You know it’s summer at the cinema when you get a sequel to an adaptation of a 1980s TV shows. But this may have more going for it than just a cash-in: 2012’s 21 Jump Street was an underrated comedy, and filmmakers Phil Lord and Christopher Miller are fresh off the massive success of The Lego Movie. Jonah Hill and Channing Tatum return as the undercover-cop odd couple, who have moved on from pretending to be high-school students to trying to blend in with the college crowd. Rated R. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.
Right-wing pundit and filmmaker Dinesh D’Souza (2016: Obama’s America) returns with a documentary that aims to prove that liberals are America-loathing traitors and to show us what the world would look like if the U.S. didn’t exist. Historical reenactments of various hypothetical situations are included. Rated PG-13. 95 minutes. Regal DeVargas, Santa Fe.
The New York Film Critics series features this feel-good comedy about a crusty realtor (Michael Douglas) who is suddenly asked to care for a granddaughter he didn’t know he had. Diane Keaton co-stars. A simulcast Q & A session with director Rob Reiner follows the screening. 7 p.m. Wednesday, July 9, only. Rated PG-13. 94 minutes. The Screen, Santa Fe.
X-Men and Spider-Man are using their superpowers to kick box-office butt right now, but is the world ready for Antboy? This Danish film stars Oscar Dietz as Pelle, a 12-year-old boy who is bitten by an ant and develops powers. He has a dandy time doing super deeds as Antboy, until a villain named Flea (Nicolas Bro) starts bugging him. Rated PG. 77 minutes. Dubbed in English. Jean Cocteau Cinema, Santa Fe.
John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe.
French filmmaker Cédric Klapisch concludes his informal “Xavier trilogy,” which began with 2002’s L’Auberge Espagnole and continued with 2005’s Russian Dolls. Those films are fairly trifling, and you don’t need to see them to get this one: the story tells the fairly insufferable journey of a white, middle-class writer named Xavier (the ever-likable Romain Duris), through the seemingly endless parade of beautiful women in his life, and concluding here in a New York City that never feels real. Xavier’s vaguely existential dilemmas stem from a place of deep narcissism and privilege, which would be forgivable if the film were funny (see every Woody Allen movie). Alas, as filmmakers go, Klapisch isn’t in the same ballpark as Allen. Rated R. 117 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe.
Tia Lessin and Carl Deal have made a decent, but not exceptional, movie of the “blood boiler” genre — documentaries calculated to rile you up. After dallying with the Supreme Court and its peccadilloes and the impact of a single change on that bench (Samuel Alito in for Sandra Day O’Connor) on the Citizens United ruling, the filmmakers set up shop in Wisconsin, amid the political bloodbath that pitted Republican Gov. Scott Walker against labor unions. This movie shouldn’t have been called Citizen Koch — the title leads you to expect a level of insight into the Koch brothers that it doesn’t begin to deliver. But it will still make your blood boil. The screening at 7:30 p.m. on Thursday, June 19, is a fundraiser for KSFR-FM hosted by Craig Barnes. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. See review.
The sequel to 2011’s terrific Rise of the Planet of the Apes picks the story up after a virus has wiped out most of humankind. The chimpanzee Caesar (played once more by Andy Serkis) leads the rapidly evolving simians in their redwood-forest community, until a human settlement (led by a man played by Gary Oldman) encroaches on them. Through one gripping scene after another — and some unconvincing leaps in certain characters’ motivations — small acts of aggression escalate into warfare. The special effects and creature performances are awe-inspiring, and the use of silence, sign language, and an often-subtle score lets the audience absorb the story peacefully. Dawn is not as memorable as Rise, but this is the best and most thoughtful blockbuster franchise going right now. Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.
Eric Bana plays a New York City police officer who investigates a series of demonic possessions around town. Since the Ghostbusters are never around when you need them, he enlists the help of a priest (Édgar Ramírez) to help get his exorcize regimen on. Opens Wednesday, July 2. Rated R. 118 minutes. Regal Stadium 14, Santa Fe.
