The Commercial Appeal - Go Memphis - - MOVIE LIST­INGS -

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. Shaft (R, 100 min.) The “Soul Cin­ema” se­ries con­cludes the 1971 de­tec­tive film that earned Isaac Hayes an Os­car. 7 p.m., Mon­day, Stax Mu­seum of Amer­i­can Soul Mu­sic, 926 E. Mclemore. Ad­mis­sion: “Pay what you can.” Visit stax­mu­ Toy Story (G, 81 min.) The beloved 1995 block­buster that turned Pixar into a pow­er­house re­turns to the big (re­ally big) screen. In 2D. 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. Bar­ber­shop: The Next Cut (PG-13, 112 min.) HHH An un­of­fi­cial com­pan­ion piece to Spike Lee’s “ChiRaq,” this fourth film in the “Bar­ber­shop” se­ries — directed by Spike’s cousin, Mal­colm D. Lee — also is a re­sponse to the mur­der epi­demic plagu­ing in­nercity Chicago, but it’s more hope­ful than mourn­ful: This is the South Side with a touch of May­berry, a place where gun­shots echo with less im­pact than the “Have a blessed day” salu­ta­tion that opens the film. A show­case for Ice Cube’s Every­man ap­peal, Cedric the En­ter­tainer’s old-school wise­cracks, Nicki Mi­naj’s cal­lipy­gian grandeur and the other at­tributes of its large ensem­ble, the movie is filled with comic and se­ri­ous de­bate about street vi­o­lence, racial stereo­typ­ing, sex­ual dou­ble stan­dards, Barack Obama’s legacy and other po­tent top­ics, but the ar­gu­ments aren’t frac­tious; rather, they’re in­tended to cel­e­brate a tightknit and vi­brant com­mu­nity and cul­ture, and to func­tion as the very fab­ric of a film that wants to be as re­as­sur­ing as a Bill Cosby knit sweater in the pre-sex scan­dal era. Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, Holly- wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Palace Cin­ema, Par­adiso, Sum­mer Quar­tet Drive-in. 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, Par­adiso, Stage Cin­ema, Stu­dio on the Square, Sum­mer Quar­tet Drive-in. The Boy (PG-13, 105 min.) Nicki Mi­naj (from left), Eve and Com­mon ap­pear in a scene from “Bar­ber­shop: The Next Cut.” The fourth film in the “Bar­ber­shop” se­ries also stars Ice Cube and Cedric the En­ter­tainer.

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. Crim­i­nal (R, 113 min.) The mem­o­ries of a dead CIA op­er­a­tive (Ryan Reynolds) are planted in a death-row in­mate (Kevin Cost­ner). Cine­planet 16, Col­lierville Towne 16, Cor­dova Cin­ema, De­soto Cin­ema 16, For­est Hill 8, Hol­ly­wood 20 Cin­ema, Ma­jes­tic, Olive Branch Cin­ema, Par­adiso. 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. Wolfchase Gal­le­ria Cin­ema 8. 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, Olive Branch Cin­ema, Wolfchase Gal­le­ria Cin­ema 8. Eye in the Sky (R, 102 min.) He­len Mir­ren and Aaron Paul in a war-on-ter­ror sus­pense drama. Ridge­way Cin­ema Grill. Fan (Not rated, 145 min.) A Hindi-lan­guage thriller about a Bol­ly­wood star stalked by a look-alike fan. Col­lierville Towne 16, Hol­ly­wood 20 Cin­ema. 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, 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. Hello, My Name Is Doris (R, 95 min.) HH ½ Cos­tumed like a bag lady Iris Apfel, Sally Field is the ti­tle ec­cen­tric, a self-ef­fac­ing 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 cutesypie 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. Ridge­way Cin­ema Grill. The Jun­gle Book (PG, 105 min.) A live-ac­tion ver­sion of Rud­yard Ki­pling’s fa­mous story of a boy raised by wolves. Cine­planet 16 (in 3-D), Col­lierville Towne 16 (in 3-D), Cor­dova Cin­ema (in 3-D),


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