MOVIES

The Commercial Appeal - Go Memphis - - MOVIES -

tra­di­tional Ital­ian “har­le­quin” char­ac­ter. 8 p.m. Fri­day, Univer­sity Cen­ter The­atre, 499 Univer­sity, Univer­sity of Mem­phis. Ad­mis­sion: free. Visit ital­ian­film­fests. org/mem­phis. Jour­ney to Space 3D (Not rated, 45 min.) Ex­pe­ri­ence space flight his­tory and the space shut­tle pro­gram. Through Nov. 11, CTI 3D Gi­ant The­ater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Liv­ing in the Age of Air­planes 2D (Not rated, 45 min.) Ex­pe­ri­ence the age of flight and its im­pact upon com­merce and cul­ture. Through April 30, CTI 3D Gi­ant The­ater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. The Metropoli­tan Opera: Roberto Dev­ereux (Not rated, 230 min.) So­prano Son­dra Rad­vanovsky por­trays Queen El­iz­a­beth I in this live­via-satel­lite-from-new York re­vival of Donizetti’s 1837 mas­ter­piece, the fi­nale of the com­poser’s “Three Queens” tril­ogy. 11:55 a.m. Satur­day and 6:30 p.m. Wed­nes­day, Par­adiso. Tick­ets: $21. Visit malco. com. Na­tional Parks Ad­ven­ture 3D (Not rated, 45 min.) Robert Red­ford nar­rates this ul­ti­mate off-trail ad­ven­ture into the na­tion’s great out­doors and un­tamed wilder­ness. Filmed in more than 30 na­tional parks across the coun­try, movie fea­tures moun­taineer Con­rad Anker, ad­ven­ture pho­tog­ra­pher Max Lowe and artist Rachel Pohl hik­ing, climb­ing and ex­plor­ing their way across Amer­ica. Through April 30, CTI 3D Gi­ant The­ater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Pre­his­toric Planet: Walk­ing with Di­nosaurs 3D (Not rated, 45 min.) Ex­pe­ri­ence a year in the life of di­nosaurs. Through April 30, CTI 3D Gi­ant The­ater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. This Is Win­ter Jam (Not rated, 120 min.) Live per­for­mances mix with be­hind-the-scenes footage in this doc­u­men­tary about the block­buster Chris­tian mu­sic tour, fea­tur­ing such artists as Jeremy Camp, New­song and the for­merly Mem­phis-based Skil­let. 7 p.m. Tues­day, Par­adiso. Tick­ets: $13.50. Visit malco.com. Toy Story 3 (G, 103 min.) The ac­tion-packed and bit­ter­sweet 2010 fi­nale of the hit Pixar tril­ogy. 4 p.m. Satur­day and Sun­day, CTI 3D Gi­ant The­ater, Mem­phis Pink Palace Mu­seum, 3050 Cen­tral Ave. Tick­ets: $9 adult (13-59), $8 se­niors (60+), $7 chil­dren (3-12). Call 901-636-2362 for show­times, tick­ets and reser­va­tions. Alvin and the Chip­munks: The Road Chip (PG, 86 min.) An­other “squeakuel.” Bartlett 10. Bat­man v Su­per­man: Dawn of Jus­tice (PG-13, 151 min.) HHH A movie of grim in­tegrity for all its des­per­ate op­por­tunism, this trou­bled, trou­bling su­per­hero epic con­jures a post-9/11 pre-apoca­lypse in which dreams, vi­sions, me­mories, pop cul­ture, science fic­tion and his­tor­i­cal fact over­lap. The ef­fect is not so much the in­tro­duc­tion of a new DC Uni­verse as a night­mare of col­lid­ing multi-verses, bleed­ing their al­ter­nate, even con­tra­dic­tory nar­ra­tives into each other like wa­ter­col­ors on pa­per. The ir­ra­tional­ity may not be quite what di­rec­tor Zack Syn­der in­tended (and it’s surely not what Warner Bros. wanted), but it’s dis­tinc­tive and cin­e­matic. Henry Cav­ill re­turns from Sny­der’s “Man of Steel” as Su­per­man; Ben Af­fleck is the new Bat­man, an eye­wit­ness to two trau­matic in­cit­ing in­ci­dents: the mur­der

of his par­ents and the Twin Tower-es­que col­lapse of Metropo­lis’ Wayne Tower, dur­ing the su­per-bat­tle in “Man of Steel.” Filled with ref­er­ences to an­gels and devils and even Je­sus, the movie is not all coy about its pre­ten­sions or al­le­gory; it’s as if Sny­der wanted to re­play the su­per­herode­con­struct­ing themes of his stand-alone DC adap­ta­tion, “Watch­men,” with A-list char­ac­ters rather than their sym­bolic coun­ter­parts. Out of fan­boy con­text, bits of fore­shad­ow­ing to planned spinoffs play like hal­lu­ci­na­tions, cre­at­ing a sense of un­con­trol­lable chaos that makes this a movie of its time: It’s not a com­men­tary on our de­mented era but a symp­tom of it. With Gal Gadot (won­der­ful) as Won­der Woman, Jesse Eisen­berg as Lex Luthor and a re­turn­ing Amy Adams as Lois Lane. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema (in 3-D), Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema (in 3-D), Par­adiso, Stage Cin­ema, Stu­dio on the Square, Sum­mer Quar­tet Drive-in. The Boss (R, 99 min.) Melissa Mccarthy as a celebrity ty­coon in need of a PR fix. Cine­planet 16, Col­lierville Towne 16, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema, Par­adiso, Stage Cin­ema, 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. 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

