MOVIES

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writer-di­rec­tor-pro­ducer were sto­ries of erotic sus­pense. “Hav Faith” also fits that cat­e­gory to some ex­tent, but its pur­pose is more to trans­form than to tit­il­late. “Hav Faith,” ac­cord­ing to Bell, is a mod­ern retelling of the story of Joseph, the young Bible hero who faced an­gry broth­ers, se­duc­tion at­tempts and ac­cu­sa­tions of rape while earn­ing ad­mi­ra­tion and envy for his prophetic dreams and his coat of many col­ors.

“My pas­sion is still film­mak­ing, but my pur­pose now is faith-based films,” said Bell, a 1989 grad­u­ate of West­wood High School who at­tended Ten­nessee State Uni­ver­sity and now lives in Nashville. “The film­mak­ing I’m do­ing now is for God and not for self. This is my min­istry.”

The “Hav” in “Hav Faith” rep­re­sents the ini­tials of the story’s hero, Hamil­ton A. Vaughn (played by Ter­ron Brooks, who was Ed­die Ken­dricks in a 1998 TV movie about the Temp­ta­tions), while the sec­ond part of the ti­tle is a ref­er­ence to the story’s love in­ter­est, Faith (Michelle Lynn Hardin). Other cast mem­bers in­clude Gary An­thony Stur­gis (“Diary of a Mad Black Woman”), Percy Bell (“Queen Sugar”) and San­ti­ago Cir­ilo (“The Walk­ing Dead”). The film was shot from March 20 to April 6 in Nashville on a low bud­get (un­der $200,000), with Bell’s wife, Sharita Bell, as co-pro­ducer.

So far, Bell is book­ing and pro­mot­ing “Hav Faith” him­self, in true D.I.Y. fash­ion. The movie to date has screened in Nashville and Clarks­dale in Ten­nessee, and Hop­kinsville, Ken­tucky. Bell will host the Malco Ma­jes­tic screen­ings that be­gin near­est to 7 p.m. Fri­day and Satur­day, and he will an­swer ques­tions af­ter the movie. He will be joined by his old West­wood class­mate and march­ing band co­hort Xa­mon Glasper, who also is an ac­tor in the film. in Uganada in this Dis­ney pro­duc­tion, which co-stars David Oyelowo and Lupita Ny­ong’o. Par­adiso. Storks (PG, 92 min.) An an­i­mated com­edy-ad­ven­ture about the birds that de­liver ba­bies. Cine­planet 16 (in 3-D), Col­lierville Towne 16 (in 3-D), Cor­dova Cin­ema (in 3-D), De­soto Cin­ema 16 (in 3-D), For­est Hill 8, Hol­ly­wood 20 Cin­ema (in 3-D), Ma­jes­tic, Olive Branch Cin­ema (in 3-D), Palace Cin­ema (in 3-D), Par­adiso (in 3-D), Stage Cin­ema (in 3-D), Sum­mer Quar­tet Drive-in. Tho­dari (Not rated, 135 min.) A Tamil thriller. Wolfchase Gal­le­ria Cin­ema 8. Alexan­der and the Ter­ri­ble, Hor­ri­ble, No Good, Very Bad Day (PG, 81 min.) The out­door “Movie Night at Car­riage Cross­ing” se­ries con­cludes with this 2014 adap­ta­tion of Ju­dith Viorst’s pop­u­lar book about a mid­dleschool stu­dent (Ed Ox­en­bould) who suf­fers a se­ries of comic calami­ties. “Pre-movie fun” be­gins at 7 p.m., and the film starts at dusk. Fam­i­lies are en­cour­aged to bring blan­kets and lawn chairs. Fri­day, Cen­tral Park at Car­riage Cross­ing, 4674 Mer­chants Park Cir­cle, Col­lierville. Ad­mis­sion: free. Visit shop­car­riage­cross­ing.com. Eva Hesse (Not rated, 108 min.) This new doc­u­men­tary from Mar­cie Be­gleiter ex­am­ines the trag­i­cally short life of the “post-min­i­mal­ist” mul­ti­me­dia artist who made a splash in Ger­many and New York in the 1960s. 7 p.m. Wed­nes­day, Mem­phis Brooks Mu­seum of Art. Tick­ets: $9, or $5 