Movie Listings for July 24-30


Photo

Ryan O’Neal, far left, in a scene from “Barry Lyndon,” part of the “This is Celluloid: 35MM Encore” series at Anthology Film Archives. See listing below.

Credit
Warner Bros

Ratings and running times are in parentheses; foreign films have English subtitles. Full reviews of all current releases: nytimes.com/movies.

★ ‘Alleluia’ (No rating, 1:30, in French) The expression “amour fou” barely begins to describe the unhinged passions that boil through “Alleluia,” the Belgian director Fabrice Du Welz’s reimagining of the 1970 crime classic “The Honeymoon Killers.” (Stephen Holden)

★ ‘Amy’ (R, 2:08) Asif Kapadia’s shattering biographical portrait of the British singer and songwriter Amy Winehouse traces the arc of her short, messy life from smoky-voiced jazz singer to global pop sensation to her death in 2011, at 27, from alcohol poisoning. This material makes for uneasy viewing, as do some of her agonizing self-portraits, though there’s a great deal more to this documentary than sad spectacle. (Manohla Dargis)

‘Ant-Man’ (PG-13, 1:57) Paul Rudd joins the Marvel Universe as Scott Lang, a skilled thief who crosses paths with a cranky scientist (Michael Douglas) and his impatient daughter (Evangeline Lilly). Directed by Peyton Reed and enlivened by a supporting cast that includes Michael Peña, Judy Greer and the rapper T.I., this is a lighthearted, small-stakes superhero movie. (A. O. Scott)

‘Avengers: Age of Ultron’ (PG-13, 2:21) For Marvel agnostics, the single most interesting thing about this sequel is that you can sense that the director, Joss Whedon, having helped build a universal earnings machine with the first “Avengers,” has struggled mightily to invest this one with some life. He has and he hasn’t. (Dargis)

★ ‘A Borrowed Identity’ (No rating, 1:44, in Hebrew and Arabic) There is sublime literary pacing in Eran Riklis’s well-observed adaptation of autobiographical novels by the author and journalist Sayed Kashua (who wrote the script). When a gifted Arab-Israeli tries to assimilate into a Jerusalem boarding school, he finds resentment and frustration at every turn. His ultimate solution to his troubles is seemingly unlikely and yet somehow inevitable. (Andy Webster)

‘Cartel Land’ (R, 1:38) In this immersive documentary, the director Matthew Heineman takes you inside two vigilante groups — one in the United States, one in Mexico — that are taking on the drug cartels. The movie pulls you in with its urgency and ghastly violence, but is frustratingly underbaked intellectually. (Dargis)

★ ‘Court’ (No rating, 1:56, in Marathi, Hindi, English and Gujarati) The wheels of justice grind slowly and mercilessly in Chaitanya Tamhane’s quiet, devastating critique of the antiquated Indian legal system. As it follows the case of Narayan Kamble (Vira Sathidar), a 65-year-old folk singer and social activist accused of inciting the supposed suicide of a sewage worker in Mumbai, the film conjures an absurdist nightmare of bureaucratic incompetence, indifference and social inequity. (Holden)

‘Do I Sound Gay?’ (No rating, 1:17) David Thorpe’s engaging but shallow personal documentary about gay stereotyping and body language tiptoes into treacherous waters where it stirs up a few ripples before gracefully backing out. (Holden)

‘Dope’ (R, 1:45) A caper movie and a coming-of-age story, Rick Famuyiwa’s exuberant, messy feature pays playful, critical tribute to the ghetto melodramas of the 1990s. Its hero, Malcolm (Shameik Moore), is a nerd navigating a world of drug dealers and racial stereotypes, which the movie both mocks and perpetuates. (Scott)

‘Entourage’ (R, 1:44) Naw, bro. (Scott)

★ ‘Ex Machina’ (R, 1:50) Alex Garland’s slyly spooky futuristic shocker about old and new desires turns on the relationships that bind together a robot called Ava (a terrific Alicia Vikander); the software zillionaire who created her (Oscar Isaac, wonderful); and a visitor (Domhnall Gleeson) who’s seriously out of his depth. (Dargis)

