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CAN YOU EVER FOR­GIVE ME?

Rated R. 105 min­utes. Vi­o­let Crown. See re­view, Page 38.

THE GIRL IN THE SPI­DER’S WEB

The pop­u­lar Swedish com­puter hacker Lis­beth Sa­lan­der comes to life once more in this thriller, which is at once an adap­ta­tion of David Lager­crantz’s 2015 novel (the first book not penned by Stieg Lars­son), a se­quel to di­rec­tor David Fincher’s 2011 adap­ta­tion of The Girl With the Dragon Tat­too, and a soft re­boot of the whole film fran­chise. Claire Foy steps into the lead role as Sa­lan­der, who, along with her jour­nal­ist buddy Mikael Blomkvist (Sver­rir Gud­na­son), be­comes en­tan­gled with a crim­i­nal or­ga­ni­za­tion of spies and hack­ers known as the “Spi­der So­ci­ety.” Rated R. 117 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

THE GRINCH

Dr. Seuss’ 1957 book How the Grinch Stole Christ­mas! gets an­other adap­ta­tion, this time by the an­i­ma­tion stu­dio most fa­mous for the De­spi­ca­ble Me se­ries. Bene­dict Cum­ber­batch voices the Grinch, who so de­spises the Yule­tide joy of the Whos of Whoville that he at­tempts to steal ev­ery­thing as­so­ci­ated with Christ­mas. To pad the story out, di­rec­tors Yar­row Cheney and Scott Mosier give us the Grinch’s back­story, show more of his ev­ery­day life, and in­tro­duce a story about the at­tempts by Cindy Lou Who (Cameron Seely) to thank Santa for be­ing so good to her sin­gle mother (Rashida Jones). Rated PG. 90 min­utes. Screens in 3D and 2D at Re­gal Sta­dium 14; 2D only at Vi­o­let Crown. (Not re­viewed)

OPUNTIA

Di­rec­tor David Fen­ster’s ex­per­i­men­tal doc­u­men­tary is a thought-pro­vok­ing, ul­ti­mately mov­ing de­pic­tion of the di­rec­tor’s own spir­i­tual odyssey. Osten­si­bly about the 16th cen­tury Span­ish ex­plorer Ál­var Núñez Cabeza de Vaca, Fen­ster’s film fol­lows the route the con­quis­ta­dor took through the Amer­i­cas, draw­ing stark par­al­lels and con­trasts be­tween the places he vis­ited, as de­scribed in his­toric writ­ings, and those places as they ex­ist to­day. Fen­ster lo­cates the spirit of de Vaca in the opuntia, a prickly pear cac­tus plant, a strange turn of events the film­maker treats with tacit ac­cep­tance and won­der. De Vaca (voiced by David Verda­guer) be­came renowned for his gifts as a healer, and nar­rates the story as the opuntia, whose re­cur­ring image through­out the film be­comes a metaphor for sym­bio­sis and sur­vival. Di­vided into two parts, “The Land of the Liv­ing” and “The Land of the Dead,” Opuntia is an hon­est and af­fect­ing in­quiry into the ephemer­al­ity of life. Fen­ster and the film’s com­poser Peter Bo Rapp­mund in­tro­duce the film at 7:30 p.m. on Satur­day, Nov. 10. Not rated. 60 min­utes. Jean Cocteau Cinema. (Michael Abatemarco)

OVER­LORD

In the mid­dle of World War II, a group of Amer­i­can para­troop­ers (headed by sol­diers played by Jo­van Adepo and Wy­att Rus­sell) find them­selves be­hind en­emy lines. They find a cas­tle where the Nazis have been per­form­ing ne­far­i­ous ex­per­i­ments, and as they dig deeper into the mys­tery, they soon find them­selves fight­ing for sur­vival against a su­per­nat­u­ral evil. J.J. Abrams pro­duced this wartime hor­ror film for his Bad Robot Pro­duc­tions. Julius Avery di­rects. Rated R. 109 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