This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled shots of special effects in suburbia. The plot may also sound familiar: the kids involved find an E.T. named Echo (a little robot-looking thing), and help it phone home. Opens Wednesday, July 2. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe.
It’s Groundhog Day meets a sci-fi D-Day in this flick, in which a soldier (Tom Cruise) relives the same day — a day in which the Earth loses a major battle against hordes of invading aliens — again and again until he develops the skills necessary to change the outcome. Don’t think too heavily about the details of the plot — just enjoy the ride. Director Doug Liman (The Bourne Identity) handles action well, but the effects, particularly the aliens, seem overcooked. Cruise handles the gravity and levity, and a tough-as-nails Emily Blunt proves her action-movie mettle. It’s hard to frown on an original sci-fi concept during a summer full of superheroes and adaptations, but with flaws in the first and third acts, Edge of Tomorrow simply doesn’t quite succeed. Rated PG-13. 113 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española.
James McAvoy gives a searing performance as Bruce an abusive, misanthropic Scottish police sergeant investigating a death. He is addicted to drugs, alcohol, and rough sex and haunted by the memory of a child whose life he couldn’t save. Bruce takes his anger out on the world around him. Not 10 minutes in, and he is molesting a 16 year-old girl. He plays mean-spirited practical jokes on colleagues and threatens and cajoles witnesses. Moments of jarring comedy and an ill-timed song-and-dance number make you question exactly what Filth is aiming to achieve. A plot twist fans of Fight Club might appreciate ushers in a powerful and compelling third act, but the filmmakers can’t resist one final, ill-advised joke in the form of an animated sequence before the credits roll. This is a dark film with cynicism at its heart. Rated R. 97 minutes. Jean Cocteau Cinema, Santa Fe.
British artist Ralph Steadman is best known for his brilliant, warped, splatter-strewn cartoon illustrations for the writings of gonzo journalist Hunter S. Thompson. In this uneven but fascinating documentary on Steadman, now in his mid-70s, filmmaker Charlie Paul visits that territory and digs deeper into Steadman’s breathtaking output, spending a lot of time, along with Steadman’s old friend Johnny Depp, at his studio in England, taking us through his creative process and looking at what makes him tick. Rated R. 89 minutes. Center for Contemporary Arts, Santa Fe. See review.
There’s a bit of hagiography at work in Nicholas Wrathall’s documentary about Gore Vidal, but its subject stands up to the treatment. Born to privilege and one of the towering literary figures and social critics of the 20th century, Vidal comes across as sometimes bitter, often contemptuous, brilliantly witty, generally cynical about America’s power structure, yet with a burning, unquenchable idealism when it comes to social justice. The film gives us highlights of the life of this remarkable, controversial, supremely articulate, and never boring American literary lion, and Wrathall leaves us wanting more. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. See review.
In this sequel to the much-loved 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful, expressive, doglike dragon — return to explore the vast horizons of their Viking kingdom. They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time. The animation is spectacular, however, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a non-Frozen animated film in years. Rated PG. 102 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española.
Music is in the heart of the beholder. If you were a Four Seasons fan, you’ll find plenty to like in this greatest-hits album packaged with a disappointingly routine hand by director Clint Eastwood into a biopic by way of a mob movie wrapped up in a rags-to-riches tale. John Lloyd Young is a stretch as 16-year-old innocent Frankie Valli in the beginning, but as the character ages he catches up. He does a good job reprising his Tony-winning performance from the Broadway hit, and he does sound uncannily like Valli. Christopher Walken adds his usual leavening presence to an otherwise fairly anonymous but energetic cast. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.
