dis­patched to Berlin in 1989, be­fore the wall comes down. News clips from that his­tor­i­cal mo­ment and end­less ex­cerpts from ‘80s syn­th­pop serve to con­tex­tu­al­ize the ac­tion and pa­per over gaps in the rick­ety nar­ra­tive. James McAvoy is Broughton’s con­tact in Berlin, a louche play­boy whose life­style re­volves around leather, fur, booze, and cig­a­rettes (the whole film could have been un­der­writ­ten by Stolich­naya, Jack Daniels, and Marl­boro). Toby Jones and John Good­man round out the cast as spooks who hear Broughton re­count the de­tails of her mis­sion in a se­cure fa­cil­ity. Theron gives the lack­lus­ter script her best ef­forts and makes a com­pelling badass, but the story (adapted from the graphic novel The Cold­est City) is a by-the-num­bers spy yarn, and stunt­man-turned-di­rec­tor David Leitch tells it with lit­tle style. Rated R. 115 min­utes. In English, Ger­man, and Rus­sian with sub­ti­tles. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Jeff Acker)


In what could be a sign of the ubiq­uity of smart­phone cul­ture or a sign that Hol­ly­wood is out of ideas, emo­jis — those lit­tle faces that you can add to text mes­sages — now get their very own an­i­mated com­edy. The story cen­ters on Gene (T.J. Miller) an emoji with mul­ti­ple ex­pres­sions who yearns to have just one, like every­one else. Maya Ru­dolph voices the smi­ley-face emoji, while Steven Wright is the “meh” emoji. Pa­trick Ste­wart, ac­claimed thes­pian and a Royal Shake­speare Com­pany vet­eran, voices the emoji for ex­cre­ment. Rated PG. 86 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Not rated. 128 min­utes. In Span­ish with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 57.


Rated R. 92 min­utes. Vi­o­let Crown. See re­view, Page 61.


Srila Prab­hu­pada, a swami from In­dia, ar­rived in the United States in the midst of the tu­mul­tuous 1960s to spread a mes­sage of God’s love by found­ing the Hare Kr­ishna tem­ple. He trans­lated the Bha­gavad Gita and other Hindu texts from San­skrit into English — and dozens of other lan­guages — amass­ing fol­low­ers across the globe who were ea­ger to be­come veg­e­tar­i­ans and chant their way to spir­i­tual hap­pi­ness. Writer and di­rec­tor John Griesser’s film is stud­ded with starry-eyed tes­ti­mo­ni­als and in­ter­views from fol­low­ers as well as a great deal of archival footage. Though the fi­nal 10 min­utes of the movie are ded­i­cated to de­fend­ing the bona fide re­li­gious sect from ac­cu­sa­tions of be­ing a cult, the en­tire pro­duc­tion func­tions more as evan­ge­lism for Kr­ishna con­scious­ness than as a le­git­i­mate doc­u­men­tary about the man or the specifics of the Hare Kr­ishna faith prac­tice. Not rated. 91 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jen­nifer Levin)


Not rated. 77 min­utes. In English and Span­ish with sub­ti­tles. The Screen. See re­view, Page 59.


Alain Delon plays the ti­tle hero, a cool-as-ice French hit­man, who gets trapped in a cat-and­mouse game not only in­volv­ing the cops, but also his own gang­land bosses. This 1967 souf­flé is a near-per­fect film, told with air­tight ac­tion and a bare min­i­mum of di­a­logue. Wri­ter­di­rec­tor Jean-Pierre Melville bor­rows from Amer­i­can crime sagas of the ‘40s and ‘50s, but over­lays a ‘60s pop sen­si­bil­ity, ac­cen­tu­ated by the sassy color cin­e­matog­ra­phy of Henri De­cae (The 400 Blows). Melville, by the way, was orig­i­nally born Grum­bach but changed his last name to pay his re­spects to the

Moby-Dick au­thor Her­man Melville. This film opens the Vi­o­let Crown’s month­long Sum­mer in Paris se­ries. Also play­ing this week is Classe Tous Risques, a 1960 thriller star­ring Lino Ven­tura and a young Jean-Paul Bel­mondo, fresh from his break­out suc­cess in Breath­less. Not rated. 101 min­utes. Vi­o­let Crown. (Jon Bow­man)