BAD TIMES AT THE EL ROYALE

Film­maker Drew God­dard (The Cabin in the

Woods) em­barks upon an­other locked-room mys­tery with this Tarantino-es­que noir ca­per set in 1969. A group of strangers con­verges at the El Royale, a Lake Ta­hoe re­sort that has seen bet­ter days. Se­crets abound for each of the guests: a priest (Jeff Bridges), a trav­el­ing sales­man (Jon Hamm), a backup singer (Cyn­thia Erivo), and a hip­pie chick (Dakota John­son). The mys­ter­ies un­ravel in stylish chap­ters as the death toll mounts, and the endgame is any­one’s guess. The film is hip, in­no­va­tive, and a lot of fun, with gen­uine sur­prises and scares, and it’s briskly paced un­til the fi­nal act, when things be­gin to drag. Bridges ca­pa­bly car­ries the weight of the labyrinthine plot, but the real rev­e­la­tion here is Erivo, whose mes­mer­iz­ing face con­veys a steely dig­nity. With Nick Of­fer­man, Chris Hemsworth, and a sound­track filled with oldies gold, in­clud­ing the Ma­mas and the Pa­pas’ lit­tle-used “Twelve Thirty” and the Four Tops’ “Ber­nadette.” Rated R. 141 min­utes. Vi­o­let Crown. (Molly Boyle)

BEAU­TI­FUL BOY

In the last decade, David and Nic Sh­eff (a fa­ther and son, re­spec­tively) each pub­lished mem­oirs de­tail­ing Nic’s ad­dic­tion to metham­phetamines and the dif­fi­cul­ties that the fam­ily en­coun­tered in help­ing him through the re­cov­ery process. Steve Carell and Ti­mothée Cha­la­met play fa­ther and son, re­spec­tively, in this adap­ta­tion of both books. The film ex­plores their re­la­tion­ship at var­i­ous points in their lives. Amy Ryan plays Vicki, the mother in the fam­ily. Rated R. 120 min­utes. Vi­o­let Crown. (Not re­viewed)

BO­HEMIAN RHAP­SODY

In 1991, Queen singer Fred­die Mer­cury died due to com­pli­ca­tions with AIDS. With this biopic, much like 2015’s N.W.A. film Straight Outta Comp­ton, the band’s sur­viv­ing mem­bers at­tempt to do right by his legacy while also wa­ter­ing it down, settling petty scores with for­mer man­age­ment, and re­mind­ing the pub­lic that they were there and con­trib­uted a great deal, too. At times in this film, the lat­ter el­e­ment can feel com­i­cally over the top, as when gui­tarist Brian May (Gwilym Lee) in­forms no­body in par­tic­u­lar that he wrote the solo in “Bo­hemian Rhap­sody” or when we wit­ness bassist John Dea­con (Joseph Mazzello) wow­ing his mates with his freshly com­posed bassline to “An­other One Bites the Dust.” While a bit more en­ergy would have gone a long way, di­rec­tors Bryan Singer (who was fired in the fi­nal weeks of shoot­ing) and Dex­ter Fletcher hit the check­marks of the band’s rise to fame du­ti­fully, with­out fuss­ing too much over de­tails, and Rami

Malek em­bod­ies the larger-than-life lead singer Mer­cury with par­tic­u­lar rel­ish. Con­cerns from the gay com­mu­nity about the sur­face-level treat­ment de­voted to Mer­cury’s sex­u­al­ity are well noted, but for what the film is — a friv­o­lous, nearly fam­i­lyfriendly over­view of Queen’s ca­reer — it de­liv­ers crowd-pleas­ing re­sults. More im­por­tantly, the film­mak­ers also know when to fore­ground Queen’s eter­nally vi­brant mu­sic and just get out of the way. Rated PG-13. 134 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Robert Ker)

FIRST MAN

Di­rec­tor Damien Chazelle reteams with his La La

Land star Ryan Gosling on this Neil Arm­strong biopic, which shrugs off the li­on­iza­tion that the sub­ject in­vites. In­stead, it uses the 1962 death of Arm­strong’s two-year-old daugh­ter as the launch­pad to look at his psy­che and also fo­cuses on his wife, Janet (Claire Foy), and the courage she sum­mons while con­fined within do­mes­tic spa­ces. Chazelle keeps the cam­eras tightly trained on the faces of Gosling and Foy, invit­ing au­di­ences to read deeply into their ex­pres­sions to dis­cover the emo­tional depth of the story. The ac­tors re­ward this trust with sub­tle, sub­lime per­for­mances. While this ap­proach leads to some overly sen­ti­men­tal mo­ments that don’t feel au­then­tic, it doesn’t di­min­ish the power of wit­ness­ing that decade as those two peo­ple might have. The scenes in­volv­ing the space pro­gram are crafted with ex­cep­tional film­mak­ing and are, by turns, hor­ri­fy­ing and brac­ing. Chazelle’s af­fec­tion for mu­sic per­me­ates the film; how­ever, he shelves his love for jazz in fa­vor of a stri­dent, mil­i­tary-style march that builds sus­pense as the

