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★★ Bet­ter Liv­ing Through Chem­istry — A straight-laced phar­ma­cist’s un­event­ful life spi­rals out of con­trol when he starts an af­fair with a tro­phy wife cus­tomer who takes him on a joyride in­volv­ing sex, drugs and pos­si­bly mur­der. Di­rected and writ­ten by Ge­off Moore, David Posamentier. Star­ring Olivia Wilde, Michelle Mon­aghan, Sam Rock­well, Ray Liotta, Jane Fonda. 91min. Clas­sic Gate­way Theatre, Fort Laud­erdale; Liv­ing Room/FAU, Boca Ra­ton; Movies of Del­ray. ★★ ½ Need for Speed — Do­minic Cooper and Imo­gen Poots star in the ex­u­ber­antly stupid, time-killing and pedes­trian-killing movie. It is based on the Elec­tronic Arts gam­ing fran­chise be­gun in 1994, when video games bank­ing on ve­hic­u­lar homi­cide weren’t yet real­is­tic enough to erase the ex­pe­ri­en­tial boundary be­tween an­i­ma­tion and live-ac­tion es­capism. The point of the movie, of course, is to make the mayhem as fakeyre­al­is­tic as pos­si­ble, and that para­dox guides a fairly en­ter­tain­ing se­ries of stunts. When the ac­tors are in cars, the movie’s fun. When they get out to ar­gue, or seethe, it’s uh-oh time. Hap­pily, di­rec­tor Scott Waugh comes out of the stunt world him­self, and there’s a re­fresh­ing em­pha­sis on ac­tual, the­o­ret­i­cally dan­ger­ous stunt driv­ing over dig­i­tal ab­sur­di­ties. 130 min. (PG-13) for se­quences of reck­less street rac­ing, dis­turb­ing crash scenes, nu­dity and crude lan­guage. — Michael Phillips, Tri­bune News­pa­pers (NR) Tyler Perry’s Sin­gle Mom’s Club — Brought to­gether by an in­ci­dent at their chil­dren’s school, a group of sin­gle moth­ers from dif­fer­ent walks of life bond, and cre­ate a sup­port group that helps them find com­edy in the ob­sta­cles of life. Star­ring Nia Long, Amy Smart, Wendi McLen­don-Covey. (PG-13) for some sex­ual ma­te­rial and the­matic el­e­ments. ★★ Veron­ica Mars — Ev­ery­thing about the way the movie ver­sion of “Veron­ica Mars” came to pass is more in­trigu­ing than the movie it­self. Can­celed in 2007 by the CWnet­work af­ter three sea­sons, cre­ator Rob Thomas’ wised-up dan­ger mag­net of a teenage sleuth por­trayed by Kris­ten Bell left the show’s ar­dent core au­di­ence hun­gry for more. Then God cre­ated Kick­starter, and nearly 100,000 fans con­trib­uted $5.7 mil­lion to the cam­paign bring­ing Ms. Mars, her de­tec­tive pop and var­i­ous skeezes and climbers re­sid­ing in the fic­tional, cor­rupt beach town of Nep­tune, Fla., to the big screen, mak­ing it the first ma­jor stu­dio re­lease to open in the­aters and on­line si­mul­ta­ne­ously. Where does this leave new­bies? The film, which is ad­e­quate, cares not about the new­bies; this one’s strictly for the fan base. 107 min. (PG-13) for sex­u­al­ity in­clud­ing ref­er­ences, drug con­tent, vi­o­lence and some strong lan­guage. AMC Aven­tura 24. — Michael Phillips, Tri­bune News­pa­pers we have “About Last Night” adapted from the ’86 edi­tion by Les­lye Head­land but closer in qual­ity to the play. In its own way it’s as raunchy as Mamet’s text. But the new movie’s heart be­longs to the no­tion of the happy end­ing and the be­lief that we can change, and ad­dress our per­sonal de­fi­cien­cies, and be­come bet­ter, warmer, more lov­ing folk as long as we have the right part­ner. 100 min. (R) for sex­ual con­tent, lan­guage and brief drug use. — Michael Phillips, Tri­bune News­pa­pers ★★★★ Aftermath — Re­turn­ing home to Poland af­ter many years liv­ing in Chicago, a man re­con­nects with his younger brother, and the two are drawn into in­ves­ti­gat­ing their vil­lage’s dark se­crets. With Ma­ciej Stuhr and Ireneusz Czop. Writ­ten and di­rected by Wla­dys­law Pasikowski. 