‘Far From the Madding Crowd’ (PG-13, 2:00) In this brisk adaptation of Thomas Hardy’s novel, Carey Mulligan plays Bathsheba Everdene, whose efforts to manage the farm she has inherited are interrupted by the attention of three very different suitors: her stodgy neighbor (Michael Sheen), a dissolute soldier (Tom Sturridge) and a salt-of-the-earth shepherd (Matthias Schoenaerts). (Scott)

‘The Gallows’ (R, 1:20) A high school student dies during a school play, and 20 years later the drama department stages the same play. That’s a pretty good premise for a horror movie, but the found-footage conceit in this one wears out its welcome; the jittery camera work is more annoying than scary. (Neil Genzlinger)

‘Infinitely Polar Bear’ (R, 1:30) In her sweet, somewhat nutty feature debut, the writer-director Maya Forbes looks back on her 1970s childhood and her father (played by the infinitely warm Mark Ruffalo), a down-and-out charmer with manic depression. Zoe Saldana co-stars as the infinitely patient wife and mom. (Dargis)

★ ‘Inside Out’ (PG, 1:42) Voiced by a cast of blue-chip comic performers (principally Amy Poehler, Bill Hader, Phyllis Smith, Lewis Black and Mindy Kaling), this Pixar gem works on one level as a workplace sitcom set in the mind of an 11-year-old girl. It’s funny and visually inventive. But it also has a profound and powerful emotional resonance, as Pete Docter, the writer and director, conducts a tour of the mental life of a child on the verge of momentous changes. (Scott)

‘Irrational Man’ (R, 1:34) A miscast if watchable Joaquin Phoenix plays a philosophy professor who journeys to the dark side in Woody Allen’s existential dirge. Emma Stone plays the foolish student who falls for the moody professor. Mr. Allen darts around the Big Issues without ever advancing an interesting argument. (Dargis)

‘Jimmy’s Hall’ (PG-13, 1:49) “Jimmy’s Hall” could be seen as a much less ambitious addendum to its director Ken Loach’s bleak, sweeping drama “The Wind That Shakes the Barley,” which was set during the Irish War of Independence and won Mr. Loach the Palme d’Or at the 2006 Cannes Film Festival. Issues that boiled through that film are largely sidestepped in “Jimmy’s Hall,” which expresses an unswerving belief in old-fashioned, populist heroes. (Holden)

‘Jurassic World’ (PG-13, 2:04) There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this, which features Chris Pratt, Bryce Dallas Howard and digital dinos. (Dargis)

★ ‘The Look of Silence’ (PG-13, 1:43, in Indonesian and Javanese) In this companion to “The Act of Killing,” Joshua Oppenheimer and a mostly anonymous Indonesian crew follow Adi Rukun, an eye doctor whose older brother was killed during anti-Communist massacres in the mid-1960s, as he confronts his brother’s killers. This unflinching examination of the long aftermath of political violence is all the more devastating for its calm, thoughtful tone. (Scott)

★ ‘Love & Mercy’ (PG-13, 2:00) The life and music of Brian Wilson, the sonically gifted, emotionally troubled genius of the Beach Boys, is the subject of this unusually sensitive and astute biopic, directed by Bill Pohlad. Paul Dano and John Cusack give a remarkable composite performance as Wilson at two pivotal moments: in the mid-’60s, when he recorded “Pet Sounds,” one of the great pop albums of the era; and 20 years later, when Melinda Ledbetter (Elizabeth Banks), who would become his second wife, helped free him from the influence of his psychologist, Eugene Landy (Paul Giamatti). (Scott)

★ ‘Mad Max: Fury Road’ (R, 2:00) George Miller, the Australian action maestro who directed the three earlier “Mad Max” movies before moving on to the “Happy Feet” franchise, returns to roaring, squalling, high-octane form in this episode, which is both a relentless car-chase movie and a stirring feminist fable. Tom Hardy is excellent as the road-weary, haunted Max, but the movie belongs to Charlize Theron as Imperator Furiosa, a one-armed truck-driver turned liberator and avenger of oppressed women. (Scott)

