Author: David Riedel

Fantastic journey

Ang Lee’s Life of Pi is a rich and wondrous 3D interpretation

This Life of Pi is something of a miracle. It’s a 3D-enhanced movie based on a much respected novel and set mostly on a life raft. Given that 3D is often more trouble than it’s worth, some great novels have become terrible films, and not even Alfred Hitchcock could make a life raft interesting, Life of Pi’s goodness and near-greatness is all the more impressive.

Perhaps we shouldn’t be surprised. Director Ang Lee more often than not makes movies that are great (Brokeback Mountain) or border on great (Crouching Tiger, Hidden Dragon). Even his misses are interesting—who else would dare to make Hulk, a movie based on the Marvel comic, into something resembling a Greek tragedy?

And now Lee tackles Life of Pi. The movie creates a clever framing device that successfully sidesteps one of the novel’s few problems, namely its clumsy humor concerning the translation from Japanese to English of a conversation between two insurance agents.

That’s where the dissimilarities between the novel and film largely end. This adaption works from beginning to end. The fantastic setting—in the truest sense of fantastic —helps, and Lee’s choice of bold and rich visuals is a risk that pays off. There’s only so much computer animation can do, and Lee recognizes the strengths and limitations of CGI. Richard Parker, the tiger with whom Pi spends most of the story adrift on a life raft, always looks real, whether he’s played by a living tiger or a computer.

Pi ends up on a raft with Richard Parker as his companion through some of the best and worst luck possible. Pi’s father, who runs a zoo in their home country of India, decides to sell the animals to other zoos in North America. While making the journey across the world to Canada, the freighter on which Pi and his family are traveling with the animals sinks in an unexplained accident. Pi ends up on a raft with a zebra with a broken leg, a hyena, an orangutan and Richard Parker, the Bengal tiger, after the freighter sinks.

How Pi survives without killing Richard Parker, himself, or dying of starvation is a fascinating allegory on faith and primal instincts. None of the allegory feels overwhelming or forced, and viewers will probably find themselves taken in by the story and forget they’re wearing bulky 3D glasses.

Suraj Sharma, in his first film role as Pi, faces the daunting task of carrying an entire movie. That he does it without sinking under the weight of the material—or looking lost playing opposite a computer-generated image—is another of the film’s small miracles. The great Irrfan Khan plays Pi as an adult.

Life of Pi is filled with humor and wonderment, but also has its share of heart-stopping drama. Despite its PG rating, Life of Pi isn’t really for kids. Richard Parker is fierce, and Pi’s loss of his entire family is hard to take. Nonetheless, it’s excellent end-of-year fare, and signals a return to form for Ang Lee after the underwhelming Taking Woodstock.

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Playing
this week

A Late Quartet
Regal Downtown Mall 6

Argo
Regal Stonefield 14
and IMAX

Atlas Shrugged: Part 2
Carmike Cinema 6

Brooklyn Castle
Regal Downtown Mall 6

Farewell My Queen
Regal Downtown Mall 6

Finding Nemo 3D
Carmike Cinema 6

Flight
Regal Stonefield 14
and IMAX

Fun Size
Carmike Cinema 6

Holy Motors
Regal Downtown Mall 6

Lincoln
Regal Stonefield 14
and IMAX

Looper
Carmike Cinema 6

The Other Son
Regal Downtown Mall 6

The Perks of Being
a Wallflower
Regal Downtown Mall 6

Pitch Perfect
Carmike Cinema 6

Red Dawn
Regal Stonefield 14
and IMAX

Rise of the Guardians
Regal Stonefield 14
and IMAX

The Sessions
Vinegar Hill Theatre

Silent Hill: Revelation
Carmike Cinema 6

Skyfall
Regal Stonefield 14
and IMAX

Taken 2
Carmike Cinema 6

Twilight Saga: Breaking Dawn Part 2
Regal Stonefield 14
and IMAX

Wreck-It Ralph
Regal Stonefield 14
and IMAX

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown
Mall Cinema 6
979-7669

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

 

Buzz kill: The Sessions falls short of its Oscar-worthy hype

It’s that time of year again when transparent Oscar fodder makes its way to the local theater. Generally speaking, that means the ratio of able-bodied actors playing physically disabled real-life figures increases, and we get movies such as The Sessions.

