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The 5th Wave — Four deadly surges have left the world rav­aged and a teen must trust a mys­te­ri­ous young man to save her brother. With Chloe Grace Moretz and Nick Robin­son. Writ­ten by Su­san­nah Grant, Akiva Golds­man and Jeff Pinkner. Di­rected by J Blake­son. Vi­o­lence and de­struc­tion, some sci-fi the­matic el­e­ments, lan­guage and brief teen par­ty­ing. The Boy — In an English vil­lage, a young Amer­i­can woman is hired to care for an 8-year-old, who ap­pears to be a life-size doll. With Lau­ren Co­han, Rupert Evans and Jim Nor­ton. Writ­ten by Stacey Me­n­ear. Di­rected by Wil­liam Brent Bell. Vi­o­lence and ter­ror, and some the­matic ma­te­rial. Dirty Grandpa — An am­bi­tious man jeop­ar­dizes his up­com­ing mar­riage when he re­luc­tantly takes his trou­ble­mak­ing grand­fa­ther to spring break in Florida. With Zac Efron, Robert De Niro and Aubrey Plaza. Writ­ten by John Phillips. Di­rected by Dan Mazer. Crude sex­ual con­tent through­out, graphic nu­dity, lan­guage and drug use. ★★★ The Lady in the Van — Mag­gie Smith re-creates her stage tri­umph as a Cam­den Town vagabond who ends up park­ing her van for an ex­tended stay in Alan Ben­nett’s mem­oir. — Michael Phillips, Tribune news­pa­pers 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 Ano­ma­l­isa — Sad, beau­ti­ful, the wit­ti­est film of the year; di­rec­tors Duke John­son and Char­lie Kauf­man, us­ing stop-mo­tion an­i­ma­tion and work­ing from a script Kauf­man orig­i­nally wrote and staged a decade ago, trans­form the com­edy of quiet des­per­a­tion into an oc­ca­sion for se­ri­ous plea­sure. 90 min. (R) for strong sex­ual con­tent, graphic nu­dity and lan­guage. Clas­sic Gate­way Theatre, Fort Laud­erdale. — Michael Phillips, Tribune News­pa­pers ★★ ½ The Big Short — I’m con­flicted be­yond the usual def­i­ni­tions of “con­flicted” re­gard­ing di­rec­tor and co-writer Adam McKay’s “The Big Short,” a valiant, zestily acted adap­ta­tion of the Michael Lewis non­fic­tion best-seller about the fi­nan­cial melt­down of 2008. The na­tional and world economies are still mired in the melted cheese of that cri­sis, a slice of re­cent his­tory that seems very far away and de­press­ingly present. To tell this story, McKay and co-writer Charles Ran­dolph cope with an un­godly mass of di­a­logue con­cern­ing the risks in­volved with col­lat­er­al­ized debt obli­ga­tions and mort­gage­backed se­cu­ri­ties. I’m an id­iot when it comes to fi­nances, both my own and the coun­try’s. To an id­iot like me, “The Big Short” comes off as an ex­as­per­ated blur of a movie, packed with in­for­ma­tion and loaded with en­ter­tain­ing ac­tors work­ing hard to dra­ma­tize and en­er­gize. 130 min. (R) for per­va­sive lan­guage and some sex­u­al­ity/nu­dity. — 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, a fam­ily death calls her back to the mother­land, and Eilis finds that what she left be­hind wasn’t so bad af­ter all. “Brook­lyn” is an ev­er­green, uni­ver­sal story. It cap­tures the strug­gles and heartache of any im­mi­grant liv­ing in and learn­ing a new coun­try, and it also rings en­tirely, al­most painfully true for any young per­son who’s left be­hind a small town life for the siren call of the big city. 111min. (PG-13) for a scene of sex­u­al­ity and brief strong lan­guage. — Katie Walsh, Tribune News Ser­vice ★★★ ½ Bridge of Spies — Adapted freely from the his­tor­i­cal record, like any good fact-based but not fact-bound 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 ★★★★ Carol — By now, the crit­i­cal re­cep­tion for di­rec­tor Todd Haynes’ “Carol” has built a fortress of pres­tige around the film it­self, much as the ti­tle char­ac­ter played by Cate Blanchett goes through her life pro­tected by just the right clothes and makeup. On the fortress wall there are signs declar­ing this adap­ta­tion of the Pa­tri­cia High­smith novel “The Price of Salt” an im­por­tant love story, a shattering and beau­ti­ful ex­pe­ri­ence, fea­tur­ing Os­car-wor­thy per­for­mances from Blanchett and Rooney Mara, etc. With a few mi­nor ex­cep­tions, prac­ti­cally ev­ery de­ci­sion in the writ­ing, cast­ing, di­rec­tion and edit­ing of “Carol” was the right one. Like High­smith’s re­mark­able novel (the rare les­bian love story of its time with an op­ti­mistic coda), it nei­ther un­duly en­no­bles its key char­ac­ters nor con­fines them to butch/femme sex­ual archetypes. It’s about two peo­ple in a highly fraught, highly charged sit­u­a­tion. 118 min. (R) for a scene of sex­u­al­ity/nu­dity and brief lan­guage. — Michael Phillips, Tribune News­pa­pers (NR) Closed Sea­son — In 1942 Fritz and Emma hide a Jewish refugee at their re­mote farm in the Black For­est. As the cou­ple has un­hap­pily re­mained child­less, Fritz sug­gests an un­ortho­dox deal and asks Al­bert to con­ceive a child with Emma on his be­half. The con­se­quences are dra­matic: Emma dis­cov­ers her sex­u­al­ity, Fritz can­not con­trol his jeal­ousy and Al­bert feels trapped be­tween the two of them. Against the back­ground of war, an un­pre­dictable drama un­folds that turns of­fend­ers into vic­tims and vice versa. 100 min. (U). ★★★ Con­cus­sion —“Con­cus­sion,” writ­ten and di­rected by Peter Lan­des­man, es­tab­lishes two things right away — the ex­treme rev­er­ence that peo­ple have for foot­ball, through a Hall of Fame ac­cep­tance speech by Pitts­burgh Steeler “Iron Mike” Web­ster (David Morse), and the bona fides of Dr. Ben­net Omalu (Will Smith), an ex­tremely well-ed­u­cated Nige­rian im­mi­grant and foren­sic neu­ropathol­o­gist in the Pitts­burgh coro­ner’s of­fice. Th­ese are the two con­flict­ing forces through­out the film: the love of the game and the un­de­ni­a­bil­ity of sci­ence. The ba­sis for the film, the 2009 GQ ar­ti­cle “Game Brain” by Jeanne Marie Laskas (she also wrote the sub­se­quent book “Con­cus­sion”), re­lies more heav­ily on the lat­ter. 123 min. (PG-13) for the­matic ma­te­rial in­clud­ing some dis­turb­ing im­ages, and lan­guage. — Katie Walsh, Tribune News Ser­vice ★★★ ½ Creed — Back in 1976, the na­tion yearned for a red, white and blue plate spe­cial piled high with corn. Then, up those Philadel­phia Mu­seum of Art steps, backed by the Bill Conti theme, that

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