★ ‘Magic Mike XXL’ (R, 1:55) Channing Tatum returns as Mike Lane, who temporarily steps away from his fledgling furniture business to join his stripper — sorry, “male entertainer” — buddies on a mostly shirtless road trip from Tampa to Myrtle Beach. This sequel has less plot than the first “Magic Mike,” and a lot more skin, sex and movement. It advances a sophisticated theory of pleasure, and it’s also a blast. (Scott)

‘Max’ (PG, 1:50) The story of a military dog helping a boy get the better of some small-town Texas bad guys. Hokey and sometimes jarringly violent, but hard to resist. (Scott)

‘Me and Earl and the Dying Girl’ (PG-13, 1:45) This story of two movie-mad Pittsburgh teenage boys who befriend a classmate with cancer could have been an earnest wallow in maudlin self-pity, and it almost is that. But the director, Alfonso Gomez-Rejon, and the screenwriter, Jesse Andrews (adapting his own young-adult novel), keep the movie loose and humorous, and the three main actors (Thomas Mann, RJ Cyler and Olivia Cooke) are pleasant, sympathetic company. (Scott)

‘Minions’ (PG, 1:28) The little yellow critters from the “Despicable Me” franchise now have a movie to call their own. The jokes are plentiful and often ticklish, visual as well as verbal, though the comedy winds down once a story and other characters (voiced by the likes of Sandra Bullock) begin to intrude. (Dargis)

‘Mr. Holmes’ (PG, 1:44) Ian McKellen, with marvelous gravity and mischievous wit, plays the great detective in retirement, tending bees and looking back, with some regret, on one of his last cases. With Laura Linney as his housekeeper and Milo Parker as her young son. Bill Condon directed this charming, minor exercise in revisionist Sherlockiana. (Scott)

‘Northern Limit Line’ (No rating, 2:10, in Korean) Stirring corn and cliché into a paean to patriotism, Kim Hak-soon turns a real-life sea battle between North and South Korea into a 130-minute slog through inert staging and ineptly executed conflict. (Jeannette Catsoulis)

‘The Overnight’ (R, 1:20) Bland meets bold in Patrick Brice’s comedy, which dips its toe in the new sexual revolution and comes across as a skittish redo of Paul Mazursky’s 1969 sex comedy, “Bob & Carol & Ted & Alice.” Adam Scott & Taylor Schilling & Jason Schwartzman & Judith Godrèche star. (Dargis)

‘Pitch Perfect 2’ (PG-13, 1:50) Not perfect, but good fun all the same. The Barden Bellas return for more a cappella high jinks. Fat Amy (Rebel Wilson) is in fine form, Beca (Anna Kendrick) is in good voice and there are a few new additions, notably Hailee Steinfeld. The too-busy plot is kind of beside the point, and not all of the jokes work, but it’s almost impossible to see this movie without being at least a little bit tickled and uplifted. (Scott)

‘San Andreas’ (PG-13, 1:54) California tumbles into the sea. Dwayne Johnson saves his family. (Scott)

‘Self/Less’ (PG-13, 1:56) Ben Kingsley is a rich guy who pays a lot of money to occupy the body of Ryan Reynolds. That sentence makes more sense than anything else in this utterly preposterous, not entirely unenjoyable existential bio-thriller, directed by Tarsem Singh. (Scott)

‘Spy’ (R, 1:59) Melissa McCarthy plays Susan Cooper, a C.I.A. desk-jockey turned international super-espionage dynamo in this loose, buoyant, profane comedy, written and directed by Paul Feig. The supporting players include Jason Statham, Jude Law, Rose Byrne and Miranda Hart. They are all very funny, but Ms. McCarthy is her own best sidekick.She’s a one-woman improv troupe. (Scott)

★ ‘The Stanford Prison Experiment’ (R, 2:02) The lessons of the study may seem obvious now, but this portrayal of a 1971 experiment in which a Stanford University researcher turned student volunteers into either prison guards or inmates is riveting. The guards went bonkers with power, things spiraled out of control, and an ensemble cast renders it with frightening immediacy. (Genzlinger)

