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★★★ Bad Words — Sar­cas­tic, sanc­ti­mo­nious, sala­cious, sly, slight and sur­pris­ingly sweet, the black com­edy of “Bad Words,” star­ring and di­rected by Ja­son Bateman, is high-minded, foul-mouthed good non­sense. I had won­dered where Bateman’s an­gry itch would take him next. As an ac­tor, Bateman al­ways brings an edge to his work. The comic sen­si­bil­ity of his films is more bit­ing for it. The script is a good match of man and ma­te­rial. At times “Bad Words” has a ten­dency to over bite, but Bateman seems to sense it and pulls back be­fore pa­tience runs out. 89 min. (R) for crude and sex­ual con­tent, lan­guage and brief nu­dity. Cine­mark Par­adise 24, Davie; Cine­mark Palace 20, Boca Ra­ton. — Betsy Sharkey, Tri­bune News­pa­pers ★★ Di­ver­gent — In Veron­ica Roth’s young adult tril­ogy of best-sell­ing fu­tur­is­tic hell­holes, be­ing a “di­ver­gent” means you avoid easy cat­e­go­riza­tion and defy the crush­ing dic­tates of your over­seers. The movie ver­sion of “Di­ver­gent” is no di­ver­gent. It goes along to get along. It’s tame, for­mu­laic and strictly by the book in ev­ery sense. Cer­tainly you can do worse in this genre. The re­cent screen adap­ta­tion of Stephe­nie Meyer’s “The Host” was a lot worse. But you can do bet­ter, cour­tesy of “The Hunger Games,” to which “Di­ver­gent” bears a more-than-pass­ing re­sem­blance. 143 min. (PG-13) for in­tense vi­o­lence and ac­tion, the­matic el­e­ments and some sen­su­al­ity. — Michael Phillips, Tri­bune News­pa­pers ★★ En­emy — Jake Gyl­len­haal does tour de force dou­ble duty in this in­ti­mate thriller, a cryptic es­say on iden­tity. “En­emy” is a fever-dream fan­tasy about a rum­pled col­lege pro­fes­sor with per­haps a taste for the kinky who dis­cov­ers that he has an ex­act dou­ble. While it’s an idea on the tip of the zeit­geist and this film is lay­ered in creepy, calami­tous dread, it’s hard to say that di­rec­tor De­nis Vil­leneuve and screen­writer Javier Gul­lon’s adap­ta­tion of the novel by No­bel Prize-win­ning Por­tuguese writer Jose Sara­m­ago got a han­dle on any­thing re­sem­bling a point. On a sin­gle view­ing we have Gyl­len­haal’s sim­ple but im­mac­u­late sep­a­ra­tion of the char­ac­ters, and the time to won­der if it’s all just one man’s nightmare about the life he’s set­tled into. 90 min. (R) for some strong sex­ual con­tent, graphic nu­dity and lan­guage. Clas­sic Gate­way Theatre, Fort Laud­erdale. — Roger Moore, McClatchy News­pa­pers ★★★ ½ The Grand Bu­dapest Ho­tel — Writer-di­rec­tor Wes An­der­son’s new­est film is one of his clever­est and most gor­geous movies, dip­ping just enough of a toe in the real world — and in the melan­choly works of its ac­knowl­edged in­spi­ra­tion, the late Aus­trian writer Ste­fan Zweig — to pre­vent the whole thing from float­ing off into the ether of mi­nor whimsy. I would call it ma­jor whimsy, with An­der­son treat­ing the rav­ages of the 20th century as a se­ries of echoes through time. His made-up land of Zubrowka draws upon the sort of Mit­tel-Euro­pean never-never-land at­mo­spher­ics fa­vored by the early Ernst Lu­bitsch. Through­out An­der­son rev­els in the me­chan­ics and the de­light­ful fak­ery of moviemak­ing il­lu­sions gone by. It’s a mi­rage of what was. 100 min. (R) for lan­guage, some sex­ual con­tent and vi­o­lence. — Michael Philips, Tri­bune News­pa­pers ★★ Mup­pets Most Wanted — High spir­its and good times are hard to come by in “Mup­pets Most Wanted,” the anx­ious fol­low-up to the com­mer­cially suc­cess­ful 2011re­boot “The Mup­pets” and the sev­enth Mup­pet se­quel to fol­low in the an­i­mal tracks of “The Mup­pet Movie” back in 1979. I’m not sure what young new­com­ers will make of this sar­donic take on the felt-cov­ered uni­verse, cre­ated by the late Jim Hen­son long be­fore Dis­ney got ahold of it. But if you’ve come to this point in a “Mup­pets Most Wanted” re­view and haven’t men­tioned a sin­gle Mup­pet, some­thing’s wrong. The movie throws a mis­judged ma­jor­ity of the ma­te­rial to the vil­lains and lets the un­fash­ion­ably sin­cere and sweet-na­tured Mup­pets fend for them­selves. 112 min. (PG) for some mild ac­tion. — Michael Phillips, Tri­bune News­pa­pers ★★★ Nym­pho­ma­niac: Vol. I — For all its cred­ited sex dou­bles (eight) and dig­i­tally at­tached stunt gen­i­talia, the new Lars von Trier lark is a weirdly old-fash­ioned af­fair. Much of the film’s run­ning time con­sists of a hushed two-per­son play set in an apart­ment. One night, in an al­ley, a bruised and bat­tered woman named Joe is dis­cov­ered by an older man, Selig­man. He soon re­al­izes he has be­fore him a com­pul­sively sex­ual char­ac­ter with a juicy set of life ex­pe­ri­ences to share. Is the whole thing a joke? The film­maker’s so crafty in his tech­nique, so brazen in his provo­ca­tions, you can’t rightly say this film’s about any­thing other than its au­thor’s wormy fan­tasies. 117 min. (U) Sex, nu­dity, vi­o­lence, gore, pro­fan­ity, fright­en­ing/in­tense scenes. Clas­sic Gate­way Theatre, Fort Laud­erdale. — Michael Phillips, Tri­bune News­pa­pers ★★ ½ On My­Way— Fac­ing a failed re­la­tion­ship and a strug­gling restau­rant, a woman hits the road for a trip with her grand­son. Star­ring Cather­ine Deneuve. In French. 116 min. (U) — Roger Moore, McClatchy News­pa­pers

— Some ma­te­rial in­ap­pro­pri­ate for chil­dren un­der 13.

— No one un­der 17 al­lowed.

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