for stu­dents and mu­seum mem­bers. Visit brooksmu­seum.org. Fran­co­fo­nia (Not rated, 88 min.) This his­tory of the Lou­vre by Rus­sian di­rec­tor Alek­sandr Sokurov is “a free­wheel­ing po­etic es­say” that mixes fan­ci­ful and doc­u­men­tary footage to ex­plore the role of mu­se­ums in cul­ture. 1 p.m. Fri­day, Mem­phis Brooks Mu­seum of Art. Tick­ets: $5. Visit brooksmu­seum.org. Indie Mem­phis Youth Film Fest (Not rated, 120 min.) Twenty-seven films by Mem­phis-area high school, ju­nior high and mid­dle school stu­dents com­pete for prizes in a new Indie Mem­phis-hosted event. See story on Page 14. 4 p.m. Satur­day, the Hal­lo­ran Cen­tre, 225 S. Main. Tick­ets: $10. Visit in­diemem­phis. com. Jean-michel Cousteau’s Se­cret Ocean 3D (Not rated, 45 min.) The son of ocean pioneer Jac­ques Cousteau of­fers a break­through look at a se­cret world within the ocean. Through Nov. 18, CTI 3D Gi­ant Theater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Shown in reg­u­lar non-3d for­mat Mon­days through Fri­days at 4 p.m. only. Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Jour­ney to Space 3D (Not rated, 45 min.) Ex­pe­ri­ence space flight his­tory and the space shut­tle pro­gram. Through Nov. 18, CTI 3D Gi­ant Theater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adults (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Michael Bublé — Tour Stop 148 (Not rated, 110 min.) A con­cert doc­u­men­tary about the Cana­dian pop crooner. 7 p.m. Tues­day, Par­adiso. Tick­ets: $16. Visit malco.com. Mother of Ge­orge (R, 107 min.) Danai Gurira (the sa­mu­rai sword-wield­ing Mi­chonne of “The Walk­ing Dead”) is a Nige­rian ad­just­ing to life in Brook­lyn. 7 p.m. Fri­day, 1 and 7 p.m. Satur­day, 4 p.m. Sun­day, Baobab Film­house, 652 Mar­shall. Tick­ets: $12.50 at the door ($10 for mati­nees), $10 in ad­vance ($8 for mati­nees), $8 for se­niors and stu­dents. Visit baob­a­b­film­house.com. Na­tional Parks Ad­ven­ture 3D (Not rated, 45 min.) Robert Red­ford nar­rates this off-trail trek through more than 30 na­tional parks. Through Nov. 18, CTI 3D Gi­ant Theater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Pan­de­mo­nium Cin­ema Show­case — The Roller Derby Pic­ture Show: Pre­sented by film­maker Craig Brewer and Black Lodge Video im­pre­sario Matt Martin, this even­ing of on­screen-and-off­screen “body-slam­ming speed-de­mon ac­tion” fea­tures three movies — “Roller­ball” (1975), “Hell on Wheels” (2007) and “The Un­holy Rollers” (1972) — plus per­for­mances by the skaters of Mem­phis Roller Derby. 6 p.m. Satur­day, Cos­sitt Li­brary, 33 S. Front. Ad­mis­sion: free. Raiders of the Lost Ark: The Adap­ta­tion (Not rated, 100 min.) The leg­endary shotby-shot “fan film” re­make, cre­ated by “Raiders”-crazed kids in Mis­sis­sippi in the 1980s. Film­mak­ers Eric Zala and Chris Strompo­los (who played In­di­ana Jones) will host and an­swer ques­tions af­ter the movie. 7:45 p.m. Satur­day, the Hal­lo­ran Cen­tre, 225 S. Main. Tick­ets: $15. Visit in­diemem­phis.com. Star Wars: The Force Awak­ens (PG-13, 136 min.) The lat­est “Star Wars” se­quel con­cludes its mul­ti­week run (in 2D) on the gi­ant-size Pink Palace screen. 4 p.m. Satur­day and Sun­day, CTI 3D Gi­ant Theater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. 