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Not rated. 94 min­utes. The Screen. See review, Page 47.


Young Mitch Rapp (Dy­lan O’Brien) is adrift in life and full of anger; his par­ents died when he was a teenager and his fi­ancée was killed in a ter­ror­ist at­tack. That and some unique skills are enough to qual­ify him for the CIA, who re­cruit him to be a black ops agent. Af­ter ex­ten­sive train­ing with a Cold War-era spe­cial­ist (Michael Keaton), Rapp is put to work tak­ing down a rogue op­er­a­tive (Tay­lor Kitsch). Rated R. 101 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


Fol­low­ing on the heels of its suc­cess with To Have

and Have Not, Warner Bros. reteamed hot stars Humphrey Bog­art and Lau­ren Ba­call in this 1946 film, a com­pelling and of­ten con­fus­ing adap­ta­tion of a Ray­mond Chan­dler novel, with a screen­play by Wil­liam Faulkner (and oth­ers). Movie lore has it that Faulkner, who knew the script bet­ter than any­one else, couldn’t ex­plain who killed an im­por­tant char­ac­ter. But what does it mat­ter? Mix Chan­dler, Bo­gie, Ba­call, and di­rec­tor Howard Hawks and you’ve got the per­fect recipe for a noir mar­tini. Flawed or not, they don’t make ‘em like this any­more, and maybe they shouldn’t even try. Not rated. 114 min­utes. Jean Cocteau Cin­ema. (Robert Nott)


Rated R. 94 min­utes. Cen­ter for Con­tem­po­rary Arts. See review, Page 49. Film­maker Darren Aronof­sky’s 2010 picture Black Swan, a psy­cho­log­i­cal thriller about a bal­le­rina on the verge of mad­ness, gar­nered five Os­car nom­i­na­tions, in­clud­ing one for Best Picture. This movie finds him re­turn­ing to the genre, with a story cen­ter­ing on a wife (Jen­nifer Lawrence) and hus­band (Javier Bar­dem) whose lives are dis­rupted when strangers (Ed Har­ris and Michelle Pfeif­fer) show up at their coun­try house. The film’s mar­ket­ing is stay­ing mum on ad­di­tional de­tails, so ex­pect plenty of twists and turns. Rated R. 121 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


This doc­u­men­tary tells the story of Elouise Co­bell, trea­surer of her Black­feet tribe in Mon­tana. When she no­ticed that money was miss­ing from gov­ern­ment-man­aged In­dian Trust ac­counts, she be­gan dig­ging and ask­ing ques­tions. She un­cov­ered an in­cred­i­ble amount of fraud and cor­rup­tion, and in 1996, she filed the largest-ever class ac­tion law­suit against the fed­eral gov­ern­ment. Not rated. 75 min­utes. Jean Cocteau Cin­ema. (Not re­viewed)


Not rated. In Rus­sian and French with sub­ti­tles. 108 min­utes. Cen­ter for Con­tem­po­rary Arts. See review, Page 45.


Movie mu­sic isn’t some­thing that many peo­ple pay at­ten­tion to out­side of a hand­ful of iconic themes, even though it pro­foundly shapes their film­go­ing ex­pe­ri­ences. This doc­u­men­tary shines an un­com­mon light on the art of the film score, of­fer­ing au­di­ences a his­tory of the form and the chance to see some mod­ern masters at work. Nearly ev­ery stand­out com­poser since Hol­ly­wood’s Golden Age gets some screen­time de­voted to his or her con­tri­bu­tions to the form, from En­nio Mor­ri­cone to John Wil­liams to Danny Elf­man, and the num­ber of high-pro­file guests is chief among the film’s charms (don’t ex­pect many women com­posers — a fault of the in­dus­try rather than this doc­u­men­tary). Though en­ter­tain­ing and brisk, Score is largely inessen­tial and of­ten feels like one of those “movie magic” mon­tages that they show on Os­car night. Film buffs will nonethe­less find plenty to hum along to. Not rated. 93 min­utes. Vi­o­let Crown. (Robert Ker)


The 1984 crime thriller Blood Sim­ple, the first fea­ture co-di­rected and co-writ­ten by brothers Joel and Ethan Coen, an­chors a six-film se­ries called #Tex­as­Strong be­ing pre­sented as a ben­e­fit for the Hous­ton hur­ri­cane re­lief ef­fort. One hun­dred per­cent of the box of­fice gate will be do­nated to the Hur­ri­cane Har­vey Re­lief Fund es­tab­lished by Hous­ton Mayor Sylvester Turner. The mas­ter­ful films fea­tured were all shot in Texas, from the honky­tonk, me­chan­i­cal-bull-rid­ing Ur­ban Cow­boy with John Tra­volta to the melan­cholic Terms of En­dear­ment, with De­bra Winger on her deathbed bat­tling her strong-willed mother, played by Shirley MacLaine. Blood Sim­ple stars Frances McDor­mand, in her

film de­but, as the cheat­ing wife of a mur­der­ous Texas bar owner played by Dan He­daya. Also play­ing: Boy­hood, Apollo 13, and

Re­al­ity Bites. The se­ries runs through Sun­day, Sept. 17. Check­o­ for sched­ule. Var­i­ous run­ning times and rat­ings. Vi­o­let Crown. (Jon Bow­man)

Mamma mia: Jen­nifer Lawrence in Mother!, at Re­gal Sta­dium 14 and Vi­o­let Crown

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