Apollo 11 mis­sion draws near, mak­ing the moon land­ing into an awe-in­spir­ing se­quence of art­house cinema. Rated PG-13. 141 min­utes. Re­gal Sta­dium 14. (Robert Ker)

FREE SOLO

Few peo­ple would ever think of climb­ing steep rock faces with­out a rope, sup­ports, a hel­met, or an­chors — “free solo­ing,” as the prac­tice is known. And yet that’s what thirty-three-year-old Alex Hon­nold has done in more than 1,000 solo climbs around the world. “I feel like any­one could con­ceiv­ably die on any given day,” Hon­nold says, which could ex­plain the risks he takes. Ac­cord­ing to this doc­u­men­tary, fewer than 1 per­cent of climbers at­tempt these feats. Pro­duced by Na­tional Geo­graphic Doc­u­men­tary Films and di­rected by E. Chai Vasarhe­lyi and Jimmy Chin, the film chron­i­cles Hon­nold’s 2017 as­cent of mighty El Cap­i­tan at Yosemite Na­tional Park. With all the peaks in the film it­self — watch­ing Hon­nold’s dex­ter­ity, the sheer artistry of his free-solo climb, and the ver­tigo-in­duc­ing im­ages of the thou­sand-plus­foot drops — most view­ers of Free Solo will ex­pe­ri­ence fear in a way that Hon­nold ap­pears not to. The fi­nal 20 min­utes will leave you speech­less. It’s won­der­ful to see how far one man has gone to live on the edge, where one false move could mean game over. He never bats an eye­lash. Not rated. 100 min­utes. Vi­o­let Crown. (Thomas M. Hill)

GOOSEBUMPS 2: HAUNTED HAL­LOWEEN

In the sec­ond movie based on the young-adult hor­ror nov­els of R.L. Stine, two boys (Jeremy Ray Tay­lor and Caleel Har­ris) sneak into Stine’s for­mer house on Hal­loween, where they find a creepy ven­tril­o­quist dummy named Slappy (voiced by Jack Black, who also plays Stine in both films). When the boys bring Slappy to life, the doll sum­mons mon­sters to wreak havoc on the neigh­bor­hood. The movie takes a long time get­ting to that point, how­ever, and when it does it’s not nearly as fun as it could have been; one de­light­ful se­quence, in which the boys face off against an army of Gummi Bears brought to life, is the ex­cep­tion that proves the rule. When Black fi­nally ap­pears to steal the show with a glo­ri­fied cameo, it only proves how des­per­ate the film is for any­one with a spark of charisma, en­ergy, or ideas. Rated PG. 90 min­utes. Re­gal Sta­dium 14. (Robert Ker)

HAL­LOWEEN

This isn’t the first time the Hal­loween fran­chise has taken up the prob­a­ble PTSD of grown-up babysit­ter Lau­rie Strode (Jamie Lee Cur­tis), who has fought off count­less mur­der at­tempts by masked psy­chopath Michael My­ers since John Car­pen­ter’s first Hal­loween in 1978 (he’s an ex­ec­u­tive pro­ducer this time around). But given the #MeToo mo­ment, this one’s got zeit­geisty mo­men­tum be­hind it — and it’s pretty good, too. David Gor­don Green teams with Danny McBride and oth­ers on a script that fo­cuses on how Lau­rie, now grey-blond and grim-faced, lives an ago­ra­pho­bic life as a self-de­scribed “bas­ket case” who com­pul­sively fan­ta­sizes about get­ting her re­venge on My­ers (James Jude Court­ney). When an op­por­tune bus ac­ci­dent oc­curs dur­ing the pris­oner’s trans­fer, she seizes her chance — and must rope in her re­luc­tant daugh­ter (Judy Greer) and wide-eyed grand­daugh­ter (Andi Matichak) to at­tain the req­ui­site multi­gen­er­a­tional girl power nec­es­sary to stop My­ers’ killing sprees for good. The fight scenes are clever and heart-pound­ing, the teen-drama sub­plot is mildly ab­sorb­ing, and most cru­cially, Cur­tis is com­pellingly re­lent­less. Rated R. 106 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Molly Boyle)

