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Teresa (Paulina Gar­cia), a fifty-some­thing nurse and house­maid, is trav­el­ing to a new job when the bus she is on breaks down. Then, a ven­dor named El Gringo (Clau­dio Rissi) ac­ci­den­tally drives away with her suit­case. She misses the next bus in or­der to track him down, and then we are on the road with this un­likely pair as a ro­mance slowly blos­soms be­tween the two. Beau­ti­fully writ­ten and shot, with pitch-per­fect act­ing, The Desert Bride feels like a dream made up of sur­real bits and pieces held to­gether by a sense of magic, yet the movie is en­tirely grounded in the real world and only nods obliquely to­ward mys­ti­cism. Not rated. 78 min­utes. In Span­ish with subtitles. Cen­ter for Con­tem­po­rary Arts. (Jen­nifer Levin)


Den­zel Wash­ing­ton re­turns as ex-CIA black ops agent Robert Mc­Call in this se­quel to the 2014 ac­tion film. Mc­Call once more finds his re­tire­ment dis­rupted by aw­ful cir­cum­stances, this time when a close friend of his (Melissa Leo) is mur­dered. He sets out on a path of ex­treme vi­o­lence and re­venge that won’t end un­til the last per­pe­tra­tor is dead. As with the last film, An­toine Fuqua di­rects. Rated R. 121 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


Eu­gene Jarecki’s doc­u­men­tary about Elvis Pres­ley’s cul­tural im­pact on the United States should be better. For the first 20 min­utes or so, this clip-rich, talk­ing-head-heavy foray into the con­cept seems poised for great­ness — but it quickly floun­ders for lack of clear vi­sion. The story about Elvis’ rise to fame and fall from grace due to drug ad­dic­tion also touches on Elvis’ seem­ing re­fusal to take part in the civil rights move­ment, even though he got rich by mak­ing mu­sic orig­i­nated by African Amer­i­cans. Through­out the movie, an as­sort­ment of ut­terly ran­dom celebri­ties and con­tem­po­rary mu­si­cians wax nos­tal­gic while rid­ing in Elvis’ Rolls Royce. Though the film raises plenty of provoca­tive ques­tions and some peo­ple say some in­ter­est­ing things, The King is a me­an­der­ing jumble. Rated R. 107 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jen­nifer Levin)


Rated PG. 109 min­utes. Vi­o­let Crown. See re­view, Page 44. MAMMA MIA! HERE WE GO AGAIN Serv­ing as both pre­quel and se­quel to the 2010 hit Mamma

Mia! (which was based on the Abba-cen­tric Broad­way mu­si­cal), this film re­turns view­ers to the Greek is­land of Kalokairi, where So­phie (Amanda Seyfried), now preg­nant, is man­ag­ing the villa owned by her mother Donna (Meryl Streep). So­phie is go­ing through a rough patch with her hus­band (Do­minic Cooper), and gains wis­dom through learn­ing about how her mother (played by Lily James in her youth) met the three men (Jeremy Irvine, Hugh Skin­ner, Josh Dy­lan) who share the role of her father fig­ure. In present day, those men (Pierce Bros­nan, Stel­lan Skars­gård, and Colin Firth) ar­rive to cel­e­brate the birth of So­phie’s child, and So­phie’s grand­mother (Cher) shows up as well. Danc­ing, jiv­ing, and hav­ing the times of their lives soon en­sues. Rated PG-13. 114 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


When Agnes (Lára Jóhanna Jóns­dót­tir) catches her hus­band Atli (Steinþór Hróar Steinþórs­son) watch­ing a sex tape of him­self with an­other woman, made long be­fore he was mar­ried, she ac­cuses him of cheat­ing and re­fuses him con­tact with their four-year-old daugh­ter. He’s forced to move into his par­ents’ home in a Reykjavik sub­urb, where his mom and dad are en­gaged in an on­go­ing dis­pute with their neigh­bors over the shadow cast by their large tree. The spat quickly es­ca­lates as pets go miss­ing, and the neigh­bors spy on each other and scheme in a game of one-up­man­ship that will have you squirm­ing. Petty neigh­bor­hood squab­bles are noth­ing new, but this Ice­landic dark com­edy from di­rec­tor Haf­steinn Gun­nar Sig­urðs­son takes them to the heights of ab­sur­dity as the film spi­rals to­ward a vi­o­lent con­clu­sion. Al­ter­nately funny, pulse­pound­ing, and dis­turb­ing, Un­der the Tree may seem like ex­er­cise in cyn­i­cism, but like David Lynch’s Blue Vel­vet, it’s a re­minder that the utopia of sub­ur­ban ex­is­tence is merely a façade. You might feel a lit­tle guilty for laugh­ing, but just try to tear your eyes away. Not rated. 89 min­utes. In Ice­landic with subtitles. Jean Cocteau Cin­ema. (Michael Abatemarco)


This se­quel to the 2014 hor­ror film Unfriended in­tro­duces a new set of char­ac­ters to be butchered by mys­te­ri­ous forces on the web. In this in­stall­ment, a group of friends gather to play games over a video chat. One of them, Ma­tias (Colin Wood­ell), re­veals he is us­ing a stolen lap­top with a mys­te­ri­ous link that takes users to the dark web — an un­trace­able part of the in­ter­net that is rife with crim­i­nal ac­tiv­ity — where the gamers hit upon a col­lec­tion of snuff films. Soon, the lap­top’s ne­far­i­ous owner re­veals him­self over the chat, as it dawns on the group that they’re about to be­come the stars of their own snuff film. Rated R. 88 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

Mamma Mia! Here We Go Again, SOS: Chris­tine Baran­ski, Meryl Streep, and Amanda Seyfried in at Re­gal Sta­dium 14 and Vi­o­let Crown

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