Outtakes from Sebastian Junger and the late Tim Hetherington’s 2010, Oscar-nominated documentary, Restrepo, about a remote U.S. outpost in the mountains of Afghanistan, bring together many of the same soldiers and circumstances from the original film to Junger’s new doc. More than a sequel, Korengal lets the men more deeply explore notions of bravery, responsibility, and the adrenaline of combat,while it records firefights and downtime between patrols. Along with Restrepo, Korengal is a valuable document of combat conditions that went mostly unnoticed at home. Not rated. 93 minutes. Regal DeVargas, Santa Fe. See review.
Although it shouldn’t be confused with Jon Favreau’s recent cream puff of a similar name, this silly French comedy is equally light and predictable — just not as enjoyable. Clownish wannabe chef Jacky (Michaël Youn) has a pregnant girlfriend, but he can’t keep a job — he berates diners for their orders and corrects their wine selections. Meanwhile, veteran celebrity chef Alexandre (Jean Reno) has prioritized his career over his family. He’s under pressure from his boss, who prefers molecular gastronomy to classic cooking and wants Alexandre to use cheaper ingredients. Jacky and Alexandre form an unlikely alliance, and the result is a classic goofy farce from the Jerry Lewis and Peter Sellers school of sometimes-cringe-inducing comedy. Rated PG-13, 84 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe.
Helmed by Hoop Dreams director Steve James, Life Itself is as moving and revealing a documentary you could expect to see about film critic Roger Ebert. Drawing heavily from Ebert’s autobiography, James paints a complete portrait of the man, detailing his early years in journalism, his contentious relationship with former rival, then partner, Gene Siskel, and his influence on cinema. Ebert emerges as something of a man of the people, even if, sometimes, he was difficult to get along with. Testimonials from friends, family, and a host of admirers including newspaper colleagues, fellow film critics, and directors reveal that his position at the top of a long list of critics was well-deserved. The film goes back and forth from the distant past to Ebert’s final years when a long battle with cancer left him without the ability speak but, fortunately for us, not without the ability to write. Bring tissues. Rated R. 115 minutes. Center for Contemporary Arts, Santa Fe. See review.
Los Angeles painter and musician Llyn Foulkes is the subject of this documentary, which explores his eccentric career. This includes decades of sabotaging his own work in the name of perfectionism and playing the large, strange instrument he invented to produce the sounds of his one-man band. Not rated. 88 minutes. Center for Contemporary Arts, Santa Fe.
This slight, modestly entertaining movie owes everything to the talents of its actors, starting with the redoubtable Toni Collette. Ellie Klug (Collette) is a mess — a music critic for a Seattle rock magazine whose career, drinking, and love life are all on downward spirals. Ordered by her editor (Oliver Platt) to do a 10-year anniversary piece on the presumed suicide of a rock icon who was her former lover, she teams up with Charlie (Thomas Haden Church), a humorless,wealthy, would-be documentarian, to track down leads. The investigative story loses its drive in coy subplots and characters, including an archly caricatured animal-rights activist. Rated R. 97 minutes. Center for Contemporary Arts, Santa Fe.
Even Amy Adams’ glittering smile can’t perk up this sleepy film that follows a disgruntled young man (a one-note Garrett Hedlund), estranged from his family but home to attend to his terminally ill father Robert (a mumbling Richard Jenkins). Robert announces that his cancer treatment will be cut short and his doctor will be assisting him in his suicide within 48 hours. Not only that, but Robert has also given his wife and children’s inheritance to charity. The family gets one last chance to save his life — his lawyer daughter (Jessica Brown Findlay) must come up with a convincing argument to change his mind. This is one of those films in which cancer patients are identified by their shaved heads and only find themselves abed when the script calls for it. Throw in some Patch Adams-type shenanigans, and this lullaby is sure to put you to sleep. Rated R. 117 minutes. Jean Cocteau Cinema, Santa Fe.