This slight comedy-drama movie is getting accolades heaped on it because it has all the things Academy members—and audiences—love: 1) A beloved and gifted character actor (John Hawkes, playing a man who rises above his physical limitations) in a rare lead, and based on a real person; 2) A beloved and gifted character actor playing a wacky secondary role (William H. Macy as the worldly priest Father Brendan); 3) Helen Hunt.

Hawkes is Mark O’Brien, who spent most of his life in an iron lung after contracting polio as a child. For a few hours each week, O’Brien was able to leave the iron lung, and he spent those few hours getting a college degree, visiting with friends, and, in The Sessions, losing his virginity.

O’Brien published an article in 1990 called “On Seeing a Sex Surrogate,” and his research—the sessions, you might say—is the basis for The Sessions. When presented with an opportunity to write about the experience (at 38), he signs up.

And that, more or less, is the premise of The Sessions. Much of the movie deals with O’Brien’s conflicting feelings about sex and faith (he’s a devout Catholic but finds a sympathetic ear in Father Brendan), and his nervousness about being even more vulnerable than usual. Hawkes imbues O’Brien with warmth, intelligence and good humor. It can’t be easy to spend much of a movie completely motionless, and it must be even more difficult to be (mostly) nude for much of it.

Believe it or not, Macy has a bigger challenge with his character, but that’s because the priest is there mostly for laughs and, to some degree, he’s a surrogate for the audience. He’s not a buffoon or an idiot, but in their scenes together, much of the laughter depends on Father Brendan’s reactions to O’Brien’s frank queries on love, sex, and religion.

Then there’s Helen Hunt as Cheryl, the sex surrogate. She has perhaps the most difficult job: To be completely nude on screen much of the time while speaking with a corny Boston accent. Each time she says “Mahk” instead of “Mark,” it’s wince-worthy, as are some of the scenes in which she and Hawkes simulate having sex.

It’s not because the sex is awkward (though it is) or because Hunt is bad (though really, is she ever good?). No, it’s distracting to see her completely full-frontal nude while the camera gingerly avoids Hawkes’ penis. Where’s the parity here? Does a nude male still equal instant NC-17 at the MPAA? (Probably.) Whatever the reason, it’s distracting, but Hawkes is game and he makes O’Brien come to life. If The Sessions were as deep or charming as he is, it would really be something. Unfortunately, it just misses the “mahk.”

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

The Sessions /R, 96 minutes/Vinegar Hill Theatre

Playing this week (as of 11/16)

Argo
Regal Stonefield 14

and IMAX

Brooklyn Castle
Regal Downtown Mall 6

Chicken With Plums
Regal Downtown Mall 6

Cloud Atlas
Regal Stonefield 14

and IMAX

Farewell My Queen
Regal Downtown Mall 6

Flight
Regal Stonefield 14

and IMAX

Here Comes the Boom
Regal Stonefield 14

and IMAX

Hotel Transylvania
Carmike Cinema 6

The House I Live In
Regal Downtown Mall 6

Lincoln
Regal Stonefield 14
and IMAX

The Man with the

Iron Fists
Carmike Cinema 6

The Oranges
Regal Downtown Mall 6

The Paperboy
Regal Downtown Mall 6

The Perks of Being
a Wallflower
Carmike Cinema 6

Pitch Perfect
Carmike Cinema 6

Searching for Sugar Man
Regal Downtown Mall 6

The Sessions
Vinegar Hill Theatre

Silent Hill: Revelation
Carmike Cinema 6

Skyfall
Regal Stonefield 14

and IMAX

Taken 2
Regal Stonefield 14

and IMAX

Twilight Saga:

Breaking Dawn Part 2
Regal Stonefield 14

and IMAX

Wreck-It Ralph
Carmike Cinemas 6

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown
Mall Cinema 6
979-7669

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

Great escape: The James Bond franchise ages well in Skyfall

Let’s face it: A James Bond movie is good for what it is, and Bond is good at what he does. Namely, he kills a lot of people, saves countries (his own and a few others), beds women, drinks vodka martinis. He allows us to escape for a couple hours. No more, no less.

