The Commercial Appeal - Go Memphis - - GO MOVIES SEE - By John Bei­fuss

Stu­dio on the Square, Sum­mer Quar­tet Drive-in. The Boy (PG-13, 105 min.) HH ½ A young Amer­i­can woman (Lau­ren Co­han) takes a job as a nanny in a stately eng­lish manor, only to dis­cover that her charge is a porce­lain doll, called Brahms, which her el­derly em­ploy­ers (Jim Nor­ton and Diana Hard­cas­tle) treat like a beloved, liv­ing son. Creepy if hardly cred­i­ble, with a de­riv­a­tive plot twist that is un­likely to sur­prise ex­pe­ri­enced hor­ror fans. De­soto Cinema 16, Hol­ly­wood 20 Cinema, Ma­jes­tic, Wolfchase Gal­le­ria Cinema 8. The Choice (PG-13, 111 min.) Another Ni­cholas Sparks’ novel comes to the screen. Bartlett 10. Daddy’s Home (PG-13, 96 min.) HH Doughy new step­dad Will fer­rell com­petes with su­per­cool bi­o­log­i­cal fa­ther Mark Wahlberg for the af­fec­tions of two kids and sexy Linda Cardellini in this com­edy dis­ap­point­ment, which squan­ders a socko set-up to be­come as square and for­mu­laic as the mu­sic pro­grammed on fer­rell’s smooth jazz ra­dio sta­tion, “The Panda.” it’s symp­to­matic of the pro­duc­tion’s limp­ness that the movie was shot, for tax-credit rea­sons, in New or­leans, yet the lo­ca­tions have been scrubbed to a funk­free sub­ur­ban anonymity. The di­rec­tor is Sean An­ders (“Hor­ri­ble Bosses 2”). Bartlett 10. Dead­pool (r, 108 min.) HHH A si­mul­ta­ne­ous de­con­struc­tion and af­fir­ma­tion of the ap­peal of the Marvel su­per-genre, this box-of­fice smash casts “Green Lan­tern” pen­i­tent ryan reynolds as the foul-mouthed, fourth wall-break­ing, “X-men”as­so­ci­ated an­ti­hero whose r-rated ver­bal and vi­o­lent ex­cesses help make this — for good and ill — the “Ted” of comic-book movies: its gross, raised-mid­dle-fin­ger at­ti­tude, self-con­grat­u­la­tory snark­i­ness and no-risk “po­lit­i­cally in­cor­rect” at­ti­tude are es­sen­tially ado­les­cent (Dead­pool’s scrappy girl­friend, played

by Mon­ica Bac­carin, is a strip­per, of course), but it’s lively and funny, and its low-stakes plot­line of­fers a wel­come re­lief from the apoc­a­lyp­tic overkill of pre­vi­ous Marvel movies. De­but­ing fea­ture di­rec­tor Tim Miller (a vet­eran vis­ual ef­fects artist) han­dles both ac­tion and char­ac­ter­i­za­tion with con­fi­dence. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Olive Branch Cinema, Palace Cinema, Par­adiso, Stage Cinema. Dirty Grandpa (R, 102 min.) A grand­son (Zac Efron) and grand­fa­ther (Robert De Niro) drive to spring break. Bartlett 10. The Diver­gent Series: Al­le­giant (PG-13, 121 min.) HH ½ The third (and penul­ti­mate) film in the youthskew­ing se­ries has the virtues and faults of its pre­de­ces­sor: It con­tains some won­der­ful sci­ence-fic­tion pro­duc­tion de­sign, but its in­creas­ingly com­pli­cated plot­ting and grow­ing char­ac­ter ros­ter (meet Jeff Daniels, cast as the head of the Bureau of Ge­netic Wel­fare) di­lute the power of book au­thor Veron­ica Roth’s orig­i­nal premise, which in­tro­duced a dystopian fu­ture so­ci­ety seg­re­gated by ap­ti­tude into “fac­tions” (the phys­i­cally brave are des­ig­nated as “Daunt­lesss,” the in­tel­lec­tu­als are “Eru­dite,” and so on). This time, hero­ine Tris (Shai­lene Wood­ley, who still seems un­com­fort­able with the vi­o­lent hero­ics), her hunky boyfriend, Four (Theo James), smart-alecky Peter (Miles Teller) and the other rebels cross fu­ture Chicago’s Trumpian wall to es­cape into an apoc­a­lyp­tic waste­land and dis­cover the high-tech city com­mu­nity re­spon­si­ble for the fac­tion sys­tem; the en­su­ing de­bate over the value of “pure” ver­sus “dam­aged” genes gives the story a po­lit­i­cal/racial res­o­nance that is too of­ten over­whelmed by the ac­tion crises, which ar­rive with se­rial-style fre­quency. The re­turn­ing di­rec­tor is Robert Sch­wen­tke. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Hol­ly­wood 20 Cinema, Ma­jes­tic, Olive Branch Cinema, Par­adiso, Stage Cinema, Sum­mer Quar­tet Drive-in.