★ ‘Tangerine’ (R, 1:27) Sean Baker’s fast, raucously funny and beautifully shot comedy about love and other misadventures tracks two friends, Sin-Dee Rella (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor), transgender babes with motormouths and killer gams, across a stretch of Hollywood. Here, love wins out over the smog, johns, grit and drama that’s by turns hilarious and deeply felt. (Dargis)

‘Ted 2’ (R, 1:59) In this comedy dead zone, the director Seth MacFarlane again gives voice to the title character, a foul-mouthed stuffed toy bear, while Mark Wahlberg plays the bear’s dimwitted second banana. Seriously, you can do better. (Dargis)

‘Terminator Genisys’ (PG-13, 2:05) Yes, he is back, because while the series thrill is lamentably long gone, franchises now apparently last forever. Arnold Schwarzenegger stars alongside Emilia Clarke and Jason Clarke. (Dargis)

★ ‘Testament of Youth’ (PG-13, 2:09) James Kent’s stately screen adaptation of the British author Vera Brittain’s 1933 World War I memoir evokes the march of history with a balance and restraint exhibited by few movies with such grand ambitions. Alicia Vikander, who plays Brittain, gives her character a bracing edge of intelligence and a proto-feminist attitude. (Holden)

★ ‘Trainwreck’ (R, 2:04) Here, the comic Amy Schumer plays a more vanilla version of one of her comically flawed women, who aren’t as remotely together as they think. The movie was directed by Judd Apatow from Ms. Schumer’s script, and is often extremely funny, even if it never approaches the radicalness of her best work. (Dargis)

★ ‘What Happened, Miss Simone?’ (No rating, 1:41) Liz Garbus directed this electric, bracingly urgent documentary portrait, which traces the singer Nina Simone’s life from her early childhood as a piano prodigy named Eunice Waymon to her troubled years — mentally, physically, spiritually — and finally her later return to glory. (Dargis)

★ ‘The Wolfpack’ (R, 1:24) A New York story beautifully told, Crystal Moselle’s astonishing documentary tells the tale of the six Angulo brothers, who metaphorically escaped from their Lower East Side apartment through their fervent love for movies. It’s an unfamiliar tale, one partly distinguished by its persuasive intimacy. (Dargis)

‘Woman in Gold’ (PG-13, 1:47) The movie rests heavily on the squared shoulders of Helen Mirren whose real-life character, Maria Altmann, is a proud, elderly Austrian Jewish woman struggling for the possession of a priceless Gustav Klimt painting stolen by the Nazis. Her performance salvages a film that without her, would be a laborious slog down a well-trodden path. (Holden)

Film Series

‘Jean-Claude Carrière: Writing the Impossible’ (Tuesday) Any career that involves writing for Jacques Tati, Nicole Kidman and the romantic pairing of Charlotte Rampling and a chimpanzee would benefit from a taste for the surreal. Luckily, Jean-Claude Carrière has a gourmand’s appetite for the odd, and with more than 50 years’ worth of credits, there’s plenty for the French Institute Alliance Française to choose from. (If only there were room for the five-hour adaptation of “The Mahabharata” he did with Peter Brook.) This nine-week series concludes this week with “Birth” (2004), directed by Jonathan Glazer. At 4 and 7:30 p.m., Gould Hall, 55 East 59th Street, Manhattan, 800-982-2787, fiaf.org. (Eric Grode)

The Essential John Ford (through Aug. 2) Even this 20-film retrospective is just a drop in the bucket for Ford, who directed 15 films in 1919 alone. But it’s a wide enough representation to include such legendary Westerns as “My Darling Clementine,” “The Searchers,” “The Man Who Shot Liberty Valance” and “Stagecoach” — all from a man who was born and raised in Maine. Ford’s World War II drama “They Were Expendable” didn’t make the cut, but “The Wings of Eagles,” his biopic of the Navy commander who wrote the screenplay to that film, will be shown onSaturday. Perhaps the rarest offering, a 1927 backstage comedy called “Upstream,” was considered lost until the New Zealand Film Archive unearthed a print in 2009; it will be presented on Sunday with live piano accompaniment and vocals. Museum of the Moving Image, 35th Avenue at 37th Street, Astoria, Queens, 718-784-0077, movingimage.us. (Grode)

