OPEN­INGS

Sun Sentinel Broward Edition - Showtime - South Broward - - MOVIES -

★ ½ Alvin and the Chip­munks: The Road Chip — The plot for “Road Chip” fol­lows the Chip­munks from LA to Miami. Their “dad,” Dave (Ja­son Lee), is get­ting se­ri­ous with lady doc­tor Sa­man­tha (Kim­berly Wil­liams-Pais­ley), who comes with a night­mare of a teenage son, Miles (Josh Green). Sus­pect­ing a pro­posal, and not want­ing to unite their fam­i­lies, the Chip­munks and Miles set off to throw a mon­key wrench in the plans. In so do­ing, they man­age to un­leash a crowd of an­i­mals onto a plane; play a honky tonk sa­loon in Texas; join a Mardi Gras pa­rade in New Or­leans; and fi­nally make it to Miami, where they wreak even more havoc. It’s stan­dard learn­ing-to-love-youren­emy stuff, with lessons about friend­ship, loy­alty and learn­ing to say sorry, pack­aged in ado­les­cent, fart-for­ward hu­mor, re­ly­ing on gen­der stereo­types and a bizarre ac­cep­tance of talk­ing ro­dents. 86 min. (PG) for some mild rude hu­mor. — Katie Walsh, Tri­bune News Ser­vice Cen­sored Voices — Mor Loushy’s doc­u­men­tary “Cen­sored Voices” sets free a lost cho­rus from1967’s Six Day War: record­ings made at the time by writer Amos Oz and ed­i­tor Avra­ham Shapira — sub­se­quently cen­sored by the Is­rael De­fense Forces — of Is­raeli sol­diers in the im­me­di­ate af­ter­math of that his­toric vic­tory over Egypt, Jor­dan and Syria. In­ter­viewed at kib­butzim, th­ese men re­veal a deep, clear-eyed dis­sat­is­fac­tion with the eu­pho­ria they were sup­posed to ex­hibit, bound up in torn feel­ings about killing, the treat­ment of pris­on­ers and the no­tion of con­querors be­com­ing an oc­cu­py­ing force. What started as de­fend­ing an ex­is­ten­tial threat be­came for th­ese van­quish­ers an in­ter­nal de­bate about what lay ahead for Is­rael, even as they fully ac­knowl­edged how grim the sit­u­a­tion would have been if they’d lost. 87 min. (U) Cin­ema Par­adiso, Fort Laud­erdale and Hol­ly­wood. — Robert Abele, Tri­bune News­pa­pers Peggy Guggen­heim: Art Ad­dict — Nearly any chap­ter of Peggy Guggen­heim’s ex­tra­or­di­nary life could fill a fea­ture-length film: the child­hood shaped by wealth, ec­cen­tric­ity and her phi­lan­der­ing fa­ther’s death on the Ti­tanic; her own dif­fi­cult mar­riages and par­ent­hood; and, es­pe­cially, her piv­otal role as an art col­lec­tor, pa­tron and gal­lerist. Lisa Im­mordino Vree­land deftly chore­ographs the story in her vi­brant doc­u­men­tary “Peggy Guggen­heim: Art Ad­dict,” at once a cap­sule history of Modernism and a poignant per­sonal por­trait. With its jaunty jazz score and well-cho­sen archival ma­te­rial, the film finds Guggen­heim where the bo­hemian ac­tion is, be­gin­ning with Paris of the 1920s. Ul­ti­mately, she cre­ated her own art mecca in the Vene­tian palazzo where the pub­lic can view her col­lec­tion to this day. 95 min. (U). Cin­ema Par­adiso, Fort Laud­erdale. — Sheri Lin­den, Tri­bune News­pa­pers ★★ Sis­ters — A lot of very tal­ented and lik­able peo­ple came to­gether to make “Sis­ters.” Stars Tina Fey and Amy Poehler are much beloved for their iconic TV char­ac­ters, long­time “Satur­day Night Live” writer Paula Pell con­trib­utes the screen­play, and “Pitch Per­fect” di­rec­tor Ja­son Moore takes on helm­ing du­ties. It’s a shame then, that with all th­ese fine cre­ators, this scat­ter­shot com­edy just doesn’t gel in the way that it should. “Sis­ters” just doesn’t co­here as a con­sis­tent piece. It doesn’t com­mit to one thing or an­other, so it’s an odd mash-up of mid­dle-aged lady hu­mor and “Neigh­bors” style rag­ing. It also over­stays its wel­come, stuffed with sub-plots and side char­ac­ters. It doesn’t know where and when to end, so it just keeps end­ing. Un­for­tu­nately, “Sis­ters” just isn’t wor­thy of all the tal­ent in­volved. 118 min. (R) for crude sex­ual con­tent and lan­guage through­out, and for drug use. — Katie Walsh, Tri­bune News Ser­vice docu­d­rama, “Bridge of Spies” hon­ors the right­eous un­der­dog, tri­umphant. Tom Hanks stars as James Dono­van, a Brook­lyn in­sur­ance claims lawyer and for­mer Nurem­berg tri­als pros­e­cu­tor. Not that many knew about it at the time, but Dono­van ne­go­ti­ated a tricky ex­change of a Soviet and Amer­i­can spy. On his own ini­tia­tive, Dono­van rolled a third man into the trade. Could the right ne­go­tia­tor pull off such a lop­sided trade? “Bridge of Spies,” which takes its ti­tle from the Glienicke Bridge link­ing West Berlin with Pots­dam, an­swers that ques­tion in due course. The movie plants one foot in Hol­ly­wood myth-making and the other in Amer­i­can history and Amer­i­can val­ues. 135 min. (PG-13) for some violence and brief strong lan­guage. — Michael Phillips, Tri­bune News­pa­pers ★★★ ½ Brook­lyn — The Amer­i­can im­mi­grant story comes to life in the lush and lovely “Brook­lyn,” di­rected by John Crowley, with a screen­play adapted by Nick Hornby from Colm Toibin’s 2009 novel. In 1950s En­nis­cor­thy, Ire­land, young Eilis Lacey (Saoirse Ro­nan) strives for more than what her small town can of­fer. With­out job or mar­riage prospects at home, she takes the leap across the At­lantic to seek her for­tune in New York City. Eilis is des­per­ately home­sick un­til she starts tak­ing ac­count­ing classes and meets a charm­ing Ital­ian guy. All too soon,

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