Chile Pages

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Jim McKay has a poet’s eye for con­vey­ing a sense of place, and this unas­sum­ing char­ac­ter study harkens back to Ital­ian ne­o­re­al­ism in com­pelling and com­pul­sively watch­able ways. Not rated. 92 min­utes. In Span­ish with subtitles. Jean Cocteau Cin­ema. (Robert Ker)

RBG

This af­fec­tion­ate, deeply mov­ing doc­u­men­tary traces the as­cent of Ruth Bader Ginsburg from her child­hood in Brook­lyn, through her years as a stand­out in law school, to a ca­reer as a lit­i­ga­tor, fed­eral judge, and fi­nally As­so­ciate Jus­tice of the Supreme Court. The film fo­cuses on her as a cham­pion of equal rights and un­der­scores her in­creas­ing will­ing­ness to ex­press dis­sent on a court whose com­plex­ion has veered to the right dur­ing her quar­ter-cen­tury ten­ure. Se­ri­ous and some­times stern, she has be­come an un­likely pop icon, but this film clar­i­fies why her par­ti­sans are pas­sion­ate. Santa Fe makes some cameo ap­pear­ances. Rated PG. 98 min­utes. Vi­o­let Crown. (James M. Keller)

SHOCK AND AWE

There are times when the im­por­tance of a story can over­come a bit of nar­ra­tive clunk­i­ness. Rob Reiner’s telling of the Knight Ridder news or­ga­ni­za­tion’s cov­er­age of the run-up to the Iraq war is mostly work­man­like, some­times better than that, some­times worse. Re­porters Jonathan Lan­day (Woody Har­rel­son) and War­ren Stro­bel (James Mars­den) dug be­hind the post-9/11 drum­beat of war that was be­ing spoon-fed to the press, politi­cians, and pub­lic by the Bush ad­min­is­tra­tion and mostly de­voured un­crit­i­cally. Tommy Lee Jones turns up in an un­der­de­vel­oped role as vet­eran cor­re­spon­dent Joe Galloway, and Reiner sits in as bureau chief John Wal­cott. Jes­sica Biel makes the most of an ex­pos­i­tory role as Stro­bel’s girl­friend. There’s queasily ef­fec­tive use of archival news clips of Cheney, Rums­feld, and the president him­self spin­ning the cal­cu­lated de­cep­tions that took this coun­try into a dis­as­trous con­flict. A clip at the end shows dis­cred­ited New York Times jour­nal­ist Ju­dith Miller try­ing to jus­tify her re­port­ing to Jon Ste­wart on The

Daily Show. “Al­most ev­ery­body got it wrong,” she says. And then adds, “Ex­cept Knight Ridder.” Rated R. 90 min­utes. Jean Cocteau Cin­ema. (Jonathan Richards)

SI­CARIO: DAY OF THE SOLDADO

This se­quel to the 2015 indie hit Si­cario turns the spot­light from Emily Blunt’s hero­ine Kate Macer (who does not ap­pear at all) to Beni­cio del Toro’s ruth­less Ale­jan­dro Gil­lick. The set­ting is once more the drug war on the border be­tween the United States and Mex­ico, and with the car­tels be­gin­ning to sneak ter­ror­ists into Amer­ica, fed­eral agent Matt Graver (Josh Brolin, repris­ing his role) en­lists Ale­jan­dro to serve as the ul­tra­vi­o­lent wild card. Ale­jan­dro kid­naps the daugh­ter (Is­abela Moner) of a drug lord to es­ca­late ten­sion be­tween the car­tels, and the job doesn’t go as planned. Rated R. 122 min­utes. Some screen­ings at Re­gal Sta­dium 14 are dubbed in Span­ish. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)

SKYSCRAPER

Dwayne “The Rock” John­son stars in the lat­est film to lift the

Die Hard for­mula whole­sale (should they have called it “Rock Hard”?), play­ing Will Sawyer, a for­mer FBI agent with a pros­thetic leg who is in charge of se­cu­rity at the tallest skyscraper in Hong Kong. The wealthy ten­ants and build­ing man­age­ment in­sist the skyscraper is im­pen­e­tra­ble; Sawyer isn’t so sure. He’s proven cor­rect when ter­ror­ists at­tack the sup­posed fortress, and he

must then res­cue his fam­ily, who is trapped inside. Rated PG-13. 102 min­utes. Screens in 3D and 2D at Re­gal Sta­dium 14; in 2D only at Vi­o­let Crown. (Not re­viewed)

SORRY TO BOTHER YOU

Boots Riley, who is best known as part of the hip-hop group The Coup, ap­plies the fierce wit and rev­o­lu­tion­ary, anti-cor­po­rate stance that brought him suc­cess as a rap­per to this, his film­mak­ing de­but as writer and di­rec­tor. Lakeith Stan­field plays Cas­sius Green, a young African-Amer­i­can man who is down on his luck un­til he lands a job as a tele­mar­keter. He ini­tially strug­gles to make sales, un­til he learns one lit­tle trick: to speak like a white per­son (dubbed by David Cross). Soon, he’s on the road to riches, but finds that it’s a sur­real rab­bit hole that grows deeper and deeper. Riley does a mas­ter­ful job of set­ting up ex­pec­ta­tions and then sub­vert­ing them — both within in­di­vid­ual scenes and the movie as a whole. He’s helped con­sid­er­ably by the fact that the su­perb cast plays the ma­te­rial straight, from Stan­field in the lead role to Tessa Thomp­son as Cas­sius’ artist girl­friend to Ar­mie Ham­mer as a celebrity bil­lion­aire in the gen­eral mold of Elon Musk. The cast, along with the slick art de­sign, un­pre­dictable plot, and an­ar­chic tone, make this a movie peo­ple will be watch­ing for years to come. Rated R. 105 min­utes. Vi­o­let Crown. (Robert Ker)