The cable car journey to Nepal’s Manakamana Temple takes about 17 minutes round trip. Stephanie Spray and Pacho Velez’s documentary, filmed from inside the cable car opposite the passengers, is a slow-moving, meditative experience offering a glimpse into the lives of pilgrims en route to the temple to beseech the Hindu goddess Bhagwati to grant their wishes. Young and old alike make the journey, giving us glimpses into the lifeways and beliefs of Nepalese people. Most travelers sit in silence, and viewers may feel alternately like voyeurs trying to gauge their private thoughts or like fellow passengers. It’s an introspective, quietly moving film. Not rated. 118 minutes. In Nepali and English with subtitles. The Screen, Santa Fe. See review.
With the 2014 World Cup upon us, it seems like an apt time for a documentary on one of the biggest losers in the history of FIFA soccer: American Samoa, which once lost a match to Australia by the record-setting score of 31-0. Their redemption seems like sports-movie heaven set in a beautiful locale, but Next Goal Wins is sluggish and strangely unengaging — the average episode of ESPN’s documentary series 30 for 30 is more compelling. More screen time should have gone to Jaiyah Saelua, a fa’afafine person — in the Samoan culture, one belonging to a third gender — who was the first such athlete to compete in a men’s FIFA World Cup qualifier. Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe.
Kelly Reichardt’s Night Moves is a ‘60s movie trapped in the 21st century. The director has set her tale in the Pacific Northwest, where a small band of radical activists, outraged at the destructive effect of hydroelectric dams on the environment, has decided to blow up a massive dam. Reichardt doesn’t engage in a lot of proselytizing, although in the very telling she can’t escape projecting a point of view. Her characters are young people without a sense of history: these kids have no working memory of the Vietnam era, when acts of explosive protest terrorism sometimes went tragically wrong. This is a movie that evokes the ‘60s without remembering them. Rated R. 112 minutes. The Screen, Santa Fe. See review.
Aspiring 20-something comedienne Donna (Jenny Slate) works at the Unoppressive Non-Imperialist bookstore and performs raunchy confessional-style stand-up at a local club. After her boyfriend dumps her and she finds out she’s going to lose her job, she drowns her sorrows in booze and has a drunken one-night stand. A few weeks later, she realizes she’s pregnant and decides to get an abortion. While the idea of a romantic comedy whose plot hinges on that political hot-button issue certainly sounds divisive, anyone expecting this film to incite a partisan battle might want to hold their fire. Rather than using her film as a soapbox, director Gillian Robespierre presents the contentious issue as something ultimately human — a common, unfortunate fact of life for many women — and she finds humor in it. Obvious Child isn’t about abortion — it’s about Donna. Rated R, 84 minutes. The Screen, Santa Fe. See review.
There are worse ways to spend a couple of hours than in the company of Catherine Deneuve. Having said that, there are probably few worse ways to spend a couple of hours in the company of the grande dame of French cinema than in Emmanuelle Bercot’s third feature, an aimless meander through the French countryside in search of a story. What begins as a desperate errand to buy cigarettes turns into a road trip, which eventually becomes a buddy picture of the grandparent-and-grandchild-who-start-out-prickly-but-come-to-love-each-other genre. Deneuve remains eminently watchable throughout, but there is seldom a moment when you are convinced that there was a reason, apart from her, to make this film. Not rated. 116 minutes. The Screen, Santa Fe. In French with subtitles. See review.
The series of high-definition screenings resumes with a Richard Eyre’s production of Verdi’s La Traviata, from London’s Royal Opera House. Renée Fleming stars. 11 a.m. Sunday, June 22, only. Not rated. 190 minutes, plus two intermissions. The Screen, Santa Fe.
The series of high-definition screenings of performances from afar continues with a showing of Rudolf Nureyev and Margot Fonteyn’s 1966 performance of Swan Lake from the Vienna State Opera House, restored in HD from the original film reels. 11 a.m. Sunday, July 13, only. Not rated. 107 minutes. The Screen, Santa Fe.
The latest heavy-handed, right-wing movie is both pro-Christian and antigovernment, so it’s like a two-for-one special. James Remar plays John Luther, a preacher who stands in the way of sweeping “religion reform” in the United States, so the government frames him for murder and forces him to fight to clear his name. Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe.