A Ter­rence Mal­ick movie was once a rare and pre­cious thing. “The Tree of Life,” in 2011, was only the di­rec­tor’s fifth fea­ture in a ca­reer that be­gan with “Bad­lands,” in 1973; at one point dur­ing that al­most four­decade swing, the gap be­tween movies was 20 years.

Along with a vi­sion­ary imag­i­na­tion, a sense of awe in­spired by the mys­tery of ex­is­tence and a cer­tain dis­may at hu­mankind’s fail­ure to ap­pre­ci­ate the gift of this mys­tery, these movies were linked by a gen­er­ally rap­tur­ous crit­i­cal re­sponse. Some snores and grum­bles could be heard among the hosan­nas of praise for “The Tree of Life,” how­ever, and the two films that have fol­lowed that tran­si­tional mas­ter­piece — “To the Won­der,” in 2012, and now “Knight of Cups” — have been neg­a­tively re­ceived by most re­view­ers (or at least those re­view­ers whose write-ups are col­lected by the web­site Rot­ten To­ma­toes).

For naysay­ers, “To the Won­der” and “Knight of Cups” dou­ble-, triple- and quadru­ple-down on the el­e­ments they found an­noy­ing in “The Tree of Life”: The voiceover mus­ings; the meta­phys­i­cal aura; the lack of a tra­di­tional plot or char­ac­ter “arc”; the footage of char­ac­ters wan­der­ing on beaches; the fey women, spin­ning at­trac­tively. But for those who ac­cept that a movie can be as per­son­ally ex­pres­sive as a poem, paint­ing or piece of mu­sic, the movies are in­fin­itely re­ward­ing. Few film­mak­ers have cre­ated such per­sonal, ex­pres­sive art, and few other films in­vite the viewer to be as ac­tive a par­tic­i­pant in the quest for mean­ing.

“Knight of Cups” takes its ti­tle from a card in a tarot deck, and is di­vided into chap­ters also named for tarot cards (“The Hanged Man,” “The Tower,” and so on). Tarot cards are used for div­ina­tion, but Mal­ick’s movie of­fers more ques­tions than an­swers, even as it ex­presses — as much through its struc­ture and im­ages as through its words — the idea that the source of man’s alien­ation is his dis­con­nec­tion from su­per­nat­u­ral rev­e­la­tion (i.e., God). In fact, it’s not at all a stretch to say that “Knight of Cups” is a Chris­tian al­le­gory. Some of the voiceover nar­ra­tion is ad­dressed from fa­ther (Brian Den­nehy) to son (Chris­tian Bale), but is clearly in­tended to sug­gest a heav­enly fa­ther talk­ing to one of his cre­ations: “My son, I know you. I know you have a soul.” Also: “My son. You are just like I am.”



“Knight of Cups” is ex­clu­sively at the Malco Stu­dio on the Square.

“cen­tral oils f rom t he grape­fruit” to the mock­tail. Fi­nally, he twists some grape­fruit peel around a wig of rose­mary and adds it to the drink for a gar­nish.

Hale de­scribes the drink as “not too sweet, not too bit­ter, not too bor­ing. Sev­eral in­gre­di­ents com­ple­ment one an­other to cre­ate this ex­pe­ri­ence.”

