Once again, Denver International Airport is betting that a mix of travelers and curious film lovers will show up to watch a free movie on its new open-air plaza — attracted in part by the airport’s rich trove of conspiracy theories.
By Pat Padua, Special To The Washington Post
Comedian Kevin Hart has a restless mind that wanders freely from the mundane to the absurd. A story about a pesky raccoon in his back yard, for instance, leads to Hart’s fear of his loved ones being attacked by animals and becoming so disfigured that it’s best to abandon them.
MINTURN – Josh Frank leans into the car window.
“You guys first-timers? Alright, welcome to the Blue Starlite,” he says, sliding a credit card through the card reader on his phone as a carload of giddy parents and kids preps for their blast into the past.
Two stars. Rated PG-13 94 minutes.
If there is a single shot in “Masterminds” that represents the intellectually and aesthetically untaxing comic spirit of this blithely lowbrow farce, it is the one that follows an ill-advised visit to a Mexican taco truck by the film’s cartoonish antihero, an inept thief on the lam played by Zach Galifianakis.
“The Birth of a Nation” arrives in theaters with more than its share of history in tow. As a dramatization of the 1831 slave uprising led by Nat Turner in Southampton County, Va., the film joins a line of artistic endeavors to keep alive a story that has long been threatened with being forgotten.
Three stars. Unrated. 92 minutes.
Three stars. Rated PG-13. 122 minutes.
Style, for Tim Burton, isn’t a substitute for good storytelling, but an essential means of delivering it. And so with “Miss Peregrine’s Home for Peculiar Children” — an engagingly oddball adaptation of Ransom Riggs’s 2011 bestseller about youngsters with X-Men-like powers who come under attack by malevolent entities — the opportunities for the “Alice in Wonderland” filmmaker to flex his particular brand of moviemaking muscle are manifold.
The explosion of the enormous floating rig Deepwater Horizon and the ensuing oil spill into the Gulf of Mexico is well known as the worst environmental disaster in U.S. history.
It’s hard to imagine public art being anymore public than “Supernova,” the festival of digital animation hitting Denver this weekend. The event uses the massive, LED screens attached to large buildings downtown as its main forum.
In a coup for the Denver Film Society, the director and co-star of the heavily buzzed-about film “La La Land” will attend the opening night of the Denver Film Festival, organizers announced Tuesday.
By Alan Zilberman, Special To The Washington Post
“Desierto” is a stark, economical thriller. Its conflict is elemental and the characters are defined with bold strokes.
Director Jonás Cuarón, the son of acclaimed filmmaker Alfonso Cuarón, draws from the primal motives of “Gravity.” (He wrote that screenplay with his father.) Instead of science fiction, however, this earthbound tale has a poignant political message — and not a subtle one.
The Rev. Ron Wooding has a fail-safe way to identify who really is from Denver when he meets them.
“If someone says they’re from Denver and they don’t know Daddy Bruce, they’re not really from Denver,” he said.
Denise Soler Cox and Henry Ansbacher’s years-in-the-making documentary “Being ñ” looks at the 16 million first-generation American Latinos with at least one parent from a Spanish-speaking country, whose cultural experience of living in two worlds simultaneously comes to life in a variety of ways.
As courtroom dramas go, “Denial” is tasteful, to a fault. In playwright David Hare’s screenplay, based on actual events, you won’t hear anyone shouting something like “You can’t handle the truth!” from the stand.
By Sarah Matott, Cañon City Daily Record
It was still early in the day Wednesday, but movie crews for the Netflix film, “Our Souls at Night,” already were hard at work shooting a scene inside of Brady’s Garden and Spa Center.
Armed with platitudes galore, Disney’s “Queen of Katwe” borrows a worn-out template to tell a remarkable true story. The year is 2007 and 10-year-old Phiona Mutesi (Madina Nalwanga) supports her family by selling maize on the streets of her Uganda slum.
In “The Dressmaker,” Kate Winslet plays Myrtle “Tilly” Dunnage, a seamstress who returns to her tiny Australian hometown, nursing a lifelong grudge against her former neighbors and hoisting a Singer sewing machine like a six-shooter.
“The Magnificent Seven”
2 stars, Rated PG-13, 133 minutes
There’s a spark of brightness in “The Magnificent Seven,” director Antoine Fuqua’s update of the 1960 Western classic, that’s missing in Fuqua films like “The Equalizer” or “Southpaw,” an appealing moral certitude that feels comforting against the deep ambiguity of most real-world problems.
By Jef Feeley and Anthony Palazzo, Bloomberg News
Comedian Harry Shearer has a message for the company that owns the rights to “This is Spinal Tap:” “Gimme some money. Gimme some money.”
Shearer, a U.S.
It’s such a rarity for Hollywood to create an original adult drama — a movie that isn’t based on a bestselling novel or biography, or a ripped-from-the-headlines news event — that “The Accountant” deserves points for that alone.
The 13th annual Indigenous Film & Arts Festival, which focuses on the stories of native peoples and spans venues citywide, kicked off Oct. 5 and continues through Oct. 10 with roughly a screening per day.
Rated R. 105 minutes. Two stars out of four.
Tate Taylor’s “The Girl on the Train” may be technically set in the Westchester suburb of Ardsley-on-Hudson, but its cocktail of commuter trains, marital infidelity and alcoholism make its proper setting Cheever Country.
The Flatirons Food Film Festival celebrates culinary cinematic features from three-minute shorts to full-length documentaries. In conjunction with the films, industry experts serve as guest speakers who introduce and sometimes interview the subjects to give audience members a behind-the-scenes look at what they are about to see.
By Michael Cavna The Washington Post
Even a king has his corporate overlords.
And so with Disney’s confirmation Wednesday that the studio will remake its 1994 classic “The Lion King,” the idea that you don’t mess with perfection has just been felled in a corporate gorge, if not a financial gorging.
“Storks,” like the most famous folkloric image of the titular bird — airborne and carrying a hammocked baby in its beak — is a thing at once cute, ungainly and seemingly lighter than air.