This summer’s annual Pixar film is not quite a Pixar film but rather a Disney sequel to its own Pixar spinoff. The world of Cars gave birth to 2013’s Planes, and this follow-up finds Dusty Crophopper (voiced by Dane Cook) fighting fires, learning about heroism, and no doubt off-screen appearing on a lunchbox or notebook near you. Rated PG. 83 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española.
The centerpiece of this sprawling French historical romance is the St. Bartholomew’s Day Massacre, which erupted on the night of August 23, 1572, one of the red-letter dates in the history of human slaughter. Director Patrice Chéreau handles the massacre with operatic largesse, working up-close and personal as throats are slashed, torsos skewered, and heads rolled. But it is star Isabelle Adjani, eyes flashing, bodice heaving, and heart slowly transforming, who rules this epic. It is a gorgeous period piece, and she supplies a generous portion of its beauty as she forges a character that is equal parts flesh and steel. Rated R. 159 minutes. In French with subtitles. The Screen, Santa Fe. See Screen Gems.
From Stratford-upon-Avon comes the Royal Shakespeare Company’s production of the history play focusing on the friendship between Prince Hal (Jasper Britton) and the comic Sir John Falstaff (Antony Sher). Not rated. 165 minutes, plus one interval. Jean Cocteau Cinema, Santa Fe.
From Stratford-upon-Avon comes the Royal Shakespeare Company’s production of the history play that focuses on the friendship between Prince Hal (Jasper Britton) and the comic Sir John Falstaff (Antony Sher). Not rated. 165 minutes, plus one interval. Jean Cocteau Cinema, Santa Fe.
Cameron Diaz and Jason Segal play a married couple who decide to spice up their sex lives by filming themselves. Alas, he accidentally uploads the video to the internet, and the two try in vain to prevent the world — and, most important, their loved ones — from seeing it. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.
Chris Evans (Captain America in those Marvel films) plays a dude in a future world, where global warming has wiped out mankind and the few remaining survivors choo-choo the Earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people out back, until the downtrodden start talking about a revolution. Joon-ho Bong (The Host) directs. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe.
The Auteurs, a new series of classic films presented by the St. John’s College Film Institute, opens with German Expressionist F.W. Murnau’s 1927 silent masterpiece about a married man who is tempted by another woman. Live music by Hank Troy accompanies the screenings on Saturday and Sunday, June 14 and 15. Not rated. 94 minutes. Center for Contemporary Arts, Santa Fe.
This documentary by Beth Aala and comedian Mike Myers paints a portrait of Shep Gordon — manager and confidante to the stars, businessman, and all-around swell guy. The film’s witnesses to Shep’s greatness include Alice Cooper, Michael Douglas, Sylvester Stallone, Willie Nelson, and many more. Rated R. 85 minutes. Regal DeVargas, Santa Fe.
Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Dan Aykroyd, Kathy Bates, and Susan Sarandon co-star. Rated R. 96 minutes. Regal Stadium 14, Santa Fe.
Frankie (Scott Marlowe) is a young dancer in 1985 San Francisco. He’s working hard to make it as an understudy and finds himself falling for a veteran dancer in the company (Matthew Risch). As the two men attempt to grow their relationship, their efforts are made complicated by Frankie’s suspicions that he has HIV. Not rated. 89 minutes. Jean Cocteau Cinema, Santa Fe.
Alejandro Jodorowsky’s first feature film in more than two decades is an autobiographical account of his relationship with his father, Jaime, a Communist living on the coast of Chile. Jodorowsky peoples his film with an assortment of archetypal figures and symbolic events. His narrative is a dreamlike story told through unforgettable visuals, hampered only by self-indulgent interjections by the aged director. Not rated. 130 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. See review.
