Chile pages: March 13

The life of Christian music star Jeremy Camp is explored in I Still Believe, at Regal Stadium 14



After he and his wife are murdered, marine Ray Garrison is resurrected by a team of scientists. Enhanced with nanotechnology, he becomes a superhuman, biotech killing machine: Bloodshot. As Ray (Vin Diesel) trains with fellow super-soldiers, he cannot recall anything from his former life. But when his memories flood back, and he remembers the man who killed both him and his wife, he breaks out of the facility to get revenge. But there’s more to the conspiracy than he thought. (Source: Google) Drama-fantasy, rated PG-13, 109 minutes, Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Not reviewed)


The true story of Christian music star Jeremy Camp and his journey of love and loss. (Source: Google) Drama-romance, PG, 116 minutes, Regal Stadium 14. (Not reviewed)


Twelve strangers wake up in a clearing. In the shadow of a dark internet conspiracy theory, ruthless elitists gather at a remote location to hunt humans for sport. But their master plan is about to be derailed when one of the hunted, Crystal, turns the tables on her pursuers. (Source: Google) Thriller-action, rated R, 115 minutes, Regal Stadium 14 and Violet Crown (Not reviewed)

3.5 chiles - ORDINARY LOVE

Drama, rated R, 92 minutes, Violet Crown. See review.


Documentary, not rated, 74 minutes, Center for Contemporary Arts. See review.

4 chiles - THE TRAITOR

Drama, rated R, 145 minutes, in Italian and Portuguese, with English subtitles, The Screen. See review.

4 chiles - WENDY

Drama-fantasy, rated PG-13, 112 minutes, Violet Crown. See review, Page 30.


3 chiles - 1917

British director Sam Mendes’ slice of life and death in The Great War is based on war tales told to Mendes by his grandfather, a World War II vet. The story is an odyssey, one that sends two young lance corporals on a probable suicide mission to carry an urgent dispatch to a company preparing to launch a disastrous attack. Mendes’ characters go through scenes that carry the unmistakable whiff of screenwriting. But what is truly magnificent about this movie is the cinematography, which reaches its peak in a scene amidst the smoldering ruins of a blasted French town at night, to create a fabulous nightmare-scape of jagged walls and terrifying shadows. The two corporals are Blake (Dean-Charles Chapman) and Schofield (George MacKay). The screen is mostly theirs alone, though the cast is filled out with a few name actors like Colin Firth and Benedict Cumberbatch. Winner of three Academy Awards, including Best Cinematography. Military drama, rated R, 119 minutes, Jean Cocteau Cinema. (Jonathan Richards/For The New Mexican)


“Georgian dancing is the spirit of our nation,” the old dancing master instructs a class of aspiring folk dancers. That spirit is tough and muscular on the male side, demure and virginal on the distaff. Merab (Levan Gelbakhiani) and his dance partner and girlfriend Mary (Ana Javakishvili) come in for their share of criticism; he for showing a soft side and she for being too coquettish. “There is no sex,” their instructor (Kakha Gogidze) thunders, “in Georgian dance!” The kids all work their tails off, and their goal is clear-cut: to land a spot in the ensemble of the national folk dance company and get a ticket out of Georgia. Merab is pushing himself hard, arriving early at the rehearsal hall to put in extra time and earn a coveted audition spot. But his focus changes with the arrival of a handsome new dancer, who soon challenges Merab for plum roles in the class repertoire. When the two are alone during a party, Merab’s world explodes in a passionately erotic encounter that begins as horseplay and evolves into something else. Writer-director Levan Akin pits Merab’s emerging awareness of his homosexuality and the larger picture of his individuality against the oppressive weight of Georgian tradition and role expectations. Akin doesn’t discover many original wrinkles in this coming out story, but it’s the powerful cultural context, and some terrific dancing and acting by Gelbakhiani, that earn this movie its dancing shoes. Drama, not rated, 113 minutes, in Georgian with subtitles, Center for Contemporary Arts. (Jonathan Richards/For The New Mexican)


Seventeen years after Bad Boys II, Will Smith and Martin Lawrence return as Michael Lowrey and Marcus Burnett, respectively — two maverick police officers. On the verge of retirement, they’re pulled back into action to take down a vengeful mob boss (Jacob Scipio). Action-comedy, rated R, 123 minutes, Regal Stadium 14. (Not reviewed)