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. (Robert Ker)


This warm ro­man­tic com­edy is drawn from the real life story of its screen­writ­ers, Emily V. Gor­don (played by the de­light­ful Zoe Kazan) and her hus­band Ku­mail Nan­jiani, an ac­tor and co­me­dian (Sil­i­con Val­ley) of Pak­istani ori­gin who por­trays a ver­sion of him­self in this tale of love, laughs, and cul­ture clash. They meet at a Chicago club where he’s do­ing stand-up and she’s in the au­di­ence, and a feisty and fit­ful re­la­tion­ship en­sues. Ka­mail’s cul­ture is one of ar­ranged mar­riage, and when Emily dis­cov­ers he has never told his par­ents about her, she breaks off the re­la­tion­ship. Shortly there­after she suf­fers a med­i­cal emer­gency that dom­i­nates most of the rest of the pic­ture. The cast, which in­cludes a smat­ter­ing of comics and ter­rific in­put from Ray Ro­mano and Holly Hunter as Emily’s par­ents, is uni­formly good. The Big Sick is a smart ro­man­tic com­edy with a rich­ness of cul­tural in­sights, a beat­ing heart, and gen­uine laughs. Rated R. 119 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Jonathan Richards)


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


In the spring of 1940, as the Ger­man army closed in, more than 300,000 Al­lied troops were evac­u­ated from the port city of Dunkirk in north­ern France, aided by com­mer­cial and pri­vate ves­sels that sailed from the English coast. Many made re­peat trips. Writer-di­rec­tor Christo­pher Nolan’s telling of this story is wrapped around the cap­tain of one of the small boats (Mark Ry­lance), a young sol­dier try­ing to es­cape the doomed city (Fionn White­head), and a fighter pi­lot on a mis­sion to pro­tect the ships and sol­diers (Tom Hardy). Cat­a­stroph­i­cally loud and trau­mat­i­cally tense, it’s a pre­ci­sion-crafted de­scent into the mael­strom of war and a vis­ceral ex­pe­ri­ence. 106 min­utes. Rated PG-13. Screens in 35mm at Jean Cocteau Cinema. Screens in dig­i­tal at Re­gal Sta­dium 14, Vi­o­let Crown, DreamCatcher. (Jeff Acker)


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. DreamCatcher. (Not re­viewed) Ever since 2011’s Brides­maids showed that there was a mar­ket for gross-out come­dies with mainly fe­male leads, there’s been a fairly steady stream of raunchy ca­per films told from a woman’s per­spec­tive. The sec­ond one this sum­mer (af­ter Rough Night) stars Regina Hall, Queen Lat­i­fah, Jada Pin­kett Smith, and Tif­fany Had­dish as friends who travel to New Or­leans for the Essence Fes­ti­val, where they chase men, get into hi­jinks, and cringe at one an­other’s em­bar­rass­ing mo­ments. Rated R. 122 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


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)


Maybe this is what the 14th cen­tury felt like. Loosely based on Boc­cac­cio’s The De­cameron, or bits of it, writer and di­rec­tor Jeff Baena brings us a broadly comic tale of me­dieval nuns with very mod­ern mouths on them, and lusty loins as well. Most of it is set in a con­vent over­seen by Molly Shan­non’s Sis­ter Marea and John C. Reilly’s Father To­masso, where we meet nuns Alessan­dra, Fer­nanda, and Ginevra (Ali­son Brie, Aubrey Plaza, and Kate Micucci), who pull turnips, wash clothes, and fly into such parox­ysms of ver­bal and phys­i­cal rage at the hired man (Paul Weitz) that he quits. That cre­ates an open­ing for Mas­setto (Dave Franco), a hunky young man on the lam from an irate cuck­olded lord (Nick Of­fer­man). If you are not amused by sex­ual com­edy, this would be one to give a wide berth to. Much of the hu­mor is raunchy, and a lot of it comes from the anachro­nis­tic pair­ing of mod­ern at­ti­tudes with me­dieval set­tings. It’s sopho­moric, but then who has more fun with sex than sopho­mores? Rated R. 90 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