Feli­cia Suzanne’s restau­rant of­fers mock­tails, but man­ager Austin Moore said they usu­ally “make them on the fly cus­tom to the in­di­vid­ual.”

“Not ev­ery­body wants to drink or can drink, but that doesn’t mean you can’t make it (the mock­tail) just as de­li­cious or put as much work into it as a cock­tail,” said bar­tender Mor­gan Mck­in­ney. “

Vodka or rum drinks are easy to dis­guise with a “heavy fruit” drink, Moore said. The “Vir­gin Straw­berry Mule” is one of their pop­u­lar mock­tails. It’s made of mint, lime, mud­dled straw­ber­ries and gin­ger beer,

I loved it. It was rem­i­nis­cent of a mint julep mi­nus the bour­bon.

Bar­tender Cady Smith whips up mock­tails at Cafe Pon­to­toc, “Cady’s Cooler” is made of mango, or­ange, pome­gran­ate, cran­ber­ries with a splash of grena­dine “and love, of course,” she said.

With this con­coc­tion, Smith wants her pa­trons to feel like their hav­ing “a trop­i­cal al­co­hol drink on a beach some­where.”

It’s true. I felt more like I was in South Amer­ica in­stead of on South Main. Smith even stuck a lit­tle um­brella in the glass.

On its menu, Hard Rock Cafe in­cludes a sep­a­rate mock­tail list­ing ti­tled “Al­ter­na­tive Rock/al­co­hol Free,” which in­cludes Wild­berry Smoothie,” “Mango Tango,” “Straw­berry Basil Le­mon­ade,” “Mango-berry Cooler” and “Groupie Grind.”

Bar­tender Zach Pless demon­strated how to make the “Groupie Grind.” It in­cludes mango purée, piña co­lada mix and pineap­ple juice blended with a straw­berry swirl.

Pless could have fooled me and said he made a daiquiri. It tasted about the same, to me. Ex­tremely re­fresh­ing.

Whether you’re mak­ing a cock­tail or a mock­tail, you fol­low the same rule, Pless said. “If you make a drink very well, you’re not go­ing to taste the al­co­hol.”