THREE IDEN­TI­CAL STRANGERS

What starts as a wild, stranger-than-fic­tion, feel-good story of stun­ning co­in­ci­dence and the happy re­union of iden­ti­cal triplets sep­a­rated at birth evolves into a deeply dis­turb­ing ex­am­i­na­tion of con­science­less science, eth­i­cal slum­ming, and hu­man tragedy. Film­maker Tim War­dle takes us through the twists and turns in the story of three boys adopted from the same New York agency who dis­cov­ered their bond at age nine­teen and im­me­di­ately be­came me­dia dar­lings and in­sep­a­ra­ble friends. And then ques­tions be­gan to be asked. The three sets of par­ents made an an­gry trip to the adop­tion agency, a visit that took an omi­nous turn. Sev­eral other sets of sep­a­rated twins emerged. New Yorker writer Lawrence Wright, work­ing on a story about iden­ti­cal twins, made some dis­turb­ing dis­cov­er­ies and be­gan to probe deeper. Rated PG-13. 96 min­utes. Cen­ter for Con­tem­po­rary Arts; Vi­o­let Crown. (Jonathan Richards)

UN­CLE DREW

Bos­ton Celtics guard Kyrie Irv­ing dons sev­eral pounds of pros­thetic makeup to play Un­cle Drew, the sep­tu­a­ge­nar­ian with mad skills, in this adap­ta­tion of his pop­u­lar Pepsi ads. Lil Rel How­ery plays Dax, a young man who loses his en­tire team to a ri­val while at­tempt­ing to win a street ball tour­na­ment in New York City’s Rucker Park. He seeks out hoops leg­end Un­cle Drew, who re­cruits his old team (Shaquille O’Neal, Chris Web­ber, Reg­gie Miller, Nate Robin­son, and Lisa Les­lie), now all se­nior cit­i­zens, to make a come­back and win the big one. Rated PG-13. 103 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

WON’T YOU BE MY NEIGH­BOR?

In Won’t You Be My Neigh­bor?, di­rec­tor Mor­gan Neville takes the au­di­ence through the me­te­oric rise of the chil­dren’s tele­vi­sion icon Fred Rogers, whose mes­sages about love, ac­cep­tance, and be­liev­ing in one­self set him apart in the en­ter­tain­ment in­dus­try. The story is told by his wife, Joanne Rogers, and his two sons; Mr. Rogers’ Neigh­bor­hood char­ac­ters and pro­duc­tion staff; and celebri­ties like Yo-Yo Ma, who re­count their ex­pe­ri­ences with his bril­liant mind and in­or­di­nately large heart. Rogers’ per­sonal philoso­phies are sprin­kled through­out, par­tic­u­larly as they ap­plied to his be­liefs on hu­man dig­nity and re­spect. His com­mit­ment to his young au­di­ence was stead­fast, and his earnest­ness came back to him a hun­dred­fold in waves of sup­port. The im­pact of Mr. Rogers’

Neigh­bor­hood, which ran for nearly 30 years, is ex­am­ined, along with its pop-cul­ture par­o­dies and the back­lash against his mes­sages of kind­ness. Over­all, how­ever, the world is a better place be­cause Fred Rogers shared what he be­lieved with us. If you grew up watch­ing his show, this doc­u­men­tary will have you hum­ming catchy tunes and re­vis­it­ing fa­mil­iar char­ac­ters. Even if you didn’t, the key mes­sage from this evan­ge­list of good­ness will not be lost on you. Rated PG-13. 94 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Thomas M. Hill)

YEL­LOW SUB­MA­RINE

It might make baby boomers feel old to note the 50th an­niver­sary of Yel­low Sub­ma­rine, the Bea­tles’ 1968 an­i­mated mu­si­cal, but they can take so­lace in the fact that in all of the in­ter­ven­ing years, there’s still noth­ing quite like this psy­che­delic cock­tail of sur­real im­agery, dead­pan wit, and in­no­va­tive set pieces. With seg­ments that pre­date MTV by 13 years, yet would feel right at home on the net­work, the film pro­vides vi­su­als that de­light­fully high­light the unique per­son­al­i­ties of songs such as “When I’m Sixty-Four,” “Nowhere Man,” and “Eleanor Rigby.” Th­ese se­quences are sprin­kled through­out a plot in­volv­ing the Bea­tles’ at­tempt to van­quish the mu­sichat­ing crea­tures known as the Blue Mea­nies. It turns out in the end that all you need is love, but the jour­ney is what makes the film spe­cial. Even though the creators have long passed the age of sixty-four, their work re­mains an all-ages, Pop-art mas­ter­piece. There are some sin­ga­long screen­ings; check theater for times. Rated G. 85 min­utes. The Screen. (Robert Ker)

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