Sally Hawkins (Happy-Go-Lucky) is one of those Bri­tish ac­tors who is so good most peo­ple here don’t even know who she is. In this film, in­spired by the life of Maud Lewis (1903-1970), she gives an Os­car-cal­iber per­for­mance as the Nova Sco­tia folk artist whose hand-painted cards sell for nick­els and dimes, mostly to the clients of her fish-ped­dler hus­band (a very good Ethan Hawke). Even­tu­ally she moves on to paint­ings, and her price rock­ets to $5, and then $10. Lo­cal tele­vi­sion does a story on her, and every­one, in­clud­ing Lewis, be­gins to show her a lit­tle re­spect. Gnarled and scrunched from child­hood rheuma­toid arthri­tis, Maudie main­tains a cheer­ful de­meanor. As much as it is the story of her paint­ing, di­rec­tor Ais­ling Walsh’s biopic is about sur­vival and pos­i­tiv­ity in the face of crip­pling ad­ver­sity. The real Maud Lewis died in poverty, but her paint­ings now sell for tens of thou­sands of dol­lars. Not rated. 115 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


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


In­spired by the long-run­ning French comic se­ries

Va­le­rian et Lau­re­line, the lat­est film from Luc Bes­son (La Femme Nikita, Lucy) stars Dane DeHaan as Va­le­rian and Cara Delev­ingne as Lau­re­line, a chem­istry-free duo of cos­mic ad­ven­tur­ers or su­per sol­diers or some­thing. Mainly what they do is look pretty while run­ning, jump­ing, and shoot­ing through com­put­er­gen­er­ated im­agery and ut­ter­ing mun­dane di­a­logue from the un­der­sea­soned script. Other stars in­clude Her­bie Han­cock as a mono­tone gen­eral con­nected via re­mote linkup and Ri­hanna as a shape-shift­ing ex­otic dancer. If it’s col­or­ful space opera you want, try The Fifth El­e­ment, which Bes­son di­rected 20 years ago. That one is smarter and fun­nier, and it fea­tures Gary Old­man in a de­light­ful turn as a twisted weapons man­u­fac­turer with a pet pachy­derm. Rated PG-13. 137 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14. Screens in 2-D only at Vi­o­let Crown; DreamCatcher. (Jeff Acker)


In one scene near the end of this third pre­quel to 1968’s Planet of the Apes, char­ac­ters tra­verse aban­doned tun­nels where one bit of graf­fiti reads “Ape­poca­lypse Now!” This tag spells out the ob­vi­ous — this saga’s chap­ter is a clear nod to the 1979 film Apoc­a­lypse Now . In a world in which hu­mans have been wiped out by the simian flu and mon­keys are evolv­ing at a rapid rate, ape leader Cae­sar (per­formed once more by a mo­tion-cap­tured Andy Serkis) trav­els north on a re­venge mis­sion to find a crazed Army colonel gone rogue (Woody Har­rel­son). Di­rec­tor Matt Reeves tack­les the story with a com­mit­ment to ex­cel­lence across the au­dio and vis­ual com­po­nents of the film, in­clud­ing some of the best spe­cial ef­fects you’ll ever see, won­der­ful sound ef­fects (par­tic­u­larly when all the apes start chat­ter­ing at once), a com­pelling score, and an eye for mem­o­rable im­ages. The script bal­ances heavy drama with smaller mo­ments, of­fer­ing nice nods to the 1960s and ’70s films. As the apes square off against a doomed, des­per­ate hu­man race in what evolves into a prison-es­cape movie by the third act, the story can feel bleak

and emo­tion­ally ma­nip­u­la­tive at times. But it’s also un­com­monly rich for a sum­mer block­buster, akin to set­tling into a thrilling novel for the af­ter­noon. Rated PG-13. 140 min­utes. Screens in 2-D only at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Robert Ker)


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)


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-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. Rated PG-13. 141 min­utes. Screens in 2-D only at Re­gal Sta­dium 14. (Molly Boyle)

Berlin sto­ries: Char­l­ize Theron and James McAvoy in Atomic Blonde, at Re­gal Sta­dium 14, Vi­o­let Crown, and DreamCatcher

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