Hra­dio 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. Wolfchase Gal­le­ria Cin­ema 8. De­mo­li­tion (R, 100 min.) ½ If the blood sac­ri­fice of a woman is nec­es­sary to help a priv­i­leged, wealthy and at­trac­tive young man re­al­ize his true and bet­ter self, well, hey, that’s life. Or at least that’s “De­mo­li­tion,” which casts Jake Gyl­len­haal as a New York in­vest­ment banker whose wife’s death in a car ac­ci­dent is pre­sented as small price to pay for in­spir­ing the pro­tag­o­nist’s re­demp­tion. Es­sen­tially an il­lus­trated screen­play (the writer is Bryan Sipe), the nar­ra­tive is as im­plau­si­ble as the premise is of­fen­sive: “For some rea­son, ev­ery­thing had be­come a metaphor,” muses the banker, who be­gins dis­man­tling ma­chin­ery and de­mol­ish­ing fur­ni­ture as an ex­pres­sion of un­ac­knowl­edged grief (see, you must take your life apart be­fore you can re­build it) while pur­su­ing a re­la­tion­ship with a more “au­then­tic” per­son, a work­ing-class woman (Naomi Watts) with a sex­u­ally con­fused teen son (Ju­dah Lewis). The di­rec­tor is Jean-marc Val­lée (“The Dal­las Buy­ers Club”); the pro­duc­tion com­pany is Black La­bel Me­dia, co-founded by Mem­phis’ Molly Smith. Stu­dio on the Square. The Diver­gent Se­ries: Al­le­giant (PG-13, 121 min.) HH ½ The third (and penul­ti­mate) film in the youth-skew­ing se­ries has the virtues and faults of its pre­de­ces­sor: It con­tains some won­der­ful science-fic­tion pro­duc­tion de­sign, but its in­creas­ingly ro­coco 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 so­ci­ety seg­re­gated by ap­ti­tude into “fac­tions” (the phys­i­cally brave are des­ig­nated as “Daunt­less,” the in­tel­lec­tu­als are “Eru­dite,” and so on). This time, hero­ine Tris (Shai­lene Wood­ley), 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 elit­ist com­mu­nity re­spon­si­ble for the fac­tion sys­tem; the en­su­ing de­bate over the value of “pure” ver­sus “dam­aged” ge­netic iden­tity gives the story a po­lit­i­cal/racial res­o­nance that too of­ten is over­whelmed by the ac­tion crises, which ar­rive with Repub­lic Se­rial reg­u­lar­ity. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, For­est Hill 8, Olive Branch Cin­ema, Sum­mer Quar­tet Drive-in, Wolfchase Gal­le­ria Cin­ema 8. Ed­die the Ea­gle (PG-13, 105 min.) Hugh Jack­man stars in this fact-based drama about the Bri­tish un­der­dog ski jumper. Bartlett 10. Eye in the Sky (R, 102 min.) He­len Mir­ren and Aaron Paul in a war-on-ter­ror sus­pense drama. Ridge­way Cin­ema Grill. The 5th Wave (PG-13, 112 min.) Chloe Grace Moretz stars in yet an­other young adult sci-fi fran­chise starter. Bartlett 10. God’s Not Dead 2 (PG, 121

min.) A high-school teacher’s “rea­soned re­sponse” to a ques­tion about Je­sus lands her in hot water. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema, Olive Branch Cin­ema, Par­adiso, Stage Cin­ema. 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-ofthe-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.” Bartlett 10, Wolfchase Gal­le­ria Cin­ema 8. Hard­core Henry (r, 96 min.) HH ½ Di­rected by de­but­ing fea­ture new­comer ilya naishuller, this gim­mick ex­ploita­tion film of­fers “non­stop bloody bru­tal vi­o­lence and may­hem” (thanks for the warn­ing, MPAA) via the first-per­son­shooter point of view of its ti­tle berserker, a res­ur­rected cy­ber­netic war­rior bat­tling the mer­ce­nary forces of an ego­ma­ni­a­cal tele­ki­netic (Danila Ko­zlovsky) while be­ing as­sisted by a se­ries of flam­boy­ant clones (all played by sharlto Co­p­ley). the idea is bet­ter than the ex­e­cu­tion, but at least the film is smart enough to in­clude a visual shout-out to its most fa­mous pre­de­ces­sor, the first-per­son film noir, “lady in the lake” (1947). Cine­planet 16, Col­lierville Towne 16, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema, Par­adiso, Stage Cin­ema, Stu­dio on the Square, Sum­mer Quar­tet Drive-in. The Hate­ful Eight (r, 182 min.) HH ½ the “8th film by Quentin tarantino” (to quote the open­ing cred­its) is an epic of au­teurist ego (it was shot on ex­pen­sive ul­tra­w­ide film for 70 mm pro­jec­tion); Agatha Christie-es­que locked-room ten­sion; the­atri­cal ar­ti­fice and mis­di­rec­tion (al­most ev­ery char­ac­ter is an ac­tor or liar of one kind or an­other); and racial provo­ca­tion: the re­flex­ive spout­ing of the n-word is just one ex­am­ple of the fre­quent and some­times lit­eral vom­it­ing forth of ug­li­ness that even the wri­ter­di­rec­tor’s sig­na­ture brio and bravado can’t quite re­deem. sa­muel l. Jack­son’s bounty hunter heads the ti­tle roll call of post-bel­lum cow­boys, hang­men, un­re­con­structed Con­fed­er­ates and out­laws stranded by a bl­iz­zard in a re­mote hab­er­dash­ery, where the racial an­tag­o­nisms lead

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