Terror strikes when a young family moves to the Heelshire’s residence, and a boy from the family discovers a doll called Brahms that appears to be eerily human. (Source: Google) Mystery-horror, rated PG-13, 120 minutes, Regal Stadium 14. (Not reviewed)


It’s easy to view The Call of the Wild cynically: There goes Hollywood again, sanding the edges off a beloved novel — this time about the human-canine bond — to create disposable entertainment. The latest screen adaptation of Jack London’s 1903 adventure saga transforms the novel’s menacing gold prospector into a cartoon, played by a sniveling Dan Stevens. Harrison Ford’s droning voice-over, as fellow prospector John Thornton, is sleep-inducing. And the CGI dogs look ... very computer-generated. But there is no trace of such cynicism in the movie itself. In an age of children’s entertainment that’s snarky, self-referential, and even meta, The Call of the Wild stands out for its earnest effort to entertain without commenting on itself or the modern world. In it, a dog named Buck (performed in motion-capture by Terry Notary and digitally rendered later) is suddenly uprooted from his California home and transplanted to the wilds of the Alaskan Yukon in the 1890s. As the newest rookie on a mail-delivery dogsled team, Buck experiences the adventure of a lifetime as he ultimately finds his true place in the world. Ford and his robust white beard don’t appear onscreen until deep into the movie, but when he arrives, the actor expresses John’s grief with enough tenderness that children watching might learn something about how to handle their own emotions. They’ll need those tools for the movie’s jarring climax, which, while fairly true to the book, will be nonetheless grim for the youngest viewers. Drama-adventure, rated PG, 110 minutes, Regal Stadium 14 and Violet Crown. (Mark Lieberman/Special to The Washington Post)


With Iron Man behind him, Robert Downey Jr. occupies his time by playing Hugh Lofting’s literary doctor with the ability to speak with animals. In this telling, Dolittle is a hermit who, when Queen Victoria (Jessie Buckley) takes ill, embarks on an epic adventure to find the cure. Antonio Banderas and Michael Shannon also star, while Ralph Fiennes, Tom Holland, Rami Malek, Octavia Spencer, and Emma Thompson voice animals in Dolittle’s menagerie. Family comedy-adventure, rated PG, 106 minutes, Regal Santa Fe 6. (Not reviewed)

3 chiles - EMMA

Jane Austen’s Emma is given a charming, sprightly adaptation by Autumn de Wilde, a director of music videos making her feature debut with novelist-turned-screenwriter Eleanor Catton’s lively, faithful script. The story is of a young woman whom Austen — and the movie itself — introduces to us as “handsome, clever and rich,” and, at almost 21, with “very little to distress or vex her.” Emma (played with effortless appeal by Anya Taylor-Joy) calls herself “improper, inconsiderate, indelicate, irrational, unfeeling, vain and arrogant.” Of course, it takes most of the movie before Emma, whose tendency for borderline meddlesome matchmaking is the engine that fuels this tale, comes to that realization. Encouraged by her success in fixing up her former governess (Gemma Whelan) with a neighbor (Rupert Graves), Emma sets about to engineer a love match for her friend Harriet (Mia Goth). Of course, Emma is single, too — and something of a catch — which only complicates things. It’s pretty obvious to us who deserves whom, just not to anyone onscreen. And that screen is filled with some pretty entertaining characters, headed up by Bill Nighy, who communicates what Mr. Woodhouse is feeling (mostly annoyance and a chill in the air) with little beyond eye rolls and tiny snorts, and a colorful supporting cast of British character actors that also features the wonderful Miranda Hart (Spy). Of course, there is never really any doubt that all who are seeking love — or at least marriage — will find it here, in this slight but satisfying romantic roundelay, whose delights are not limited to empire-waist dresses, elaborate hats and scenes of the English countryside that appear to be straight out of an Adam Buck painting. Love may or may not make the world go round, but Austen’s trick — repeated here by de Wilde — is in making us believe, for a minute, that matters of the heart matter more than anything else on Earth. Period drama, rated PG, 122 minutes, Regal Stadium 14 and Violet Crown. (Michael O’Sullivan/The Washington Post)


Brie Larson narrates this documentary that shows us inside the world of mushrooms, molds, and other fungi. Director Louie Schwartzberg takes viewers on a time-lapse journey that describes the ancient history of the organisms and their power in the present to heal and sustain life. Some of the world’s most renowned mycologists also offer their thoughts on the potential of fungi to help humans across a wide variety of uses. Documentary, not rated, 81 minutes, Center for Contemporary Arts. (Not reviewed)