2 Days in New York (R, 96 min.) A 2012 com­edy about the may­hem that en­sues when fam­ily mem­bers de­scend on the apart­ment of a mixed-race cou­ple, played by Julie Delpy (who also di­rected) and Chris Rock. 4 p.m. Satur­day, 1 and 7 p.m. Sun­day, 4 p.m. Sun­day, Baobab Film­house, 652 Mar­shall. Tick­ets: $12.50 at the door ($10 for mati­nees), $10 in ad­vance ($8 for mati­nees), $8 for se­niors and stu­dents. Visit baob­a­b­film­house.com. Van­ished — Left Be­hind: Next Gen­er­a­tion (PG-13, 115 min.) The end-of-the-world fran­chise re­sumes with a one-night-only screen­ing of a story about a head­strong 15-year-old girl (Am­ber Frank) strug­gling to sur­vive af­ter the dis­ap­pear­ance of the globe’s bil­lion Chris­tians. 7 p.m. Wed­nes­day, Par­adiso. Tick­ets: $13.50. Visit malco.com. The Wiz (G, 134 min.) The out­door Indie Mem­phis Mu­sic Film Se­ries con­tin­ues with the 1978 “ur­ban­ized” retelling of the fan­tasy clas­sic about a lost girl (Diana Ross) who joins a scare­crow (Michael Jack­son), a tin man (Nipsey Rus­sell) and oth­ers to search for a mag­i­cal wiz­ard (Richard Pryor). 7 p.m. Thurs­day, Le­vitt Shell. Ad­mis­sion: free. Visit in­diemem­phis.com. Bad Moms (R, 101 min.) They’re en­gaged in “comedic self-in­dul­gence,” and they in­clude Mila Ku­nis, Kathryn Hahn and Kris­ten Bell. Cine­planet 16, For­est Hill 8. The Bea­tles: Eight Days a Week — The Tour­ing Years (Not rated, 138 min.) Ron Howard’s doc­u­men­tary chron­i­cles the liveper­for­mance hey­day of the Fab Four. Stu­dio on the Square. Ben-hur (PG-13, 124 min.) Bartlett 10. The BFG (PG, 117 min.) HHH Bartlett 10. Blair Witch (R, 89 min.) Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema, Par­adiso, Stage Cin­ema, Stu­dio on the Square, Sum­mer Quar­tet Drive-in. Brid­get Jones’s Baby (R, 122 min.) Renée Zell­weger re­turns as He­len Field­ing’s Bri­tish hero­ine, 12 years af­ter the pre­vi­ous film. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema, Olive Branch Cin­ema, Par­adiso, Ridge­way Cin­ema Grill, Stage Cin­ema. Cen­tral In­tel­li­gence (PG-13, 114 min.) Bartlett 10. Don’t Breathe (R, 88 min.) HHH ½ An in­stant neogrind­house clas­sic, this truly fright­en­ing hor­ror­sus­pense thriller in­ge­niously twists the “Wait Un­til Dark” for­mat, trap­ping three os­ten­si­blysym­pa­thetic teenage bur­glars (Jane Levy, Dy­lan Min­nette, Daniel Zo­vatto) in the ram­bling, for­ti­fied home of a tough war vet­eran (a ro­bust and alarm­ing Steven Lang) who vi­o­lently turns the ta­bles on his would-be vic­tim­iz­ers. Di­rec­tor Fede Al­varez (the “Evil Dead” re­make) and his co-sce­nar­ist, Rodo Sayagues, ex­pertly es­tab­lish the premise and con­text (the house is lo­cated in an aban­doned Detroit neigh­bor­hood that is ground zero for the theme of eco­nomic de­spair), while en­sur­ing that the viewer, un­like the bur­glars, never be­comes lost within the maze­like to­pog­ra­phy of the mul­ti­level house, with its base­ment, crawlspaces and barred win­dows. Tak­ing ad­van­tage of the cin­e­matic op­por­tu­ni­ties in­her­ent to a story about the use­ful­ness of eyes, the film­mak­ers cre­atively ex­ploit the vet­eran’s blind­ness for max­i­mum ten­sion, plung­ing the teens into dark­ness or freez­ing them into place while the man’s grasp­ing hands are only inches away. The late in­tro­duc­tion of a sex el­e­ment (the movie’s only gross-out scare) and its ac­com­pa­ny­ing mono­logue (which adds re­dun­dant “mo­ti­va­tion” to the blind man’s char­ac­ter) are the only mis­steps in a shocker that de­serves the hype. Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema, Par­adiso, Stage Cin­ema, Sum­mer Quar­tet Drive-in. Greater (PG, 131 min.) Christo­pher Sev­e­rio is Arkansas Ra­zor­back Bran­don