104 min. (U) In Pol­ish with English sub­ti­tles. — Kenneth Tu­ran, Tri­bune News­pa­pers ★★★★ Amer­i­can Hus­tle — So few di­rec­tors to­day know how to move a cam­era around; David O. Rus­sell is one of them. This whole movie is juicy, funny and alive. It sets its tone of blithe truthi­ness at the be­gin­ning, as the words flash on screen: “Some of this ac­tu­ally hap­pened.” Rus­sell treats the1970s Ab­scam st­ing oper­a­tion, and the schlump at its cen­ter, con man Irv­ing Rosen­field (played by Chris­tian Bale), as a pivot point for a spa­cious en­sem­ble com­edy — tone­funny and at­mos­phere-funny, not punch­line-funny. “Amer­i­can Hus­tle” cares lit­tle for sort­ing out the par­tic­u­lars of Ab­scam. No model of nar­ra­tive form, the film zigs and zags, chas­ing af­ter many dif­fer­ent char­ac­ters. And that sprawl ac­ti­vates the film rather than de­flates it. 138 min. (R) for per­va­sive lan­guage, some sex­ual con­tent and brief vi­o­lence. — Michael Phillips, Tri­bune News­pa­pers (NR) Beth­le­hem — Beth­le­hem tells the story of the com­plex re­la­tion­ship be­tween an Is­raeli Se­cret Ser­vice of­fi­cer and his teenage Pales­tinian in­for­mant. Shut­tling back and forth be­tween con­flict­ing points of view, the film is a raw por­trayal of char­ac­ters torn apart by com­pet­ing loy­al­ties and im­pos­si­ble moral dilem­mas, giv­ing an un­par­al­leled glimpse into the dark and fas­ci­nat­ing world of hu­man in­tel­li­gence. In He­brew and Ara­bic. 99 min. ★★★ Frozen — Big, bright, of­ten beau­ti­ful and es­sen­tially an ac­tion movie, “Frozen” takes the bare bones of the1845 Hans Chris­tian An­der­sen fairy tale “The Snow Queen” and builds its own con­trap­tion. It’s a tale of two sis­ters. Elsa, blessed/cursed with the emo­tion-trig­gered abil­ity to whip up ice and snow in threat­en­ing amounts. Anna, nearly killed by her sis­ter’s magic as a young girl, so their par­ents de­vote what’s left of their lives to pro­tect­ing one girl from the other. Co-di­rec­tor and screen­writer Jennifer Lee’s script goes in for a fair amount of com­pli­ca­tion and po­lit­i­cal in­trigue. The project was tasked with two di­rec­tors, first-billed Chris Buck and sec­ond-billed Lee. The sheer scope of the story, en­com­pass­ing ice mon­sters and Broad­way power an­thems, prob­a­bly re­quired as much. 100 min. (PG) — Michael Philips, Tri­bune News­pa­pers ★★★ ½ Glo­ria — There is a nat­u­ral­is­tic charm to the truth-telling in “Glo­ria,” a near-per­fect film about the very im­per­fect world of a di­vorced woman of a cer­tain age. Driv­ing to work, Glo­ria sings along with one ro­man­tic song af­ter an­other. At night, she slips into a cock­tail dress to go dancing at a lo­cal club. When no one notices her, she wades into the crowd. Calls to her grown chil­dren go to voice mail. Com­plaints to her apart­ment man­ager go ig­nored. She is an ob­server de­ter­mined to be a par­tic­i­pant. Which might sound sad. Yet Chilean di­rec­tor Se­bas­tian Le­lio’s in­ge­nu­ity in stag­ing the film and an ex­tremely clever script, make “Glo­ria” one of the most en­joy­able movies to come along in a while. 110 min. (R) for sex­ual con­tent, some graphic nu­dity, drug use and lan­guage. — Betsy Sharkey, Tri­bune News­pa­pers

— Some ma­te­rial in­ap­pro­pri­ate for chil­dren un­der 13.

— No one un­der 17 al­lowed.

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