Margot Robbie reprises her role as the mallet-wielding antihero Harley Quinn from the 2016 film Suicide Squad in this spinoff based on the long-running comic book. This time, fortunately, she has a new squad: Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell), and Renee Montoya (Rosie Perez). Her erstwhile beau the Joker, though he is frequently invoked, is never seen. Supervillain duties are taken up by the Gotham billionaire and venal sadist Roman Sionis (a gleeful Ewan McGregor). Now that Harley no longer has the immunity of being Joker’s moll, Roman can dispose of her at will. Like Joker, Birds of Prey is sincere in its commitment to nihilism but coy about the implications of that commitment. Unlike Joker, this exercise in R-rated fan-flattery allows itself, and the audience, to have some fun with its noisy, hectic, self-conscious riffing on the conventions of comic-book-based entertainment. Like other big-studio exercises in pseudo-subversion (very much including Deadpool), Birds of Prey is happy to play at provocation with swear words and violence while carefully declining to provoke anything like a thought. Superhero action, rated R, 109 minutes, Regal Santa Fe 6 and Regal Stadium 14. (A.O. Scott/The New York Times)

1.5 chiles - INVISIBLE MAN

It’s never fair to judge a movie based on what you want it to be. But when that movie sets an explicit goal and then fails to meet it — heck, doesn’t even try to meet it — it’s open season. That’s Invisible Man, part of Universal’s attempt to reboot the studio’s classic monster flicks that started with the 2017 flop starring Tom Cruise called The Mummy. At first, Elisabeth Moss brings a nice, handmaid-ish energy to the role of Cecilia, a woman who leaves her abusive husband, Adrian (Oliver Jackson Cohen, of The Haunting of Hill House), a Tony Stark-like tech entrepreneur with a specialization in optics. Cecilia comes to believe that Adrian’s subsequent suicide is a fake; while wearing an invisibility suit, he is now stalking her. Or so she says. In short, there’s an intriguing mystery. Is Cecilia so traumatized by her past that she’s seeing — or fantasizing — things that aren’t there? Or is Adrian, or someone else, trying to gaslight her into doing something rash? But all this tingling psychological horror evaporates as quickly as the phantom breath we see next to Cecilia as she stands outside — supposedly alone — one chilly night. What replaces it is a far more plodding and pedestrian kind of movie, the parameters of which can be revealed because they’re all laid out in the trailer: Yes, there’s someone in an invisibility suit tormenting her. So what does that leave us with? A supervillain movie. Not that that’s a bad thing by definition. But Invisible Man has a hole at its center: something that was there for a brief, tantalizing second, and that is gone. Horror-sci-fi-thriller, rated R, 124 minutes, Regal Stadium 14 and Violet Crown. (Michael O’Sullivan/ The Washington Post)


This sequel brings together the same director, writers, and actors who made the 2017 Jumanji reboot so fun and then layers in more stars — Danny Glover, Danny DeVito, and Awkwafina — plus more locations and special effects. The result is a successful if unbalanced ride. It starts like the first, with four mismatched young people getting sucked into a video game. There, they transform into avatars played by Dwayne “The Rock” Johnson, Kevin Hart, Jack Black, and Karen Gillan. Glover and DeVito, playing two estranged friends, also get pulled into the game, and everyone has a new avatar. The Rock employs a honking “Noo Yawk” accent and an elderly man’s befuddlement at what’s happening, since he’s controlled by DeVito. Meanwhile, Glover gets handed Hart. The plot is insane, as you might expect from a video-game quest, and it takes the ragtag group from deserts to snowy mountains in search of a jewel. Like all sequels, the second suffers from not having the delicious surprise of the first. Family adventure, rated PG-13, 123 minutes, Regal Santa Fe 6. (Mark Kennedy/The Washington Post)


