Starts Friday


See review on page 12D. (Rated R for language throughout, some war violence, sexual content, and brief drug use) (AP)

BLEED FOR THIS: Not reviewed

Miles Teller stars in a biofilm about boxer Vinny Pazienza, whose career nearly was ended in a serious car crash. Aaron Eckhart, Ciaran Hinds and Katey Sagal co-star. (Rated R for language, sexuality / nudity and some accident images)


See review on page 12D. (Rated R for sexual content, language and some drinking, all involving teens) (AP)


See review on page 9D. (Rated PG-13 for some fantasy action violence) (AP)

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Ben Affleck plays a paper-pushing CPA — roughly the exact opposite of Schwarzenegger or Stallone — who gets his shot at action hero stardom. If we pull out our calculators, we can deduce that the odds of this are slim. But “The Accountant” has much grander goals of implausibility. It’s about a secretive, autistic accountant for prominent criminals who’s a muscular, military-grade hit man by hobby, plagued by his father’s relentlessly militaristic parenting, who becomes embroiled in a robotic prostheses company’s bid to go public. If nothing else, it’s singular in lending an action-movie cliche an absurdly peculiar and elaborate backstory. (Rated R for strong violence and language throughout) (AG)


This is a sluggish, naturalistic meditation on loss and time that also happens to have lumbering spidery, squid-like aliens who arrive in a spacecraft that resemble massive watermelon seeds. It tries to straddle the line between serious sci-fi that examines Big Ideas and the kind of popcorn-munching, go-get-those-slimy-critters summer blockbusters. It doesn’t always succeed and ends on such a muddled philosophical note that you may need a whiteboard for a quick explanation to be mapped out. Amy Adams, as a linguist enlisted to help communicate with the aliens, delivers a heart-wrenchingly beautiful performance using her ability to communicate a half-dozen emotions just standing still. Wonder, sorrow and anguish are written all over her face. (Rated PG-13 for brief strong language) (AP)


We all know how the story ends. When the BP oil rig exploded in the Gulf of Mexico in 2010, 11 people died and millions of gallons of oil spewed into the waters and up against the Gulf shores in the worst environmental disaster in U.S. history.  The how-did-it-happen is another thing, and the point of director Peter Berg’s intensely thrilling indictment of the greed and gross negligence that contributed to the horrific outcome. It rises above expectations of what a movie like this is capable of at every turn achieves that impossible balance of being a tribute to the workers who both perished and survived that day and a searing critique of the rotten system that put them there in the first place. (Rated PG-13 for prolonged intense disaster sequences and related disturbing images and brief strong language) (AP)


No affinity for superheroes or familiarity with Marvel mythology is required to enjoy the visual spectacle here. Being open to mysticism and the possibility of parallel dimensions might help, though. Benedict Cumberbatch plays the title character in this origin story, where plot is secondary to dazzling special effects that invert gravity, reverse time and twist buildings like blocks in a Rubik’s Cube. It’s worth it to watch the film in 3-D, and on an IMAX screen if possible (as this critic did), for an immersive, almost psychedelic experience. (Rated PG-13 for sci-fi violence and action throughout and an intense crash sequence) (AG)


Written by director Fede Alvarez and Rodo Sayagues, “Don’t Breathe” pits a team of inept burglars against a homeowner who fights back. In that sense, it’s kind of like a twisted “Home Alone” for millennials. It is almost a throwback to older horror films. It’s meticulously planned and thrillingly satisfying with a camera always a step ahead — if you see an array of sharp tools near the beginning, bet on them being used at some point. The discordant soundtrack manages to capture dread beautifully. (Rated R for terror, violence, disturbing content and language including sexual references) (AP)


