Capsule descriptions and starred mini-reviews by The Commercial Appeal movie writer John Beifuss.
The Beaver (PG-13, 91 min.) See review on Page 12. Ridgeway Four. 13 Assassins (R, 126 min.) See review on Page 12. Ridgeway Four.
Hubble: Narrated by Leonardo DiCaprio, this new IMAX film explores the legacy of the Hubble Space Telescope and its impact on our understanding of the universe. Runs through Nov. 11. Tickets $8, $7.25 senior citizens, $6.25 children ages 3-12; children under 3 free. IMAX Theater at Memphis Pink Palace Museum, 3050 Central. Call 320-6362 for show times, tickets and reservations. Last Train Home (Not rated, 85 min.) An acclaimed, intimate documentary about the impact of China’s economic growth on the millions of industrial worker “peasants” who live in the cities and travel to their home villages only for the Chinese New Year. 2 p.m. Sunday, Memphis Brooks Museum or Art. Tickets: $8, or $6 for museum members. Visit brooksmuseum.org. Legends of Flight: Experience aerial innovation at the dawn of a new era in flight transportation; an insider’s view of how a modern aircraft is built. Through Nov. 11. Tickets $8, $7.25 senior citizens, $6.25 children ages 3-12; children under 3 free. IMAX Theater at Memphis Pink Palace Museum, 3050 Central. Call 320-6362 for show times, tickets and reservations. Memphis Film Festival: story on Page 4. Thursday through June 4, Whispering Woods Hotel and Conference Center, 11200 E. Goodman Road in Olive Branch. Visit memphisfilmfestival.com.
See Metropolitan Opera: Die Walküre (Not rated, 330 min.) An encore presentation of a recent epic production of the second part of Wagner's famous "Rings" cycle. 6:30 p.m. Wednesday, Paradiso. Tickets: $20. Visit malco.com. Rent (PG-13, 135 min.) The 2005 film version of the smash Pulitzer Prize-winning musical about bohemian New Yorkers coping with life, love and HIV. The screening is a fundraiser for the Outflix Film Festival. 7 p.m. Thursday, Studio on the Square. Suggested donation: $10. Visit outflixfestival.org.
The Adjustment Bureau (PG-13, 99 min.) ★★✩✩ Matt Damon, Emily Blunt. Bartlett 10. Battle Los Angeles (PG-13, 117 min.) ★★★✩✩ ❚ Aaron Eckhart, Michelle Rodriguez. Bartlett 10. Bridesmaids (R, 125 min.) ★★★✩ Advertised as a sort of female response to “The Hangover,” this frequently hilarious film is as much a coronation as a wedding celebration, with current “Saturday Night Live” MVP Kristen Wiig emerging as a successor to Lucille Ball and Carol Burnett as the new queen of knockabout comedy. Directed by Paul Feig (“Freaks and Geeks”) and produced by Judd Apatow (who apparently is responsible for a soon-to-be-infamous food-poisoning sequence and other male-friendly gross-out moments), the movie — despite its wonderful ensemble cast and generous plural title — is Wiig’s show all the way, with the actress cast as an unlucky-in-love Milwaukee failure facing her role as Maid of Honor in the marriage of her lifelong best friend (Maya Rudolph) with a mix of pride, dread and jealousy; the latter emotion is compounded when she meets a bridesmaid (Rose Byrne) who seems to be using her beauty, poise and prestige Chicago address to insinuate herself into the bride’s life as a new best friend. This rivalry is wonderfully played and convincingly written, by Wiig and her longtime comedy collaborator, Annie Mumolo. Forest Hill 8, Stage Cinema, Collierville Towne 16, DeSoto Cinema 16, Studio on the Square, Cordova Cinema, Paradiso, Hollywood 20 Cinema, CinePlanet 16. Diary of a Wimpy Kid: Rodrick Rules (PG, 100 min.) ★★★✩ This second film inspired by the popular Jeff Kinney kids’ book series emphasizes the rivalry and barely acknowledged affection between the undersized and oft-humiliated middle-school title narrator (Zachary Gordon) and his tormenting teenage brother (Devon Bostick), drummer in the band “Löded Diper.” Directed by former animator David Bowers, the film is essentially a feature-length sitcom episode, but it’s often laugh-out-loud funny, and it respects its young audience. Bartlett 10. Everything Must Go (R, 96 min.) ★★✩✩ A typically concise and withholding Raymond Carver short story becomes a typically maudlin, overstated and inartful “art” film, notable — if at all — for providing Will Ferrell with a rare “serious” leading role. As a recovering alcoholic who loses his job, his wife and access to his home on the same day, Ferrell — registering the poleaxed incomprehension that characterized his George W. Bush impersonations — acquits himself admirably; but what’s the point of this "creative" casting? If Ferrell is useful for audiences, it’s as a representation of the unleashed id: He’s the petulant man-child,