It doesn’t matter whether Sean Connery, Roger Moore, George Lazenby, Timothy Dalton, Pierce Brosnan or Daniel Craig plays Bond. The stories are all roughly the same —Bond must save the world (or, in Quantum of Solace, avenge Eva Green). Depending on your penchant for nostalgia, the older films are better than the newer films. Even the bombs (your subjective list goes here) deliver the goods—stunts, beddin’ and killin’—and are therefore good for what they are.

Changes to the formula have been made. Producers chipped away at Bond’s sexism, starting around 1987 with The Living Daylights (Dalton’s first appearance as Bond, though Bond being less sexist means he sleeps with one woman instead of three). He’s abandoned smoking. He’s become more adept at physical stunts; it’s hard to imagine Moore doing anything more strenuous than ordering room service.

The slight change since Craig took over has been to portray Bond as leaner, tougher, and blonder than Brosnan. And Craig, in his third go-round as 007, seems older, wiser and creakier, partly because he’s probably all those things himself, but also because the screenplay demands it.

Seriously, how many age references and jokes are there in this movie? Don’t the producers realize that this series depends on the agelessness of its hero?

Of course they do. They’re just being lazy (as I am by asking a question simply so I can answer it). One day, a younger actor will replace Craig. Then he’ll age, the screenwriters will craft lazy jokes about it and the producers will replace that actor.

Digressions aside, Skyfall has its merits. Craig, as ever, is well-suited to play Bond. He’s been hitting the weights, eating lean protein, and it shows in the many shots of him shirtless.

First-time Bond helmsman Sam Mendes brings some restraint to the action scenes, not in the action itself, which is totally absurd but gripping stuff, but by shooting longer takes and letting the stunts do the work. Veteran film editor Stuart Baird’s work is solid without being flashy, and Roger Deakins’ camera work is uniformly excellent.

Perhaps the best part of Skyfall is watching Javier Bardem sink his teeth into everything around him, and (apologies), man, does he chew the scenery. (And with false teeth! There are about 1 million references, some subtle, some thud-like, to the earlier films.) Bardem is a lot of fun.

Skyfall does have some humdrum spots. To paraphrase Bugs Bunny, the denouement —in which Bond and others face off with Bardem—runs slower than blackstrap molasses in January. But even the slow moments are part of Bond’s shtick, part of the thing that makes a Bond film good for what it is.

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Bonus play

Maybe it’s the 1980s and 1990s nostalgia for vintage video games. Maybe it’s John C. Reilly’s and Sarah Silverman’s terrific performances as Wreck-It Ralph and Vanellope von Schweetz. Maybe it’s because so many animated movies lately have been just O.K. (Frankenweenie) or downright mediocre (Brave). But something about Wreck-It Ralph made my cold critic’s heart grow three sizes.

Don’t get the wrong idea. Wreck-it Ralph isn’t a ground breaker along the lines of, say, Pixar’s Toy Story or Ratatouille. And it doesn’t have an anti-bullying message disguised as a mild horror-comedy as ParaNorman does. It is, however, good fun, and better yet, it has the sense to know it’s good fun and not a piece of serious art.

Pity poor Wreck-It Ralph. He’s the bad guy in a “Rampage”/“Donkey Kong” hybrid and he’s tired of being the bad guy. As the heavy in “Fix-It Felix, Jr.,” Ralph destroys a building and then tries to keep the titular hero from fixing it. It seems Ralph always loses, and at the end of each game, the building’s residents and Felix throw Ralph off the side of the building where he lands in a pile of mud.

That’s not the worst of it. Each night, after the arcade powers down, the good guys in the game throw a party in the building’s penthouse. They dance and play merrily while Ralph goes to sleep in a garbage dump at the game’s fringes. He really wants to be the good guy for a change.

To be a good guy he needs a medal, so he ransacks other games at the arcade in search of one. (There’s a sort of Grand Central Terminal in which characters from other games can hang out with each other.) This leads to run-ins with Jane Lynch as a hard-ass commando in a game that features an alien future nightmare; Silverman as a glitchy avatar who wants to win a racing game that, even though she’s a character in it, she’s constantly prevented from competing in; and Jack McBrayer as Fix-it Felix, Jr., Ralph’s in-game counterpart.