THE HAPPY PRINCE

Writ­ten and di­rected by Rupert Everett, The Happy

Prince is dense with at­mos­phere and a lit­tle dizzy when it comes to con­ti­nu­ity, as it skips about to scat­ter flash­backs along the road to ruin trod by the great writer Os­car Wilde af­ter his re­lease from prison for “gross in­de­cency” (ho­mo­sex­u­al­ity). The story picks up Wilde at his low­est, and fi­nal, ebb. But it’s as an ac­tor that Everett truly daz­zles. We dis­cover the hulk­ing, sham­bling fig­ure of the great writer stum­bling through the streets of Paris, deep into the gather­ing pesti­lence of poverty and dis­ease, the heav­i­ness of body and spirit, that shaped Wilde (here with the help of some ex­pert pros­thetic makeup) as he lum­bered to­ward death. Through it all, his in­domitable wit and sar­donic bril­liance pierce the fog. The movie is a wor­thy trib­ute to one of the greats of English lit­er­a­ture, and a timely, cau­tion­ary re­minder of the dev­as­tat­ing ef­fects of big­otry on an in­di­vid­ual, and a cul­ture. Rated R. 105 min­utes. English and some French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts; Vi­o­let Crown. (Jonathan Richards)

THE HATE U GIVE

At­tend­ing an af­flu­ent high school in a white neigh­bor­hood is al­ready com­pli­cated enough for Starr (Amandla Sten­berg). When her friend Khalil (Al­gee Smith) is shot by a po­lice of­fi­cer in front of her, it gets a lot harder. She de­cides to protest on Khalil’s be­half, and it sets off events that threaten not only her com­mu­nity but her own fu­ture. Regina Hall plays her mother, while An­thony Mackie (Fal­con in the Mar­vel films) plays a lo­cal drug dealer. Ge­orge Till­man Jr. (No­to­ri­ous) di­rects. Rated PG-13. 133 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

HUNTER KILLER

In the lat­est en­try into the sub­ma­rine-based thriller genre, Ger­ard But­ler plays Capt. Joe Glass of the USS Omaha. When the Rus­sian pres­i­dent (Alexan­der Di­achenko) is cap­tured by his own de­fense min­is­ter (Mikhail Gorevoy) in an at­tempted coup, it’s up to Glass and a group of Navy SEALs to en­ter Rus­sian wa­ters, res­cue the pres­i­dent, and pre­vent World War III. Gary Old­man and Com­mon also star. Rated R. 121 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

NO­BODY’S FOOL

Ev­ery­thing seems to be go­ing well for Dan­ica (Tika Sumpter), who is fall­ing in love with a man she met on the in­ter­net and is about to be the first African Amer­i­can woman to be named vice pres­i­dent at the com­pany she works for. All of this changes when her coarse, brash sis­ter Tanya (Tiffany Had­dish) gets out of jail and up­turns her life. At first, this re­union is an­noy­ing. When they find out that Dan­ica’s po­ten­tial beau is cat­fish­ing her, Tanya be­comes an as­set. Tyler Perry wrote and di­rects, and Whoopi Gold­berg plays the sis­ters’ mom. Rated R. 110 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

THE NUTCRACKER AND THE FOUR REALMS

The Nutcracker fa­ble, best known from Tchaikovsky’s bal­let (based on E.T.A. Hoff­mann’s novella) gets the Dis­ney treat­ment with this film by di­rec­tors Lasse Hall­ström and Joe John­ston. Less of an adap­ta­tion than a new story set in the same world, it cen­ters on a girl named Clara (Macken­zie Foy), who en­ters the fan­tasy world of rats and fairies in search of a key, meets a sol­dier named Phillip (Jay­den Fowora-Knight), and must fight the sin­is­ter Mother Gin­ger (He­len Mir­ren) to save what’s known as the Fourth Realm. Keira Knight­ley co-stars as the Sugar Plum Fairy. Rated PG. 99 min­utes. Screens in 2D only at Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

THE OLD MAN AND THE GUN

Robert Red­ford plays For­rest Tucker, a man who has de­voted his life to the art of rob­bing banks. His story is mostly true (adapted by writer-di­rec­tor David Low­ery from a New Yorker ar­ti­cle). Red­ford shares the screen with Sissy Spacek, and they have a chem­istry that could light the Rock­e­feller Cen­ter Christ­mas tree. She plays Jewel, a wid­owed rancher, and when these two sit and ban­ter in a cof­fee shop booth, you could watch and lis­ten to them all day. But you can’t, be­cause there are banks to rob. For­rest some­times works with a cou­ple of geri­atric bud­dies, played by Danny Glover and Tom Waits, and the trio be­comes known as the Over-the-Hill Gang. In dogged pur­suit is an af­fa­ble cop (Casey Af­fleck), who comes to ad­mire the man he’s track­ing. If this in fact proves to be Robert Red­ford’s farewell to movies, as he has in­di­cated, it’s a lovely way to go. But the door is al­ways open, Bob, and we’ll leave a light on in the win­dow. Rated PG-13. 93 min­utes. The Screen; Vi­o­let Crown. (Jonathan Richards)

