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(NR) Fifty Shades of Black — A spoof of a cer­tain in­sanely pop­u­lar erotic BDSM ro­mance. With Kali Hawk and Mike Epps. Writ­ten by Mar­lon Wayans and Rick Al­varez. Di­rected by Michael Tid­des. 92 min.(R) for strong crude sex­ual con­tent in­clud­ing some graphic nu­dity, and for lan­guage through­out. ★★★ The Finest Hours — In 1952, the Coast Guard at­tempts a dar­ing res­cue of an oil tanker dur­ing a fierce nor’easter in the frigid At­lantic wa­ters. With Chris Pine, Casey Af­fleck and Ben Foster. Writ­ten by Scott Sil­ver and Paul Ta­masy & Eric John­son. Di­rected by Craig Gille­spie. 114 min. (PG-13) for in­tense se­quences of peril. — Michael Phillips, Tribune News­pa­pers 45 Years — A mar­ried cou­ple pre­par­ing to cel­e­brate their wed­ding an­niver­sary re­ceive shattering news that prom­ises to for­ever change the course of their lives. Di­rected by An­drew Haigh. Writ­ten by David Con­stan­tine, Haigh. Star­ring Char­lotte Ram­pling, Tom Courte­nay, Geral­dine James. 95 min. (R) for lan­guage and brief sex­u­al­ity. (NR) Jane Got a Gun — A woman asks her ex-lover for help in or­der to save her out­law hus­band from a gang out to kill him. Di­rected by Gavin O’Con­nor. Writ­ten by Brian Duffield, An­thony Tam­bakis. Star­ring Natalie Port­man, Joel Edgerton, Ewan McGre­gor. 98 min. (R) for vi­o­lence and some lan­guage. ★★★ ½ Kung Fu Panda 3 — Furry mar­tial artist Po jour­neys with his lon­glost father to a panda par­adise where he must train his klutzy com­padres to fight the evil Kai. Voices of Jack Black, Bryan Cranston, Dustin Hoff­man and An­gelina Jolie. Di­rected by Jen­nifer Yuh Nelson and Alessan­dro Car­loni. 95 min. (PG) for mar­tial arts ac­tion and some mild rude hu­mor. — Katie Walsh, Tribune News Ser­vice ★★★★ Son of Saul —“Son of Saul” is an Auschwitz pris­oner’s haunt­ing story. It is a stun­ning fea­ture de­but from di­rec­tor Las­zlo Nemes, in which a Hun­gar­ian pris­oner at Auschwitz de­ter­mines to pro­vide a proper burial for one corpse among many. Is the dead boy Saul’s son in ac­tu­al­ity? It’s a ques­tion best left to the viewer, and “Son of Saul” is about far more than a sim­ple ques­tion of iden­tity. 107 min. (R) for dis­turb­ing vi­o­lent con­tent, and some graphic nu­dity. Cinema Par­adiso, Fort Laud­erdale; Movies of Del­ray; Movies of Lake Worth; Carmike Parisian 20, West Palm Beach. — Michael Phillips, Tribune News­pa­pers ship, 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. — 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 mort­gage-backed 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 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. 98 min. (PG-13) for vi­o­lence and ter­ror, and some the­matic ma­te­rial. ★★★ 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 ★★★★ 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


Mag­gie Smith in “The Lady in the Van.” (NR) Not re­viewed — Gen­eral au­di­ences. All ages ad­mit­ted. — Parental guid­ance. Some ma­te­rial may not be suit­able for pre­teens. — Some ma­te­rial in­ap­pro­pri­ate for chil­dren un­der 13. — Re­stricted. Un­der 17...

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