Somehow, the filmmakers have crammed enough laughs, pathos, drama and downright giddiness into Wreck-it Ralph to make one overlook just how plot-heavy it is. (The description above quite literally isn’t the half of it.) Once Wreck-It Ralph lays out the plot and ground rules, it hums along briskly with plenty of jokes, some aimed at kids, some aimed at the adults in the audience. There’s also a genuine surprise at the end that does two great things: 1) It fools a lot of people, and 2) It makes sense if you think about it afterward.

Bonus: On screen time for “Food Fight,” possibly the greatest upright game ever, and “Q*bert,” which somehow feels overlooked in the annals of gaming history. In fact, picking out the inspirations for all the in-movie games is half the fun. The stakes are never high, but we are talking about video games. Wreck-it Ralph is worth your stack of quarters. Plus, the opening short Paperman is really cute.

 

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Wreck-It Ralph

PG, 93 minutes/Carmike Cinema 6

 

Playing this week

Alex Cross
Carmike Cinema 6

Argo
Regal Downtown Mall 6

Chasing Mavericks
Regal Seminole Square 4

Cloud Atlas
Regal Seminole Square 4

Flight
Regal Seminole Square 4

Frankenweenie
Regal Downtown Mall 6

Fun Size
Carmike Cinema 6

Hotel Transylvania
Carmike Cinema 6

Looper
Regal Downtown Mall 6

Paranormal Activity 4
Regal Seminole Square 4

The Perks of Being
a Wallflower
Carmike Cinema 6

Pitch Perfect
Carmike Cinema 6

Samsara
Vinegar Hill Theatre

Seven Psychopaths
Regal Downtown Mall 6

Silent Hill: Revelation
Carmike Cinema 6

Sinister
Regal Downtown Mall 6

Skyfall
Regal Stonefield 14 and IMAX

Taken 2
Regal Downtown Mall 6

The Man With The Iron Fists
Carmike Cinema 6

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown
Mall Cinema 6
979-7669

Regal Seminole
Square Cinema 4
978-1607

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

There’s a moment near the end of Alex Cross when the titular hero (Tyler Perry), while chasing a hit-man known as Picasso (Matthew Fox) through an abandoned theater, steps on some old 35 millimeter film. It’s prophetic. The actors and, by extension, filmmakers are stepping on and destroying movies. Perhaps that observation is heavy-handed—even sanctimonious—but it’s hard not to make such pronouncements when watching a movie as loud, clumsy and inept as Alex Cross.

Earlier this year, some critics claimed The Bourne Legacy is the first movie devoid of story, but is simply one action set piece after another. At least it knows what it is. Alex Cross wants to be an action picture, family movie and buddy story all rolled into one. That it fails on every level is an achievement. Plot threads begin but don’t end; the villain has no purpose other than to be a movie villain; and how is torture so bloodless? To be PG-13. That’s how.

Here’s the story, not that it matters: Cross and his partner, Tommy Kane (Edward Burns), run afoul of Picasso, whom they figure hacked up a CFO and her bodyguards. Cross’ analysis of what happened at the crime scene is so accurate—he’s a Ph.D. in psychology in addition to being a detective—that it’s a little too easy. But the guy’s brilliant, so why quibble? Except perhaps we should quibble. Or the screenwriters should have. Because, after having a run-in with Picasso in which Cross, Tommy, and Tommy’s partner and girlfriend, Monica Ashe (Rachel Nichols), are all nearly blown to bits, Cross makes a crucial mistaken analysis. Picasso won’t hunt them down. He’s tracking someone else.

Clearly Cross as a Ph.D. candidate didn’t read any grade-B detective stories when he was writing his thesis. Neither did his academic advisers. The screenwriters did, though, and any avid filmgoer knows that Cross, his family and his pals better head for the hills, lest they be carved into smaller, deader versions of their previous selves.

That’s the biggest disappointment in Alex Cross. It’s so dumb and treats its audience with so little respect that it serves up something that’s not just reheated, but re-everythinged. Killer who makes it personal? Check. Family in peril? Check. Bad dialogue passing itself off as insightful? Check.

All these problems would be mitigated if Perry worked in the title role. He’s good in the family scenes, but he’s awkward stuffing a bag with ammunition or lumbering through an office carrying a shotgun. Spewing cop dialogue seems foreign to him, too, but because the dialogue is laughable, call it a draw.