A STAR IS BORN

Big, gor­geous, and packed with ter­rific mu­sic and charis­matic star power, this fourth edi­tion of one of Hol­ly­wood’s most en­dur­ing ori­gin sto­ries starts off so well that its mo­men­tum al­most car­ries it through a some­what more la­bored fin­ish. Lady Gaga re­dis­cov­ers her in­ner Ste­fani Joanne An­gelina Ger­man­otta in cre­at­ing the ti­tle char­ac­ter, Ally, a big-hearted aspir­ing singer who cap­tures the heart of Jack­son Maine, a coun­try-rock su­per­star played soul­fully by Bradley Cooper (who also co-wrote and di­rected). The tale, best re­mem­bered in the clas­sic 1950 Judy Gar­land ver­sion, is fa­mil­iar, track­ing the op­po­site tra­jec­to­ries of the two stars — one blaz­ing up­ward, one blaz­ing out. Cooper’s pac­ing gets a lit­tle choppy, as if he’s afraid of be­ing caught in a lin­ear nar­ra­tive, but for the most part the film is as­sured and ef­fec­tive. The sup­port­ing cast is stocked with

some­times-sur­pris­ing choices, like An­drew Dice Clay as Ally’s dad and Dave Chap­pelle as Jack­son’s friend. Sam El­liott is re­li­ably grav­elly as Jack­son’s much older brother. But the rev­e­la­tion is Lady Gaga, who nails the wide-eyed kid drawn into the world of su­per­star­dom, find­ing love and tragedy along the way. Rated PG. 96 min­utes. Screens in 2D at Re­gal Sta­dium 14; Vi­o­let Crown. (Jonathan Richards)

SUSPIRIA

Adapt­ing only rudi­men­tary as­pects of the 1977 Dario Ar­gento orig­i­nal,

Call Me By Your Name di­rec­tor Luca Guadagnino’s Suspiria trades the vi­brant, psy­che­delic schlock of its fore­bear for a somber story of slow, creep­ing hor­ror. Susie Ban­nion (Dakota John­son) joins the He­lena Markos Dance Com­pany, run by Madame Blanc (Tilda Swin­ton), head in­struc­tor at the acad­emy whose founder, Markos (also Swin­ton), a dis­ease-rid­den old witch, is kept squir­reled away in the base­ment. The school is a front for a coven of witches, and Susie is the in­tended ves­sel for bring­ing forth Mother Suspiria, one of a tri­umvi­rate of cos­mic forces. Guadagnino’s epic-length film is a night­mar­ish look at how su­per­nat­u­ral and pro­fane evil cor­rupts its ad­her­ents, and builds to a phan­tas­magoric, bloody con­clu­sion in Grand Guig­nol style. Its ex­cesses and its themes will di­vide fans of the genre, but it of­fers some mem­o­rable set pieces and in­trigu­ing ideas about un­re­solved shame. Rated R. 152 min­utes. In English, Ger­man, and French with sub­ti­tles. Vi­o­let Crown. (Michael Abatemarco)

VENOM

Spi­der-Man’s neme­sis Venom is a bul­let­proof ver­sion of Spidey with a long tongue and an ap­petite for live flesh. But di­rec­tor Ruben Fleis­cher of­fers a sur­pris­ingly well-crafted B-movie, and ac­tors Tom Hardy and Michelle Wil­liams class the joint up. Hardy plays Ed­die Brock, a jour­nal­ist who in­ves­ti­gates the re­search go­ing on at the Life Foun­da­tion. When the com­pany’s founder (Riz Ahmed) strikes back, Brock loses his job and girl­friend (Wil­liams). He learns that the foun­da­tion is ex­per­i­ment­ing on an alien, which grafts it­self to his body, grant­ing him su­per­pow­ers and a nasty dis­po­si­tion. From there, he must sa­ti­ate the alien’s ap­petite, get re­venge, and some­how also save the world. The ac­tion and ef­fects are well done, but the movie works best when it leans into ab­sur­dist hu­mor rem­i­nis­cent of the 1980s work of John Car­pen­ter and Sam Raimi. Rated PG-13. 112 min­utes. Screens in 2D at Re­gal Sta­dium 14. (Robert Ker)

You’re a mean one: Bene­dict Cum­ber­batch voices The Grinch, at Re­gal Sta­dium 14 and Vi­o­let Crown

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