Burlsworth, “pos­si­bly the great­est walk-on in the his­tory of col­lege foot­ball.” Col­lierville Towne 16, Cor­dova Cin­ema. Hell or High Wa­ter (R, 102 min.) HHHH Ru­ral Texas broth­ers (Chris Pine is the re­luc­tant mas­ter­mind, Ben Foster the loose can­non) be­come small-town bank rob­bers to save their ranch from fore­clo­sure and re­venge them­selves upon an ex­ploita­tive econ­omy in this beau­ti­fully ex­e­cuted con­tem­po­rary Western, which of­fers blessed re­lief for adult movie­go­ers who yearn for old-school genre thrills and smarts with­out new-school overkill. Di­rected by Scot­tish art house vet­eran David Macken­zie, the movie is rich with won­der­ful per­for­mances, quotable di­a­logue, dead­pan com­edy, re­gional tex­ture and bursts of ac­tion, but it feels lean and mean: The story is so propul­sive and the word­play so lively it’s a sur­prise to learn Macken­zie is work­ing from an orig­i­nal script (by “Si­cario” writer Tay­lor Sheri­dan), rather than from a novel by the likes of El­more Leonard or Carl Hi­assen. Wor­ry­ing his lines like a plug of chaw, Jeff Bridges again proves that an ex­treme, even ex­pres­sion­is­tic char­ac­ter­i­za­tion can be an un­likely ve­hi­cle for emo­tional hon­esty; his gnarly Texas Ranger pro­vides both the twisted nar­ra­tive and the flat hori­zon with an up­right moral cen­ter. Cine­planet 16, Cor­dova Cin­ema. Hill­song: Let Hope Rise (PG, 103 min.) A “the­atri­cal wor­ship ex­pe­ri­ence” of a doc­u­men­tary about Aus­tralia’s Hill­song United. Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, Wolfchase Gal­le­ria Cin­ema 8. The Hol­lars (PG-13, 88 min.) John Krasin­ski plays a prodi­gal son, re­join­ing his small-town dys­func­tional fam­ily. See story on Page 14. Ridge­way Cin­ema Grill. Ice Age: Col­li­sion Course (PG, 94 min.) Bartlett 10. Ja­son Bourne (PG-13, 121 min.) Matt Da­mon again acts the role of Amer­ica’s fa­vorite am­ne­siac ex-as­sas­sin. Cor­dova Cin­ema, Par­adiso. Jo Achyu­tananda (Not rated, 150 min.) Two broth­ers fall for the same woman in this Tel­ugu-lan­guage ro­mance. Wolfchase Gal­le­ria Cin­ema 8. The Jun­gle Book (PG, 105 min.) HHH ½ Bartlett 10. Kubo and the Two Strings (PG, 101 min.) HHH ½ Set in an­cient Ja­pan, this un­usual fa­ble about a young boy (voiced by Art Parkin­son) ac­com­pa­nied on a quest by a talk­ing snow mon­key (Char­l­ize Theron) and a Gre­gor Samsa-style sa­mu­rai bee­tle (Matthew Mc­conaughey) is ide­ally suited for Laika En­ter­tain­ment, a stu­dio that has strug­gled since “Co­ra­line” — its 2009 de­but re­lease — to find ma­te­rial wor­thy of the un­canny ef­fect of the com­puter-en­hanced stop-mo­tion an­i­ma­tion that is the com­pany’s sig­na­ture. Visu­ally strik­ing at ev­ery turn and oc­ca­sion­ally even eerie (the float­ing witch sis­ters de­serve their own stop-mo­tion hor­ror movie), the film con­jures a fan­tasy logic that is more be­holden to myth and folk­lore than to comic