Glorious Technicolor: From George Eastman House and Beyond (through Aug. 5) Technicolor really hit its stride in the 1930s, when its sinfully lush hues made it Hollywood’s go-to color process. Although the company itself didn’t turn out a film (the lost romance “The Gulf Between”) until 1917, it was founded two years earlier, which has prompted this centennial tribute. This week’s offerings include “20,000 Leagues under the Sea,” with Kirk Douglas and James Mason (Monday at 7 p.m.) Museum of Modern Art Roy and Niuta Titus Theaters, 11 West 53rd Street, 212-708-9400, moma.org. (Grode)

Indie 80s (through Aug. 27) The 1970s and 1990s have established reputations as incubators for indie filmmakers, but this BAMcinématek retrospective makes a strong case for the decade in the middle. Among the nearly 70 films are headline makers (“Blue Velvet,” “Roger & Me,” “Sex, Lies and Videotape”), unsung efforts by the likes of Jon Jost (“Bell Diamond”) and Rob Nilsson (“Heat and Sunlight”), and everything in between. The 1980s explosion of African-American talent also gets some serious attention, from genre-tweaking laughs (“Hollywood Shuffle”) to groundbreaking interiority (the recently rediscovered “Losing Ground”). Of particular note is a director’s cut of Charles Burnett’s “My Brother’s Wedding,” which was originally released in one theater before he had finished editing it. BAM Rose Cinemas, 30 Lafayette Avenue, at Ashland Place, Fort Greene, Brooklyn, 718-636-4100, bam.org. (Grode)

Mexico at Midnight (through Wednesday) Even the most jaded film-noir buff should find plenty to delight and surprise in this eye-opening series dedicated to Mexico’s robust noir industry in the 1940s and 1950s. The genre’s shadowy tropes may not come as much of a shock, and some of the faces may be familiar, notably Dolores Del Rio, who returned to Mexico after being called box-office poison in Hollywood. But the Hays Code, which bedeviled filmmakers in the States, was nowhere to be found south of the border, and titles like “Night Falls” (July 24 and 26), which adds delightfully earthy insult to injury in its finale, demonstrate just how much Hollywood couldn’t show at the time. Museum of Modern Art Roy and Niuta Titus Theaters, 11 West 53rd Street, 212-708-9400, moma.org. (Grode)

Movie Masks: The Roles of Masks in Cinema (through Aug. 28) Leatherface, Jason Voorhees, Michael Myers, the revolving door of “Scream” killers: Modern-day horror film murderers sure like to do their slaughtering incognito. Part of the Cabaret Cinema program, this weekly film series at the Rubin Museum of Art, which runs in conjunction with its “Becoming Another: The Power of Masks” exhibition, mostly steers clear of that genre. 150 West 17th Street, Chelsea, 212-620-5000, rubinmuseum.org. (Grode)

One-Film Wonders (Friday through Sept. 3) Anthology Film Archives is managing to fit 17 complete career retrospectives into just 18 days. How? By programming the complete oeuvres of one-and-done directors who never got a second shot. Some of these films, most notably Charles Laughton’s gorgeous and deeply disturbing “The Night of the Hunter” (Aug. 13, 16 and 18), will make you wonder why on earth these men and women never got behind a camera again; others might make you wonder how they ever got there in the first place. (Screenings continue Aug. 13 through 19 and Sept. 1 through 3.) 32 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Grode)

Outdoor Cinema (Wednesday) It’s fitting that Queens, which has been called the world’s most ethnically diverse place, should play host to the city’s most international outdoor movie series, through Aug. 19. This week features the film “Kings of the Wind and Electric Queens,” about an Indian festival held at the confluence of the Ganges and Gandak rivers. Upcoming dates include films from Saudi Arabia (“Wadjda”) and the Czech Republic (“Alice,” Jan Svankmajer’s decidedly family-unfriendly riff on Lewis Carroll). Each week begins at 7 p.m. with a pre-screening performance. 32-01 Vernon Boulevard, at Broadway, Long Island City, 718-956-1819, socratessculpturepark.org. (Grode)