The Se­cond Line is at 2144 Mon­roe Av­enue; 901-590-2829

Bari Ris­torante is at 22 Cooper St.; 901-722-2244

Feli­cia Suzanne’s Res­tau­rant is at 80 Mon­roe Ave.; 901-523-0877

Cafe Pon­to­toc is at 314 South Main St.; 901-249-7955

Hard Rock Cafe is at 126 Beale St.; 901-529-0007 The 5th Wave (PG-13, 112 min.) Chloe Grace Moretz stars in yet an­other young adult sci-fi fran­chise starter. Bartlett 10. The Finest Hours (PG-13, 117 min.) Chris Pine and Casey Af­fleck star in a true-life Coast Guard ad­ven­ture. Bartlett 10. Gods of Egypt (PG-13, 100 min.) HH Camp flour­ishes (“I’m the god­dess of too much,” brags sexy Hathor), a few clever vis­ual fil­i­grees (molten gold runs from the wounds of in­jured deities), an in­stance of un­in­tended au­t­o­cri­tique (when you meet the gods of Egypt, your brain “will liq­uefy and run out of your ears,” we are told), and an over­all aura of un­pre­ten­tious mytho (il) log­i­cal goofi­ness don’t quite com­pen­sate for the dig­i­tal te­dium that is the defin­ing aes­thetic of this odd sword-and-sor­cery would-be block­buster about the war be­tween one-eyed Horus (Niko­laj Coster-wal­dau) and brutish Set (Ger­ard But­ler), the son of Ra, the sun god (Ge­of­frey Rush, pre­sented as an aged Hu­man Torch or­bit­ing Earth in a fan­ci­ful space­barge). The state-of-the-de­graded-art fak­ery (the jackal-headed and com­puter-an­i­mated Anu­bis is a par­tic­u­larly un­con­vinc­ing car­toon) lacks the beauty and weight of the old-school matte paint­ings and prac­ti­cal ef­fects em­ployed in clas­si­cal Hol­ly­wood evo­ca­tions of an­cient Euro-egypt, but the cast — in­clud­ing Chad­wick Bose­man as Thoth, Bryan Brown as Osiris and Bren­ton Th­waites as a com­moner try­ing to res­cue his lady love from the Un­der­world (in a sub­plot pil­fered from the Greek myth of Or­pheus) — seems to en­joy chew­ing even this dig­i­tal scenery. The di­rec­tor is Alex Proyas, still try­ing to ful­fill the prom­ise of his 1998 “Dark City.” Wolfchase Gal­le­ria Cinema 8. The Good Di­nosaur (PG, 100 min.) HHH ½ Mo­ti­vated by the ar­che­typal Dis­ney trauma (the death of a par­ent), it’s part fron­tier sur­vival saga, part vi­sion quest and part “Born Free,” as a clumsy young Bron­tosaurus-like sauro­pod named Arlo (voiced by Ray­mond Ochoa) strug­gles to re­turn to his fam­ily farm. Bartlett 10. Hello, My Name Is Doris (R, 95 min.) HH ½ Cos­tumed like a bag lady Iris Apfel, Sally Field is the ti­tle ec­cen­tric, a self­ef­fac­ing of­fice drone whose outré fash­ion sense — poo­dle skirts, gi­ant hair bows and dual pairs of eye­glasses (worn at the same time, in lieu of bi­fo­cals) — makes her in­stantly pop­u­lar among the hip­sters of Wil­liams­burg af­ter the death of her mother in­spires her to leave her Staten Is­land home in un­likely ro­man­tic pur­suit of a ju­nior co-worker (Max Green­field, 35 years younger than Field). Scripted by Laura Ter­ruso and di­rec­tor Michael Showal­ter, the movie is much like its ti­tle char­ac­ter: Its cutesy-pie sur­face hides a dark in­te­rior. On one level, it’s a you-go-gr­rrl tale of un­likely self-re­al­iza­tion; on an­other, Doris’ yearn­ing for a man who doesn’t rec­og­nize the ex­tend of his new older friend’s emo­tional at­tach­ment is silent howl of des­per­a­tion from some­one sud­denly re­sent­ful of her life­long ir­rel­e­vance and ap­proach­ing ex­tinc­tion. Cor­dova Cinema, Ridge­way Cinema Grill. How to Be Sin­gle ( R, 110 min.) Dakota John­son, Rebel Wil­son, Ali­son Brie and Les­lie Mann, in a