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BLADE RUN­NER 2049

Ev­ery­thing old is new again in science-fic­tion cinema, with fresh in­stall­ments of Star Wars, Star Trek, Alien, and Planet of the

Apes sur­fac­ing in re­cent years. And now Blade Run­ner — Ri­d­ley Scott’s 1982 de­pic­tion of a fu­ture land­scape in which a cop named Rick Deckard (Har­ri­son Ford) must hunt hu­man-like an­droids known as repli­cants — fi­nally gets its se­quel. De­tails are scant, but an­tic­i­pa­tion is high, thanks in part to the in­volve­ment of di­rec­tor Denis Villeneuve (Ar­rival). Set 30 years af­ter the first film, an­other cop (Ryan Gosling) stum­bles into a dark se­cret from the past and must track Deckard down. Rated R. 163 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

CLIVE DAVIS: THE SOUND­TRACK OF OUR LIVES

It’s hard to find many peo­ple more in­flu­en­tial to 20th-cen­tury pop mu­sic than Clive Davis, the pro­ducer and record ex­ec­u­tive who served as pres­i­dent of Columbia Records in the late 1960s and ‘70s be­fore mov­ing on to found Arista Records in 1975. Along the way he boosted the ca­reers of Ja­nis Jo­plin, Bruce Spring­steen, Billy Joel, Baby­face, Puff Daddy, and many others; per­haps most fa­mously, he ush­ered Whit­ney Hous­ton from night­clubs to su­per­star­dom. This doc­u­men­tary tells his story. Not rated. 123 min­utes. Jean Cocteau Cinema. (Not re­viewed)

DOLORES

At age eighty-seven, Dolores Huerta is a bona fide civil-rights icon, cel­e­brated for her steely fem­i­nism in the face of the male-dom­i­nated la­bor move­ment, her un­wa­ver­ing be­lief in non­vi­o­lent protest, and her life­long com­mit­ment to work­ers’ rights. This spir­ited doc­u­men­tary, ex­ec­u­tive-pro­duced by Car­los San­tana and di­rected by Peter Bratt, chron­i­cles her ex­tra­or­di­nary life and work. As a teenager, she be­came po­lit­i­cally mo­ti­vated by the so­cial and eco­nomic in­equities she wit­nessed in the fields of Cal­i­for­nia’s Cen­tral Val­ley. In 1962, Huerta and César Chávez co-founded what be­came the United Farm Work­ers to or­ga­nize poorly paid la­bor­ers who lacked ac­cess to toi­lets, drink­ing wa­ter, and rest pe­ri­ods. The work led to Huerta coin­ing the indelible slo­gan “Sí

se puede,” or “Yes, we can.” La causa be­came both a la­bor move­ment and a cul­tural rev­o­lu­tion, but the toll Huerta’s work took on her and her fam­ily is sen­si­tively and mov­ingly chron­i­cled. It’s a fast-paced, en­gross­ing cel­e­bra­tion of an un­re­lent­ing and truly in­spi­ra­tional woman. Not rated. 95 min­utes. Cen­ter for Con­tem­po­rary Arts. (Molly Boyle)

MANOLO: THE BOY WHO MADE SHOES FOR LIZARDS

This por­trait of renowned shoe de­signer Manolo Blah­nik is by turns play­ful, pre­ten­tious, and pro­mo­tional. Crafted from archival pho­to­graphs, over-the-top drama­ti­za­tions, and re­cent footage with a dis­tinctly ad­ver­to­rial feel — think mon­tages of pink-printed mules jux­ta­posed against flo­ral land­scapes with Vi­valdi play­ing in the background — it also fea­tures in­ter­views with fash­ion in­dus­try greats who pile the high­est praise on the sev­enty-four-year-old Span­ish de­signer, call­ing him the “em­peror of shoes.” “I can’t remember the last time I wore any­body else’s shoes,” gushes Anna Win­tour, the no­to­ri­ously hard-to-please editor of Vogue. The film is un­for­tu­nately front-loaded with this swoon­ing. But fash­ion mavens will still prob­a­bly en­joy the sense of nos­tal­gia the doc­u­men­tary evokes: a feel­ing akin to look­ing at an old year­book, al­beit one con­tain­ing only fab­u­lous young stars. Un­der­neath the some­times su­per­fi­cial ve­neer, the best things about the film are the his­tory and the art. The film il­lus­trates why re­ports of Blah­nik’s artis­tic prow­ess are well-de­served, via his fan­ci­ful sketches and pho­to­graphs of his cre­ations (which he calls his crea­tures). Not rated. 89 min­utes. Vi­o­let Crown. (Phae­dra Hay­wood)