For a collective expression of prodigious musicianship and an almost telepathic creative bond, you’d be hard-pressed to do better than the Band, the five-man group whose eight years performing under that name simultaneously sent rock music back to its past and catapulted it into the future. And while it includes observations by heavy-hitters like Martin Scorsese, Bruce Springsteen, Jann Wenner, and Van Morrison, it is mostly one man’s story: After all, the subtitle is Robbie Robertson and the Band. Members Rick Danko, Levon Helm, and Richard Manuel are no longer with us to share their perspective, and Garth Hudson isn’t talking. Still, Once Were Brothers wouldn’t have suffered from a few more dissenting voices to balance Robertson’s version of events, which even at its most generous and compassionate can’t help but feel self-serving. Director Daniel Roher makes resourceful use of archival footage, including vintage interviews with Band members who have since died, and cutting still photographs together with whiplash speed. But the most delicious moments are simply listening to those great songs, like “The Weight” and “The Night They Drove Old Dixie Down.” Even at its most painful, the Band’s story captures something golden, incendiary, and wistfully beautiful — “so beautiful,” Robertson reflects, “that it went up in flames.” Music documentary, rated R, 102 minutes, The Screen. (Ann Hornaday/The Washington Post)

2 chiles - ONWARD

The mild, one-joke amusement of Onward, directed by Dan Scanlon (Monsters University), comes from the clash of the mundane and the fantastical. Unicorns fight over trash like angry raccoons. A fearsome manticore (voiced by Octavia Spencer), her questing days behind her, runs a theme restaurant and worries about lawsuits. Belligerent biker sprites and cops are centaurs or cyclops. The adventure itself is almost an afterthought. It concerns Ian and his hopelessly uncool older brother, Barley (Chris Pratt), a connoisseur of the old lore. Ian, for his birthday, is given a staff and a spell that the brothers’ dead father left for them. The spell is supposed to bring their dad back to life for one day, but it only partly comes off, leaving him as just a pair of sentient pants and shoes. The boys, intermittently disguising the body with Weekend at Bernie’s-style puppetry and clothes that might have suited the original invisible man, embark on a mission to conjure the rest of him. While the story is personal for Scanlon, whose father died when he was young, Ian and Barley’s journey plays as disappointingly routine, a checklist of mechanically foreshadowed heart-to-hearts and lessons learned, leavened by the occasional offbeat sight gag. What is missing are the unexpected flights of fancy on which Pixar forged its reputation — breathtaking, tempo-altering sequences like the fire-extinguisher ballet of WALL-E, or the refreshingly adult perspective of Up. As it is, the film is a brightly rendered, sentimental ode to adolescence that hits all the right emotional buttons, even as it risks being forgotten itself. Animation drama-fantasy, rated PG, 102 minutes, Regal Santa Fe 6 (in 2D), Regal Stadium 14 (2D and 3D), and Violet Crown. (Ben Kenigsberg/ The New York Times)

3 chiles - PARASITE

Director Bong Joon Ho creates specific spaces and faces that are in service to universal ideas about human dignity, class, and life itself. That’s a good way of telegraphing the larger catastrophe represented by the cramped, gloomy, and altogether disordered basement apartment where Kim Ki-taek (the great Song Kang Ho) benignly reigns. A sedentary lump, Ki-taek doesn’t have a lot obviously going for him. Fortunes change after the son, Ki-woo (Choi Woo Shik), lands a lucrative job as an English-language tutor for the teenage daughter, Da-hye (Jung Ziso), of the wealthy Park family. The other Kims soon secure their positions as art tutor, housekeeper, and chauffeur. In outsourcing their lives, all the cooking and cleaning and caring for their children, the Parks are as parasitical as their humorously opportunistic interlopers. Winner of the Academy Award for Best Picture and Best Director. Drama, rated R, 132 minutes, in Korean with subtitles, Jean Cocteau Cinema and Violet Crown. (Manohla Dargis/ The New York Times)


“Do all lovers feel they’re inventing something?” asks Héloïse, a young woman experiencing romantic passion for the first time. It’s a beautiful line, but it’s also emblematic of the spirit of Portrait of a Lady on Fire, a film in which everything feels stunningly fresh, raw, and new. French director Céline Sciamma, known for far more gritty and contemporary films, has found a way to make a film set in the 18th century feel so vital, at times it seems it could spontaneously combust. Marianne (a vibrant Noémie Merlant) has been hired by a widow to paint a portrait of her daughter Héloïse (the appealing Adèle Haenel), as a calling card for her prospective husband. But because Héloïse has refused to be painted, Marianne must pose as a companion by day, while painting in secret at night. They grow close, and the way their ardor is allowed to slowly unfold onscreen is both heartwarming and, given the dismal prospects for a future together, heartbreaking. Period drama, rated R, 119 minutes, Center for Contemporary Arts and Violet Crown. (Jocelyn Noveck/Associated Press)