ro­man­tic com­edy. Bartlett 10, Wolfchase Gal­le­ria Cinema 8. Kapoor and Sons (Not rated, 132 min.) Two com­pet­i­tive broth­ers fall for the same woman in this Hindi-lan­guage ro­man­tic com­edy. Col­lierville Towne 16, Hol­ly­wood 20 Cinema. Kung Fu Panda 3 (PG, 93 min.) Mo’ Po. Sum­mer Quar­tet Drive-in. Lon­don Has Fallen (R, 99 min.) HH ½ Lethal Se­cret Ser­vice agent Ger­ard But­ler re­turns to pro­tect Pres­i­dent Aaron Eck­hart and stab, shoot and crack much ter­ror­ist neck in this well-crafted if para­noiac se­quel to 2013’s “Olym­pus Has Fallen.” Less jin­go­is­tic but no less morally spe­cious than its pre­de­ces­sor (the film dis­misses the vengeance-in­cit­ing in­ci­dent of its open­ing se­quence — the U.S. drone-killing of in­no­cent Pak­ista­nis — as ex­cus­able col­lat­eral dam­age in the War on Ter­ror), the movie de­picts a mas­sively de­struc­tive, mul­ti­ple-as­sas­si­na­tion as­sault on Lon­don, where the world’s lead­ers have gath­ered for the fu­neral of Eng­land’s (mur­dered) prime min­is­ter; the vi­o­lent spec­ta­cle seems par­tic­u­larly nasty in the wake of re­cent real-life Euro­pean at­tacks. The di­rec­tor is Tehran-born Babak Na­jafi; the sup­port­ing cast in­cludes Mor­gan Free­man, Jackie Earle Ha­ley and Melissa Leo, con­fined to a war room and earn­ing the eas­i­est pay­checks of their ca­reers. Col­lierville Towne 16, Cor­dova Cinema, For­est Hill 8, Ma­jes­tic, Olive Branch Cinema, Par­adiso, Stage Cinema, Sum­mer Quar­tet Drive-in. Mir­a­cles from Heaven (PG, 109 min.) Jen­nifer Garner is a mother whose young daugh­ter has a sup­pos­edly in­cur­able dis­ease in this faith-based drama. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Hol­ly­wood 20 Cinema, Ma­jes­tic, Olive Branch Cinema, Palace Cinema, Par­adiso, Stage Cinema. My Big Fat Greek Wed­ding 2 (PG-13, 94 min.) Nia Varda­los and John Cor­bett are back af­ter 14 years for “an even big­ger and Greeker wed­ding.” Cine­planet 16, Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Hol­ly­wood 20 Cinema, Olive Branch Cinema, Par­adiso, Ridge­way Cinema Grill, Stage Cinema, Sum­mer Quar­tet Drive-in. Oopiri (Not rated, 145 min.) A Tel­ugu-lan­guage re­make of the French buddy com­edy-drama “The In­touch­ables,” about the grow­ing friend­ship be­tween a wealthy quad­ri­plegic and his care­giver. Wolfchase Gal­le­ria Cinema 8. The Per­fect Match (R, 96 min.) Will play­boy Ter­rence J find true love with Cassie Ven­tura? Or maybe Paula Pat­ton? Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, Hol­ly­wood 20 Cinema, Ma­jes­tic, Palace Cinema, Par­adiso, Sum­mer Quar­tet Drive-in, Wolfchase Gal­le­ria Cinema 8. Ride Along 2 (PG-13, 102 min.) Kevin Hart and Ice Cube cut up again. De­soto Cinema 16, Hol­ly­wood 20 Cinema. Risen (PG-13, 107 min.) Joseph Fi­ennes is a mil­i­tary tri­bune in an­cient Rome whose life is changed once he be­gins to in­ves­ti­gate a mys­te­ri­ous dis­ap­pear­ance of the cru­ci­fied crim­i­nal, Je­sus Christ. Cor­dova Cinema, Olive Branch Cinema, Wolfchase Gal­le­ria Cinema 8. Rocky Hand­some (Not rated, 126 min.) A Hindi-lan­guage ac­tion film about kid­nap­ping and re­venge. Hol­ly­wood 20 Cinema. Spot­light (R, 128 min.) HHH Direc­tor Tom Mc­carthy’s grip­ping en­sem­ble drama is the rare movie that de­picts the prac­tice of daily news­pa­per jour­nal­ism as the dogged and of­ten doc­u­ment-based en­ter­prise it is, with­out car chases, gun­bat­tles or (ex­ces­sive) wise­cracks; es­sen­tially a pro­ce­dural, the film rarely de­tours from