There are a few small pleasures. Just seeing Cicely Tyson on screen is always welcome, as is John C. McGinley playing a person of authority (though he could do this part in his sleep). But Jean Reno, in a tiny role, is wasted. Of course, any actor that recognizable showing up in a bit part is there for plot reasons, but the reasons are stupid and contrived, just like everything else in Alex Cross.

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Alex Cross/PG-13, 102 minutes/Carmike Cinema 6

Playing this week

Alex Cross
Carmike Cinema 6

Argo
Regal Downtown Mall 6

Atlas Shrugged: Part 2
Regal Downtown Mall 6

Frankenweenie
Regal Seminole Square 4

Here Comes the Boom
Carmike Cinema 6

Hotel Transylvania
Carmike Cinema 6

Looper
Regal Downtown Mall 6

The Master
Regal Downtown Mall 6

Paranormal Activity 4
Regal Seminole Square 4

The Perks of Being a Wallflower
Carmike Cinema 6

Pitch Perfect
Carmike Cinema 6

Robot and Frank
Vinegar Hill Theatre

Seven Psychopaths
Regal Downtown Mall 6

Sinister
Regal Downtown Mall 6

Taken 2
Regal Seminole Square 4

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown
Mall Cinema 6
979-7669

Regal Seminole
Square Cinema 4
978-1607

Vinegar Hill Theatre
977-4911

The most noticeable thing about Argo —and this can’t entirely be the point —is that Ben Affleck, as a director, continues to grow into a confident helmsman. He trusts his actors (there’s not a weak supporting performance in the bunch), trusts the story, and doesn’t rush anything.

Therein lies Argo’s problem. This story, about six Americans who escape from the U.S. embassy in Tehran in November 1979 when it’s stormed by militants, should be tenser than it is. Rushing things to build tension probably isn’t the solution, but Argo unfolds so nonchalantly that whatever tension mounts, dissipates as it’s building. Seriously: Is Ben Affleck NOT going to save six Americans hiding out at the Canadian ambassador’s house?

Don’t get the wrong idea. Argo is good. It’s just not great. The story, which is based on a real event, goes like this: On November 4, 1979, militants in Tehran, angry that the United States was protecting the deposed Shah after he fled from power, entered the American embassy and took hostages. Four hundred forty-four days later, the hostages were released. Miraculously, six Americans who worked in the embassy, four men and two women, escaped on November 4. They were given refuge in the Canadian ambassador’s home and a plot was hatched to get them out.

Enter Affleck as the man with the plan. After he tells the State Department its ideas to get the hostages out—one of which involves having all six of them ride bikes to the Turkish border—are no good, he struggles to come up with his own. While watching one of the many Planet of the Apes movies on TV, he hits on something: We’re Canadians. We’re scouting a sci-fi epic and we want to film in Iran. I go in, meet them, we all walk out. Simple, right?

It’s a crackerjack idea. Unfortunately, Affleck doesn’t use any of the awesome paranoia that exists in 1970s thrillers, such as The Parallax View or even All The President’s Men, in his own movie. He gets the look right; this is what the ’70s looked like (try not to laugh). But he plays his stoic stock character, which brings to mind the “sad Keanu” meme from a few years ago, more than it does a veteran CIA agent trying to get six Americans out of a hostile country before they’re all killed. Luckily, he’s aided by a game cast, including Bryan Cranston as his boss, Kerry Bishé as one of the Americans (appearing, for once, outside an Ed Burns movie), and the under used Clea DuVall, also as one of the hidden. Plus, Alan Arkin and John Goodman provide comic relief as the men helping him make a fake movie look real.

One thing Affleck gets right: There will be a scene that moves the story forward, followed by a scene that heightens the drama. For example, one gunshot amid silence goes a long way in building tension. He lets those moments fade, though, and the ending is never in doubt, even though perhaps it should be.

Have your say. Drop a line to mail bag@c-ville.com, send a letter to 308 E. Main St., or post a comment.