books and Hol­ly­wood (in fact, Laika is based near Port­land); the box-of­fice profit won’t ap­proach Pixar lev­els, but cult rev­er­ence is as­sured. The de­but­ing di­rec­tor is Travis Knight, lead an­i­ma­tor on the pre­vi­ous Laika films, which also in­clude “Para­nor­man” and “The Box­trolls.” Col­lierville Towne 16, Hol­ly­wood 20 Cin­ema (in 3-D), Palace Cin­ema, Par­adiso. The Leg­end of Tarzan (PG-13, 109 min.) HHH The first ma­jor live-ac­tion Tarzan movie in three decades re­habs the prob­lem­atic and elides omits the in­de­fen­si­ble as­pects of Edgar Rice Bur­roughs’ story about a white baby raised by apes who proves to be the nat­u­ral lord of both jun­gle an­i­mals and black-skinned Africans; at the same time, the film em­braces the se­duc­tive “no­ble sav­age” fan­tasy of a new cen­tury-old Western pop myth that — as with “Franken­stein,” “Moby Dick” and “King Kong” — of­fers end­less, thorny av­enues for sex­ual, racial, po­lit­i­cal and his­tor­i­cal anal­y­sis. Set in the 1880s, this “Leg­end” in­tro­duces the cloth­ing­con­stricted John Clay­ton, Lord Greystoke (an ap­pro­pri­ately lithe and sculpted Alexan­der Skars­gaard) at a meet­ing at Num­ber 10 Down­ing Street, where the for­mer Tarzan — eight years out of Africa — sips tea with splayknuck­led hands (“I grew up run­ning on all fours”) while lis­ten­ing to con­de­scend­ing gov­ern­ment re­ports on “the poor na­tives” of the Bel­gian Congo. Be­fore long, Greystoke and his proudly mod­ern non“damsel”wife, Jane (Mar­got Rob­bie), are on a mis­sion that takes them back to Africa, where they shed their in­hi­bi­tions (and clothes) while join­ing real-life re­former Ge­orge Wash­ing­ton Wil­liams (a fun if anachro­nis­tic Sa­muel L. Jack­son) and var­i­ous tribes­peo­ple — as adept at vine-swing­ing as Tarzan — in a bat­tle against slave traders and the mer­ci­less Leon Rom (Christoph Waltz), a dandy so sin­is­ter he gar­rotes his en­e­mies with a rosary made from Mada­gas­car spi­der silk. Like Brewer’s pre­vi­ous fea­tures (which in­volved pimp­ing, ra­di­a­tor-chained cap­tiv­ity and il­le­gal danc­ing), this is essen­tially a por­trait of love in ex­tremis that uses a fan­tas­ti­cal premise to chal­lenge and re­ju­ve­nate its lovers; un­like most cur­rent “su­per­hero” sagas, which traf­fic in moral am­bi­gu­ity, the movie is staunchly un­cyn­i­cal, with an en­tirely ad­mirable Tarzan and Jane whose un­con­di­tional love for each other spills over to the an­i­mal king­dom: Tarzan nuz­zles lions, reveres ele­phants and chooses sur­ren­der over vi­o­lence in a cer­e­mo­nial bat­tle with a great ape (the script af­firms cur­rent think­ing about the “hu­man­ity” of non­hu­man pri­mates). Also wel­come: The movie’s episodic, river­chase story struc­ture and old-school ac­tion-ad­ven­ture are rel­a­tively mod­est for a would-be fran­chise-ig­nit­ing block­buster; only the too fre­quently sub­stan­dard dig­i­tal ef­fects — sur­pris­ing for such an ex­pen­sive project — break the spell. Bartlett 10. Lights Out (PG-13, 81 min.) HH ½ A metaphor for abu­sive code­pen­dency and its side­kick reper­cus­sions, shame and se­crecy, di­rec­tor David F. Sand­berg’s fairly ef­fec­tive fea­ture de­but imag­ines an an­gry ghost with a bale­ful long­time in­flu­ence on a frac­tured fam­ily that in­cludes a self-med­i­cat­ing