MOVIES

The Commercial Appeal - Go Memphis - - MOVIE LIST­INGS -

rated, 93 min.) Two-time winner of the Academy Award for Best Doc­u­men­tary Fea­ture, Bar­bara Kop­ple di­rected this up-close look at the dy­namic R&B star (a fre­quent per­former in Mem­phis) whose “overnight” suc­cess as a mid­dle-age singer af­ter decades of strug­gle was tem­po­rar­ily halted by her battle with pan­cre­atic can­cer. 7 p.m. Wed­nes­day, Mem­phis Brooks Mu­seum of Art. Tick­ets: $9, or $5 for stu­dents and mu­seum mem­bers. Visit brooksmu­seum.org. 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. 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. 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. River of Fun­da­ment (Not rated, 350 min.) Artist Matthew Bar­ney’s sprawl­ing, ex­per­i­men­tal epic ends its world­wide screen­ing tour. See story on Page 16. 11:15 a.m. Satur­day and Sun­day, Mem­phis Brooks Mu­seum of Art. Tick­ets: $22, or $15 for stu­dents and mu­seum mem­bers. Visit brooksmu­seum.org. To Joey, with Love (Not rated, 90 min.) A doc­u­men­tary about Rory Feek and his late wife, Joey Martin Feek, who died at 40, six years af­ter the coun­try/ blue­grass mu­si­cians won the Top New Vo­cal Duo of the Year award at the Academy of Coun­try Mu­sic Awards. 7 p.m. Thurs­day, Par­adiso. Tick­ets: $13.50. Visit malco.com. Young Franken­stein (PG, 106 min.) In honor of the late Gene Wilder, Mel Brooks’ beloved 1974 mon­ster-movie spoof re­turns, with Wilder as Dr. Fronk-en-steen, Marty Feld­man as his as­sis­tant, Eye-gor, and Peter Boyle as his mis­un­der­stood cre­ation. Brooks will in­tro­duce the film live via satel­lite from Hol­ly­wood. 7 p.m. Wed­nes­day, Par­adiso. Tick­ets: 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.) Jack Hus­ton es­says the old Charl­ton He­ston role of the prince turned gal­ley slave turned char­iot-racer. Bartlett 10. The BFG (PG, 117 min.) HHH Work­ing from a 1982 chil­dren’s novel by the late Roald Dahl, di­rec­tor Steven Spiel­berg re­unites with “E.T.” screen­writer Melissa Mathi­son to re­visit the themes of their 1982 suc­cess, but with a re­veal­ing re­ver­sal: This time, the film­mak­ers seems to iden­tify more with the wiz­ened fan­tas­ti­cal out­sider (a sad-faced Big Friendly Gi­ant, por­trayed through mo­tion-cap­ture an­i­ma­tion by Mark Ry­lance) than with the small child (an or­phan, played by Ruby Barn­hill) who be­comes the ini­tial-id’ed ti­tle char­ac­ter’s friend and sav­ior. Bartlett 10. Blair Witch (R, 89 min.) HHH Pre­tend­ing that 2000’s mis­be­got­ten “Book of Shad­ows: Blair Witch 2” never ex­isted, this se­quel to 1999’s found-footage movie-in­dus­try gamechanger re­cy­cles the for­mal rad­i­cal­ism and reaf­firms the su­per­nat­u­ral ni­hilism of its in­spi­ra­tion: This is horror with no hope and no exit. A self­con­scious and so­phis­ti­cated am­pli­fi­ca­tion of the orig­i­nal’s mi­crobud­get im­pro­vi­sa­tions (the in­ter­lop­ers this time are armed with ear­piece cam­eras with built-in GPS, plus a drone), the movie fol­lows a para­medic (James Allen Mccune), a stu­dent doc­u­men­tary film­maker (Cal­lie Her­nan­dez) and four other young peo­ple (in­clud­ing two “lo­cals”) on an in­ves­ti­ga­tion into the re­put­edly haunted Mary­land woods that claimed the para­medic’s miss­ing sis­ter, Heather, in “The Blair Witch Project.”if the movie is ul­ti­mately too faith­ful to the first film to be sim­i­larly in­deli­ble, it at least of­fers an­other of di­rec­tor Adam Win­gard’s bold hero­ines (the most re­source­ful in the genre), plus this mis­sion state­ment for film­mak­ers: “We faked it be­cause it’s real.” Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, Des­oto Cin­ema 16, Hol­ly­wood 20 Cin­ema, Par­adiso, Sum­mer Quar­tet Drive-in, Wolfchase Gal­le­ria Cin­ema 8. 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, Par­adiso, Stage Cin­ema. Cen­tral In­tel­li­gence (PG-13, 114 min.) Star­ring Kevin Hart and Dwayne John­son. Bartlett 10. Don’t Breathe (R, 88 min.) HHH ½ An in­stant neogrind­house clas­sic, this truly fright­en­ing horror-sus­pense thriller in­ge­niously twists the “Wait Un­til Dark” for­mat, trap­ping three os­ten­si­bly sym­pa­thetic 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

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