its re­porters’ tracks as it dra­ma­tizes the Bos­ton Globe’s Pulitzer Prize-win­ning ex­posé of the Catholic Church’s coverup of the sex­ual abuse of chil­dren by priests, de­scribed as “a cul­ture of se­crecy that tol­er­ates and even pro­tects pe­dophiles.” Michael Keaton is the in­ves­tiga­tive team’s “player-coach”; Mark ruf­falo and rachel Mcadams are lead re­porters; stan­ley tucci is the lawyer who be­comes a key source. the film is smart and stir­ring, but un­like its pre­de­ces­sor, “all the Pres­i­dent’s Men,” it’s more in­spi­ra­tional than provoca­tive; it never evokes a sense that the jour­nal­ists have un­cov­ered not just the facts of a con­spir­acy but a sick­ness of the na­tional soul. Bartlett 10. Star Wars: The Force Awak­ens (PG-13, 136 min.) HHH ½ di­rec­tor J.J. abrams’ record-shat­ter­ing re­turn to Ge­orge Lu­cas’ space-opera uni­verse is a canny crowd­pleaser of re­ver­sals, re­plays and re­veals: re­ver­sals of first-tril­ogy themes (the vil­lain rather than the hero is be­ing tempted to cross to the op­pos­ing side of the force); re­plays of decades-old high­lights (a dog­fight at­tack on a steroidized death star); and re­veals that defy not au­di­ence ex­pec­ta­tions but se­ries prece­dent (a stormtrooper is black; a Luke-like desert scav­enger is fe­male; a masked evil­doer proves un-hideous). a new di­ver­sity that em­braces more than spe­cial-ef­fects aliens is very wel­come in a fran­chise that shows no signs of re­lin­quish­ing its hold on the pop­u­lar imag­i­na­tion, but the movie’s ad­her­ence to for­mula oth­er­wise is a bit of a let­down. still, abrams proves a deft jug­gler of ac­tors both old (har­ri­son ford, Car­rie fisher) and new (daisy ri­d­ley is force­friendly rey, John Boyega is ex­pat storm trooper finn), and re­lieved fans will echo the words ut­tered by C-3PO when the droid re­unites with r2d2: “oh my dear friend, how i’ve missed you.” Bartlett 10, Wolfchase Gal­le­ria Cinema 8. 10 Clover­field Lane (PG-13, 103 min.) HHH ½ Not so much a se­quel as a side­bar to the 2008 “found footage” mon­ster movie “Clover­field,” this in­ge­nious and claus­tro­pho­bic thriller is com­pact enough to be al­most the movie equiv­a­lent of a black box the­ater pro­duc­tion: for most of its length, it needs only three char­ac­ters and a sin­gle lo­ca­tion — a well­stocked sur­vival­ist bunker — to keep au­di­ences on edge. John Good­man is the bunker’s builder, a mys­te­ri­ous man who tells cap­tive car-crash sur­vivor Michelle (Mary eliz­a­beth win­stead) and the vol­un­tar­ily con­fined em­mett (John Gal­lagher Jr.) that he is not their jailer but their sav­ior: the out­side world has been poi­soned by an en­emy at­tack, so to re­main alive they must stay in­side his bomb shel­ter. the overe­lab­o­rate fi­nale strains cred­i­bil­ity, but di­rec­tor dan tra­cht­en­burg’s de­but fea­ture over­all is a tes­ti­mony to the age-old plea­sures of su­pe­rior sus­pense sto­ry­telling. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Hol­ly­wood 20 Cinema, Ma­jes­tic, Olive Branch Cinema, Par­adiso, Wolfchase Gal­le­ria Cinema 8. Whiskey Tango Fox­trot (r, 112 min.) Comic tina fey as a war cor­re­spon­dent. Par­adiso. Zootopia (PG, 108 min.) HHH ½ Believe it: dis­ney’s lat­est dig­i­tally an­i­mated fea­ture is a con­tra-trumpian, race­con­scious, po­lit­i­cal-con­spir­acy neo-noir in the guise of a funny talk­ing-an­i­mal car­toon. for kids, it’s an al­ter­nately cud­dly and ex­cit­ing un­der­dog story plus buddy com­edy, as ea­ger young Judy hopps (voiced by Mem­phis’ Gin­nifer Good­win) works her fluffy tail off to prove her worth as Zootopia’s first bunny cop while nav­i­gat­ing an un­easy al­liance with a sly petty-crim­i­nal fox (Ja­son Bate­man); for adults, it’s a torn-from-the-head­lines com­pen­dium of provoca­tive is­sues, from eth­nic pro­fil­ing to com­mu­nity mis­trust of po­lice to in­ner-city drug con­spir­a­cies. it’s also very funny (the dmv is staffed by slower-than-slow sloths) and in­ge­niously de­signed (Zootopia’s en­vi­ron­men­tally di­verse neigh­bor­hoods in­clude tun­dra­town and sa­hara square). the di­rec­tors are dis­ney vet­er­ans By­ron howard (“tan­gled”) and rich Moore (“wreck-it-ralph”), work­ing from a story cred­ited to eight writ­ers. Cine­planet 16 (in 3-D), Col­lierville Towne 16, Cor­dova Cinema, De­soto Cinema 16, For­est Hill 8, Hol­ly­wood 20 Cinema, Ma­jes­tic, Olive Branch Cinema, Palace Cinema (in 3-D), Par­adiso, Stage Cinema, Stu­dio on the Square, Sum­mer Quar­tet Drive-in.

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