mess of a mother (Maria Bello), a sweet-na­tured young son (Gabriel Bate­man) and a re­la­tion­ship-wary daugh­ter (Teresa Palmer, whose Goth at­tire and glower can’t hide her Cal­i­for­nia-by-way-ofAus­tralia surfer-girl glow). On the scale of scary, the movie ranks well above such re­cent fiz­zles as “The Gal­lows” and “The For­est,” but well be­low “Green Room” and “Don’t Breathe”; its over-reliance on jump scares is re­gret­table, but its con­cept of a dark­ness­d­welling en­tity that steadily ap­proaches with each on-and­off flick of a light switch is gen­uinely creepy. Bartlett 10, Cine­planet 16, De­soto Cin­ema 16. Me­chanic: Res­ur­rec­tion (R, 99 min.) Ja­son Statham re­turns as uber-as­sas­sin Arthur Bishop. De­soto Cin­ema 16, Hol­ly­wood 20 Cin­ema, Sum­mer Quar­tet Drive-in. Mr. Church (PG-13, 104 min.) Call it “Cook­ing for Miss Daisy”: Ed­die Mur­phy plays a cook who be­comes a beloved fix­ture in the 1970s Los An­ge­les home of a sick woman (Natascha Mcel­hone) and her daugh­ter (Britt Robert­son). Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Wolfchase Gal­le­ria Ci­nama 8. Nerve (PG-13, 96 min.) Emma Roberts and Dave Franco par­tic­i­pate in a mo­bile on­line game even more dan­ger­ous than “Poke­mon Go.” Bartlett 10, Cine­planet 16. No Manches Frida (PG-13, 114 min.) A Span­ish-lan­guage com­edy about a ditsy bank rob­ber who poses as a teacher to ac­cess the loot buried be­neath a school. Par­adiso. Pete’s Dragon (PG, 82 min.) HHH ½ “Be open to look­ing” is both meta­phys­i­cal coun­sel and prac­ti­cal ad­vice in di­rec­tor David Low­ery’s pow­er­ful film about a lit­er­ally warm and fuzzy fire-breather with a prog­nathic jaw (a 1960s-70s Dis­ney atavism: see also Bagheera, Tig­ger, O’mal­ley the al­ley cat and the orig­i­nal “Pete’s Dragon”), func­tional wings and a power — in­vis­i­bil­ity — that lit­er­al­izes the story’s mes­sage that “just be­cause you don’t see some­thing doesn’t mean it’s not there.” Oakes Be­g­ley stars as a wild or­phan boy liv­ing in the for­est with the help of El­liott, the friendly dragon (the premise links the boy to two of this year’s other movie he­roes, Mowgli and Tarzan); Bryce Dal­las Howard and Robert Red­ford are the sym­pa­thetic park ranger and old-timer, re­spec­tively, who be­come not just dis­cov­er­ers but pro­tec­tors of Pete and El­liott af­ter lum­ber­jack Karl Ur­ban and his crew re­al­ize a mon­ster might be more prof­itable than tim­ber. A re­make of a 1977 Dis­ney film that com­bined live ac­tion with tra­di­tional an­i­ma­tion (re­placed here by re­al­is­tic if styl­ized dig­i­tal an­i­ma­tion), the movie marks an en­tirely suc­cess­ful tran­si­tion to the big (stu­dio) leagues for di­rec­tor/co-writer David Low­ery, a mul­ti­task­ing stal­wart of mi­cro-bud­get cin­ema who has worked as an edi­tor, cin­e­matog­ra­pher and sound recordist on such no­table films as “Up­stream Color,” “Sun Don’t Shine” and Ken­tucker Aud­ley’s madein-mem­phis “Open Five.” Indie Mem­phis Film Fes­ti­val reg­u­lars may rec­og­nize the con­nec­tion be­tween this “Dragon” and Low­ery’s 2009 fea­ture “St. Nick,” a much smaller-scale story about chil­dren sur­viv­ing on their own in a woodsy en­vi­ron­ment; both movies dra­ma­tize the so-called magic and in­no­cence of

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