Simon James ( Jesse Eisenberg), buried in a bland, bureaucratic job where he is unable to win the attentions of Hannah (Mia Wasikowska), is so unremarkable that the security guard at work routinely asks him to produce his ID. One day, James Simon (also Jesse Eisenberg), Simon’s out- going doppelgänger, shows up at the office and turns Simon’s world upside down. This isn’t an unusual plot, but The Double is made fresh by director Richard Ayoade (Submarine), who uncorks a visual gag reel loaded with bright colors, unusual sets, and inventive camerawork reminiscent of Terry Gilliam’s Brazil. The result is forgettable, but it’s fun while it lasts. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. See review.
Teenage romance films often come with the girl wearing a prom dress and the boy wearing a sweet pair of shades. This one is much different: the girl (Shailene Woodley) wears an oxygen tank and the boy (Ansel Elgort) a prosthetic leg; she is dying, and they meet in a cancer-support group. This film is based on a beloved book that readers insist isn’t as nearly as depressing as it sounds. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.
In 1929, a German doctor and his patient/mistress left the comforts and trials of civilization and set sail for the ends of the Earth: Floreana, a tiny uninhabited island in the Galápagos. Like a contemporary Adam and Eve, they carved out their own Eden. But it wasn’t long before others invaded their paradise, and as the island’s population swelled to five, six, and then nine with the arrival of a lusty adventuress and her two lovers, the stage was set for mischief. The ingredients of this long-ago real-life murder mystery are delicious, but the recipe is padded to fill a bulky couple of hours, when what really holds your interest unfolds in the last 40 minutes or so. Not rated. 120 minutes. In English Spanish with subtitles. The Screen, Santa Fe. See review.
The Canadian coastal town of Tickle Cove is in desperate need of a doctor. When a prospective doc (Taylor Kitsch) comes to check the place out, the whole village — led by one feisty man (Brendan Gleeson) — does whatever it takes to convince him to stay, often with comic results. Rated PG-13. 113 minutes. Regal DeVargas, Santa Fe.
The Auteurs, a series of classic films presented by St. John’s College Film Institute, continues with Carl Theodor Dreyer’s 1928 movie about the trial of Jeanne d’Arc (Maria Falconetti) for heresy and the attempts to force her to recant her claims of religious visions. Not rated. 114 minutes. Center for Contemporary Arts, Santa Fe.
Last year’s cheapie horror flick The Purge received an onion in these very pages, and audiences agreed with terrible word of mouth. But it made a mint on its opening weekend, and so here is the sequel. Once more, the premise centers on an America where crime is eradicated for 364 days a year, thanks to one day in which laws are tossed out and anything goes. (Guess which day the film centers on.) Rated R. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.
The Australian Outback is no stranger to dystopian stories set in the future (see the Mad Max series) but the latest one, from director David Michôd (Animal Kingdom), has a more brutal, realistic edge. Guy Pearce plays a loner named Eric, who is the victim of a car robbery. He and the abandoned brother of one of the robbers (Robert Pattinson) set off to find the men that done them wrong. Rated R. 102 minutes. Regal DeVargas, Santa Fe.
With The House of the Devil, director Ti West became one of the stars of contemporary indie horror. His latest film uses the “found footage” approach to tell a story of two reporters for Vice magazine who enter a cult’s compound and uncover much more than just a puff piece when they rile the creepily charismatic leader (Gene Jones). Despite cheating a bit on the cinéma vérité conceit with a horror score and more cameras than can be accounted for, West delivers the goods — particularly in the film’s extended setup. West appears at the 7 p.m. and 9:15 p.m. Friday, June 20, screenings. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe.
Three MIT students discover that someone has hacked into the college’s computer system numerous times. The trail leads them to the Nevada desert in search of the culprit. They lose consciousness and awake to find Laurence Fishburne (playing a mysterious man in a suit) talking to them. Well, that’s never a good sign. Rated PG-13. 97 minutes. Jean Cocteau Cinema, Santa Fe.