Its old-school title may suggest Alfred Hitchcock or maybe David Fincher, but Tate Taylor’s adaptation of Paula Hawkins’ best-selling novel is nowhere near the league of either. Instead, it’s closer to the kind of early ’90s psychological thriller where bad things happen in slow motion and deadly instruments are drawn from kitchen drawers. Emily Blunt  can’t quite pull off the famously difficult task of believably playing drunk, but it’s her steely presence that gives “The Girl on the Train” the veneer of a film better than it is. It comes across as a flat, predictable puzzle whose characters flip from one extreme to another. (Rated R for violence, sexual content, language and nudity) (AP)


Starring the goofily appealing Andrew Garfield as Desmond Doss (the first conscientious objector to be awarded the Congressional Medal of Honor), this may not be a perfect movie, but it strikes an unusual balance. It’s a violent film whose hero — and moral core — espouses non-violence. It’s a war film that will also appeal to a faith-based audience. It’s a film that at moments can feel relentlessly corny — and a second later, painfully, horribly real. Doss’ story is one you probably didn’t know and will be glad you did. Director Mel Gibson does well by it. (Rated R for intense prolonged realistically graphic sequences of war violence, including grisly bloody images) (AP)


The first two Robert Langdon movies (also starring Tom Hanks directed by Ron Howard) were cold, soggy soups of conspiracy that served up a very poor man’s Indiana Jones, minus the fun. This is a better, more simplified thriller than those films, trading less on the ancient mysteries of a shadowy organization than the familiar arch villainy of a megalomaniac — a billionaire (Ben Foster) who wants to fight overpopulation with a virus that will unleash a modern-day plague. The result is like a tweed-jacket version of Bond or Bourne. But if Langdon is distinguished from the other globe-trotting saviors by his Ph.D., why aren’t his movies smarter? (Rated PG-13 for sequences of action and violence, disturbing images, some language, thematic elements and brief sensuality) (AP)


It’s the story that makes this sequel inferior to the original. The first film established the title character as a brilliant, brutal loner dedicated to justice. What makes an archetypal character like this fun to watch is an unpredictable story, where the audience and protagonist together uncover the mystery. The 2012 film achieved this beautifully. Here the bad guys are one-dimensional caricatures and Reacher is driven by protecting a teenager whom he insists from the start isn’t his daughter. This leaves the film riding on its action sequences and the charm of its central characters, played by Tom Cruise and Cobie Smulders. And while they’re incredibly appealing, they can’t do more than the story allows. (Rated PG-13 for sequences of violence and action, some bloody images, language and thematic elements) (AP)


Since superhero movies are a lot more common than Westerns at the multiplex these days, maybe it shouldn’t be surprising that this movie feels less like a remake of a classic Western and more like an OK superhero movie. Director Antoine Fuqua creates a Western that is both revisionist and regressive. The rainbow coalition that makes up his “Magnificent Seven” (Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier) certainly has a modern feel; the storytelling sometimes is as formulaic as a 1950s Audie Murphy Western. (Rated PG-13 for extended and intense sequences of Western violence and for historical smoking, some language and suggestive material) (AG)


After a year filled with superheroes, it’s time now for a group of kids who float, are invisible, who spark fire, manipulate plants, control bees and give life to inanimate objects. NThey’re the unlikely young heroes and heroines of this Tim Burton-directed 3-D film that is loosely based on the novel of the same name by Ransom Riggs. Sweet, with some mind-blowing visual effects, it’s the perfect film for your young disaffected mutant friends. It has all the making of a super franchise — the call of destiny, the making of heroes and the embrace of kinship. (Rated PG-13 for intense sequences of fantasy violence and peril) (AP)


The movie is a sugary sweet confection of sights and sounds that will surely leave a fair share of adults with an aching stomach and bleeding ears from sensory overload. But, it’s not for them, is it? It’s for the kids, and fairly young ones too, who will no doubt be swept up by the neon, the sterilized cover songs of pop music past and present, and the goofy, big-hearted humor. Even the parents will find loads of charm from that last one. The script is quite clever, but it is too easily overshadowed by everything else that’s going on (which is a lot).(Rated PG for some mild rude humor) (AP)