THE MOUN­TAIN BE­TWEEN US

In this adap­ta­tion of Charles Martin’s ro­mance novel — which sounds a bit like if Ni­cholas Sparks had writ­ten Alive — Kate Winslet stars as a pho­to­jour­nal­ist who needs to fly across the coun­try for her wedding the next day. Idris Elba por­trays a sur­geon head­ing to Bal­ti­more to per­form an emer­gency surgery. Flight de­lays force the two of them to take a small aircraft to make their ap­point­ments, but when the plane crashes in the mid­dle of the Rocky Moun­tains, they must rely on each other to sur­vive. Rated PG-13. 103 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

MY LIT­TLE PONY: THE MOVIE

Bronies of the world, unite! The My Lit­tle Pony prop­erty, which re­launched with wildly ex­pres­sive an­i­ma­tion in 2010 and now en­joys a cult fol­low­ing of fans of all ages and gen­ders, ar­rives in theaters. For the big event, Ponyville is in­vaded by the Storm King (voiced by Liev Schreiber) and his side­kick

Tem­pest Shadow (Emily Blunt), and the Mane 6 — which in­cludes Twi­light Sparkle, Ap­ple­jack, Rain­bow Dash, Pinkie Pie, Flut­ter­shy, and Rar­ity — must save the day. Rated PG. 99 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

NEW MEX­ICO SHORTS

The Wis­dom Ar­chive presents a se­ries of three shorts by New Mex­ico film­mak­ers. Scott An­drews di­rected two of the shorts — An­to­nio and Molly Man­zanares: The Last Shep­herds in­tro­duces a fam­ily still herd­ing sheep, the last such op­er­a­tion left in North­ern New Mex­ico, while Edgar Gon­za­lez: Mez­calero! is set in a vil­lage north of Oax­aca, Mex­ico, where a man is re­viv­ing an old craft, dis­till­ing mez­cal. The fi­nal short, Re­cuerdo ,by Christo­pher Beaver, pro­files Ni­cholas Her­rera, an award-win­ning san­tero from El Rito. Screens Thurs­day, Oct. 12, only. Not rated. 72 min­utes. Vi­o­let Crown. (Not re­viewed)

NO MAPS ON MY TAPS

Screens with “About Tap.” Not rated (both films); 86 min­utes (both films). The Screen. See re­view, Page 51.

THE STRAY

The lat­est movie about how fam­ily and faith can help peo­ple with their first-world prob­lems stars Michael Cas­sidy as Mitch Davis, a fa­ther who works so hard that he ne­glects his son (Con­nor Co­rum) and de­nies his wife (Sarah Lan­caster) her dream of a happy home. When a stray dog en­ters this home, their lives are turned up­side-down — and it’s soon clear that the pooch, along with a dose of prayer, might just save the fam­ily. Rated PG. 92 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

THE TEACHER

Not rated. 102 min­utes. In Czech with sub­ti­tles. The Screen. See re­view, Page 55.

VIC­TO­RIA AND AB­DUL

Judi Dench was nom­i­nated for an Academy Award for play­ing Queen Vic­to­ria in 1997’s Mrs. Brown. This se­quel (of sorts) finds Dench in the role once more, play­ing the queen later in life. The story, based on a book by Shra­bani Basu, fo­cuses on her un­likely and con­tro­ver­sial re­la­tion­ship with her In­dian ser­vant, Ab­dul Karim (Ali Fazal), in the late 1880s and 1890s. The film is di­rected by Stephen Frears, who he knows his way around roy­alty, hav­ing helmed 2006’s The Queen. Rated PG-13. 112 min­utes. Vi­o­let Crown. (Not re­viewed)

WHITE SUN

Not rated. 88 min­utes. In Nepali with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 53.

Fu­tures mar­ket: Ryan Gosling in Blade Run­ner 2049, at Re­gal Sta­dium 14 and Vi­o­let Crown

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