Inspired by the popular series of video games, Sonic tells the eternal tale of a blue hedgehog from another planet who runs at near-warp speed. After a relatively pointless exposition, Sonic (voiced by Ben Schwartz) arrives in a small Montana town named Green Hills, where he has to hide his speed for fear someone will steal it. But after inadvertently causing a power outage, he’s targeted by government forces and the evil Dr. Robotnik (Jim Carrey) for capture. Enter his only friend: Sheriff Tom (James Marsden). These shaky plot elements exist only to set up Sonic and Tom’s westward odyssey. Luckily, the destination is worth the journey. Sonic’s engaging and expressive face, combined with Schwartz’s always-excellent voice acting, creates a character worth rooting for. Marsden is charming as he goes through the traditional arc usually found in this type of movie: bewilderment, empathy, and friendship. While most of the secondary characters are so lightly written that they nearly float, Carrey’s Robotnik — played by the hyper-energetic actor operating at maximum strength — makes for an egotistical, slightly unhinged villain, whose fundamental weirdness is fun to watch, without ever being really scary (a boon to parents with younger kids). Fans of the video games will find a host of allusions, but there’s plenty to please any moviegoer who can’t tell a Sega from a Switch. In the end, Sonic is quippy without being mean, and sweet without being sappy, making this a trip that’s well worth taking. Adventure animation, PG, 99 minutes, Regal Santa Fe 6 and Regal Stadium 14. (Kristen Page-Kirby/The Washington Post)

3 chiles - THE WAY BACK

As this tough-minded studio film begins — with a faint clamor of drilling and trucks before the first shot comes up — Affleck’s character, Jack, is working on a construction site. He is already deep into alcoholism, keeping a dedicated spot in his shower for a beer can. His wife (Janina Gavankar), from whom he has separated, uses his sister (Michaela Watkins) as a go-between. Jack is given to explosions of anger. Then an unexpected opportunity arises: Father Devine (John Aylward), who runs the Roman Catholic high school where Jack was once a basketball star, informs him that the coach has had a heart attack. Will Jack step in to help the team, which hasn’t been to the playoffs since he was a student? Per genre convention, Jack is charged with bringing discipline to a ragtag group. Although Jack’s salty language and encouragement of roughhousing by the young men — “I will not coach a team that has been out-toughed,” he tells them — is perhaps dubious as coaching, the team does improve, and Jack’s hard edges help The Way Back avoid a sense of squeaky-clean uplift. Working from a script by Brad Ingelsby, director Gavin O’Connor finds ways to keep viewers subtly off guard; just when you think The Way Back will turn into a Big Game movie, it reverts to being an addiction drama (and then goes back again). The volleying structure comes with one giant, regrettable flaw: The movie withholds a crucial bit of backstory in early scenes only to drop it like an anvil later on. The decision to deploy it as a surprise (to the audience and not the other characters) is cheap and shameless — a blatant foul in a movie otherwise filled with smoothly executed plays. Sports drama, rated R, 108 minutes, Regal Stadium 14 and Violet Crown. (Ben Kenigsberg/The New York Times)


Center for Contemporary Art

▼ 6:15 p.m. Friday-Sunday, March 13-15: Precious Guru

▼ 7 p.m. Wednesday, March 18: Sex & Power: the Visual Language of Oppression, presented by New Mexico Women in Film

Jean Cocteau Cinema

▼ 8 p.m. Friday, March 13: The Saga of the Shining Emblem

▼ 4 p.m. Sunday, March 15: Santa Fe Noir author event

▼ 8 p.m. Sunday, March 15: Westworld Season 3 premiere

▼ 6 p.m. and 8 p.m. Wednesday, March 18: Frontiers in Science-Los Alamos Talks

▼ 8 p.m. Thursday, March 19: Carlos Medina Comedy Show

Regal Stadium 14

▼ 6:30 p.m. Tuesday-Wednesday, March 17-18: I Am Patrick

The Screen

▼ 11 a.m. Saturday, March 14: Following the Ninth: In the Footsteps of Beethoven’s Final Symphony

▼ 4 p.m. Sunday, March 15: Oliver Sacks: His Own Life, presented by the Santa Fe Jewish Film Festival

Violet Crown

▼ 11 a.m. Sunday, March 15: Zurich Operahouse presents Tosca

▼ 7 p.m. Wednesday, March 18: Rolling Stone: Life and Death of Brian Jones

▼ 8 p.m. Thursday, March 19: A Quiet Place Part II

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