Rural Route Film Festival (Friday through Sunday) Or you might say, “Around the World in 19 Films.” This dependably wanderlusty festival, now in its second decade, makes a point of canvassing the globe, and this year’s roster once again touches down on all seven continents. This time the focus is mainly on female filmmakers, including Olivia Owens Wyatt (“Sailing a Sinking Sea,” a beguiling look at the mythologies of a nomadic Asian ethnic minority that spends two-thirds of the year in wooden boats, Friday at 7 p.m.) and the duo of Laura Citarella and Verónica Llinás, who filmed the acclaimed Argentine drama “Dog Lady” (Sunday at 5 p.m.) with an all-female crew. The focus on women extends to the musical offerings, which include pre-screening concerts by all-female accordion troupes and mariachi bands. Museum of the Moving Image, 35th Avenue at 37th Street, Astoria, Queens, 718-784-0077, movingimage.us. (Grode)

Sound + Vision (Wednesday through Aug. 7) The 1986 Britpop curiosity “Absolute Beginners” may be a bunch of great music videos that somehow found itself into a movie, but as the trailer promised, it was from “pop’s favorite director, Julien Temple.” The feeling was mutual, judging from several selections in this wide-ranging festival, including Mr. Temple’s documentaries about the Clash, Madness, the Sex Pistols and various members of the Kinks’ feuding Davies family. Among the other genres featured in this series from the Film Society of Lincoln Center are Jamaican ska, outlaw country, Latin boogaloo and, in the opening night film, “Danny Says,” the early days of CBGB-era punk music. And the defiant Malian musicians depicted in “They Will Have to Kill Us First: Malian Music in Exile” will be familiar to anyone who saw the recent film “Timbuktu.” Walter Reade Theater and Elinor Bunin Munroe Film Center, Lincoln Center, West 65th Street, between Broadway and Amsterdam Avenue, 212-875-5601, filmlinc.com. (Grode)

Andrei Tarkovsky, Sculpting in Time (Fridays, through Aug. 28) What would Andrei Tarkovsky have thought about “Terminator Genisys”? The question isn’t quite as ludicrous as it sounds: Tarkovsky, whose lapidary, visually sumptuous style earned raves from the likes of Ingmar Bergman, was a fan of the original “Terminator” despite what he called its “low acting skills.” The subtitle of this essential series at the Museum of Arts and Design refers to both Tarkovsky’s 1986 book on film theory, which was published just before his death, and his often-expressed desire to warp the passage of time through his films. All seven of his full-length works — and “full length” is a good way to describe his 205-minute masterpiece “Andrei Rublev,” which had been chopped up for years — will be screened, along with the recent documentary “Directed by Andrei Tarkovsky.” 2 Columbus Circle, Manhattan, 212-299-7777, madmuseum.org. (Grode)

This Is Celluloid: 35MM Encore (Friday through Thursday) Anthology Film Archives’ periodic foray into 35-millimeter prints returns with a typically eclectic quintet of titles. Stanley Kubrick’s ice-cold picaresque “Barry Lyndon” (screening Saturday and Sunday) is easily the best-known of this week’s five entries — and probably the one best served by a pristine film print. But if you like your historical tales with a bit more pizazz, there’s Jack Palance as Attila the Hun in Douglas Sirk’s “Sign of the Pagan” (Friday and Monday). And if that’s not raucous enough for you, Bebe Daniels plays a hypochondriac overseeing a sanitarium overrun by rum runners in the 1928 Gregory La Cava silent caper “Feel My Pulse” (Wednesday and Thursday), which features intertitles like “WHOOP-EE!” 32 Second Avenue, at Second Street, East Village, 212-505-5181, anthologyfilmarchives.org. (Grode)

True Crime (through Aug. 5) The 50 stories you are about to see are true — more or less. This week’s lineup includes back-to-back offerings starring Robert De Niro, first as Al Capone in “The Untouchables” (1987) on Wednesday, followed by Martin Scorsese’s “Casino” (1995) on Thursday. The final date will feature Alfred Hitchcock’s technically dazzling “Rope,” one of three films in the series that is based (again, to varying degrees) on the Leopold and Loeb “thrill killing” of 1924. Film Forum, 209 West Houston Street, west of Avenue of the Americas, South Village, 212-727-8110, filmforum.org. (Grode)



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