THE BOOKSHOP
PG, 113 minutes. Mystic Luxury Cinemas. “The Bookshop,” director/writer Isabel Coixet’s (“Learning to Drive”) adaptation of Penelope Fitzgerald’s 1978 novel, has the feel of a book found collecting dust on the back shelf of a closet. A widow, Florence Green (Emily Mortimer), takes a major emotional and financial leap in 1959 to open a bookshop in the conservative coastal town of Hardborough, Suffolk. She opens her bookstore as a loving tribute to her dead husband. Although her progressive thinking — powered by the writings of Vladimir Nabokov and Ray Bradbury — sends a ripple through the conservative community, that is not what attracts the immediate assault from Mrs. Violet Gamart (Patricia Clarkson), the local grand dame who controls everything that happens in the city. She has her mind set on opening an art center in the building where Green has opened her bookstore and will use any means to obtain the use of the location. — Rick Bentley, Tribune News Service
CRAZY RICH ASIANS
1/2 PG-13, 120 minutes. Through tonight only at Lisbon. Still playing at Niantic, Waterford, Westbrook. Crazy Rich Asians,” a fairy-tale romcom with a Chinese-Singaporean twist, begins with a story of racism, elitism and tables turned. In a flashback, Eleanor Young, played by the regal Michelle Yeoh, walks into an exclusive London hotel with her children. Turned away by the sneering concierge, Eleanor goes outside to make a phone call. When she returns, she’s the hotel’s new owner. It doesn’t ring true, but it’s a delicious fantasy — and that pretty much describes the entirety of “Crazy Rich Asians,” based on Kevin Kwan’s novel. It’s the peasant-to-princess story of Rachel Chu, a Chinese-American economics professor at NYU (Constance Wu), whose boyfriend, Nick Young (Henry Golding, a Malaysian-born Hugh Grant), turns out to be the wealthiest and most eligible bachelor in Singapore. Their visit to his homeland, for an old friend’s wedding, pulls back the curtain on a world of fantastic Eastern wealth that Rachel never knew existed. As in any fairy tale, there’s an evil matriarch — the imperious and elitist Eleanor — who will prove a stumbling block to Rachel’s dreams of happily-ever-after. — Rafer Guzmán, Newsday
FAHRENHEIT 11/9
1/2 R, 133 minutes. Through tonight only at Madison Art Cinemas, Mystic Luxury Cinemas, Stonington, Westbrook, Lisbon. Michael Moore wants to save us from ourselves. It’s been his mission for a long time, a noble one, and it’s obvious he is sincere. But as a filmmaker, Moore needs to save himself from his worst indulgences, which undercuts his good work. His new film, “Fahrenheit 11/9,” showcases both the best and the worst of his filmmaking instincts. “Fahrenheit 11/9” is about President Donald Trump and the way the mainstream media, Democrats and the GOP function (or don’t function) around him. Moore makes clear the connection between media ratings, money and Trump’s election, starting off with a banger of an argument: that Trump’s news conference announcing his candidacy for office was merely a ploy to get a raise from NBC after learning Gwen Stefani made more money on “The Voice” than he did on “The Apprentice.” When he was fired, the campaign became real. Thanks, NBC. But while Moore indicts the media for pandering to Trump for ratings, making a pretty penny off the reality show host’s stunts, he does the same thing in “11/9.” He cannot resist indulging in his own petty desires in the film. But as much as Moore loves making fun of Trump any chance he gets, in “11/9” he has truly the knives out for Obama and establishment Democrats. Trump gets off easy compared to Pelosi and Obama, and Moore argues Trump is the force of chaotic evil necessary to burn the whole rotten system down. — Katie Walsh, Tribune News Service
HELL FEST
R, 89 minutes. Waterford, Lisbon. On Halloween night, a masked serial killer turns a horror-themed amusement park into his own personal slaughter pen, terrorizing a group of friends while the rest of the patrons believe that it is all part of the show. A review wasn’t available by deadline.
THE HOUSE WITH A CLOCK IN ITS WALLS
PG, 104 minutes. Niantic, Stonington, Waterford, Westbrook, Lisbon. Witches are so 2017. Make way for warlocks, aka “boy witches,” as defined by the intrepid young Lewis (Owen Vaccaro), the boy hero of “The House with a Clock in Its Walls.” The adaptation of John Bellairs’ 1973 young adult fantasy novel, directed by Eli Roth and written by Eric Kripke, makes a play to move in on the young warlock turf vacated by Harry Potter, but the film just can’t quite keep time as a proper young adult fantasy adventure. The story, which takes place in 1955, follows Lewis as he travels to New Zebedee, Mich., to live with his uncle, Jonathan Barnavelt (Jack Black), after the tragic death of his parents. The film has a vintage steampunk aesthetic, with Lewis