Argo/R, 120 minutes/Regal Downtown Mall 6

Playing this week

Arbitrage
Vinegar Hill Theatre

Argo
Regal Downtown Mall 6

Atlas Shrugged: Part 2
Regal Downtown Mall 6

End of Watch
Regal Seminole Square 4

Frankenweenie
Regal Seminole Square 4

Here Comes The Boom
Carmike Cinema 6

Hotel Transylvania
Carmike Cinema 6

House at the End of
the Street
Regal Seminole Square 4

Looper
Regal Downtown Mall 6

The Master
Regal Downtown Mall 6

The Perks Of Being A Wallflower
Carmike Cinema 6

Pitch Perfect
Carmike Cinema 6

Seven Psychopaths
Regal Downtown Mall 6

Sinister
Regal Downtown Mall 6

Taken 2
Regal Seminole Square 4

Trouble With the Curve
Carmike Cinema 6

 

Just how bad is Taken 2? Bad enough to make a re-examination of Taken seem in order. Sure, Taken has its moments of near parody, including (but not limited to) Liam Neeson’s “very special set of skills” speech; the nameless bad guys who are so plentiful that they exist only to be killed; the clueless American daughter played by Maggie Grace; and the typically creepy Luc Besson-written fetishization of young women.

Somehow, though, Taken rises above its inherent nonsense and delivers solid thrills with near endless action. Taken 2 is a miracle. It falls on its face at every turn with nearly the same plot, action and special set of skills that works in the first film. Maybe that’s because Taken 2 exists for one reason: It’s the quintessential pure money sequel. No one expected Taken to be a hit. Neeson told Jimmy Fallon earlier in 2012 that he thought it would “go straight to video,” so naturally its gargantuan success lined some pockets and demanded a continuation.

So all those nameless—and by the time Neeson was done with them, nearly faceless—guys actually had names and families. Taken 2 opens at the funeral for, no joke, about a dozen of them, and Rade Serbedzija, father to one of the poor bastards, announces they’ll find Neeson’s Bryan Mills and his family, and they’ll torture and kill all of them. That’s right. The guys who were so expendable in Taken were actually not so expendable. To someone, anyway. And Serbedzija, the low-rent stand-in for this kind of part, does his best with the little he’s given to do, which is to growl and make threats.

And that’s basically the story, surprise-free and patently absurd. For example, there are no consequences to any of Neeson’s actions (except that shooting results in killing). Murder a Turkish cop? No problem. Drive through the American embassy in Istanbul? Don’t sweat it. A quick call to Sam (Leland Orser, Neeson’s friend and employer in Taken) will cover that.

This movie doesn’t even play by the rules it sets up. We’ve established that Serbedzija wants Neeson to pay for killing his son and a bunch of other guys. So when Neeson is cornered, he takes a nameless, gun-toting thug hostage and threatens to kill the guy. One of the other nameless gun-toting thugs then shoots and kills his compatriot in order to show Neeson they all mean business. So for the record, it’s O.K. that these guys end up dead if it’s done to prove a point. Fail. One surprise: Maggie Grace’s character is given a chance to not be a halfwit and succeeds. Besson and co-writer Robert Mark Kamen compensate by reducing Famke Janssen, a typically tough movie presence, to the damsel in distress. This woman played Jean Grey in X-Men. Now she’s yelping for her life.

There will be action fans out there who like Taken 2 for the action, and perhaps they’ll be satisfied. They’ll also be pleased that Serbedzija says he has two more sons, and Neeson says he’ll kill them, too.

Have your say. Drop a line to mailbag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Taken 2/PG-13, 92 minutes/Regal Seminole Square 4

Playing this week

Arbitrage
Vinegar Hill Theatre

Dredd
Carmike Cinema 6

End of Watch
Regal Downtown Mall 6

Finding Nemo 3D
Carmike Cinema 6

Frankenweenie
Regal Seminole Square 4

Hope Springs
Regal Seminole Square 4

Hotel Transylvania
Carmike Cinema 6

House at the End of the Street
Regal Downtown Mall 6

Looper
Regal Downtown Mall 6

The Master
Regal Downtown Mall 6

Pitch Perfect
Carmike Cinema 6

Resident Evil: Retribution
Regal Downtown Mall 6

Taken 2
Regal Seminole Square 4

Trouble With the Curve
Carmike Cinema 6

Won’t Back Down
Carmike Cinema 6

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown Mall Cinema 6
979-7669

Regal Seminole Square Cinema 4
978-1607

Vinegar Hill Theatre
977-4911