DREW'S REVIEW  

CAPTAIN AMERICA: THE WINTER SOLDIER (PG-13) Cap (Chris Evans) returns in his second solo outing, and it’s a slight improvement over the first, a definitively middle-of-the-pack Marvel movie. As an agent of SHIELD, Captain America, aka Steve Rogers, must adjust to his new reality and save the world, regularly. When seeds of distrust are sewn amongst members of SHIELD, Cap has to figure out if he can trust anyone, including Black Widow (Scarlett Johansson), Nick Fury (Samuel L. Jackson) or new pal Sam Wilson (Anthony Mackie). Cap’s transition to the modern world gets even more complicated once a new enemy, the Winter Soldier (Sebastian Stan), turns out to be an old acquaintance. Captain America: The Winter Soldier redefines the Marvel Universe more than any of the previous features. Its effects will be felt from Avengers: Age of Ultron to ABC’s “Agents of Shield.” Credit new directors Anthony and Joe Russo (“Community”) with a lighter, more action-oriented Cap, but this series will always lack the vivacious spark Robert Downey Jr. brings to Iron Man. Kicking off the summer season earlier than ever, a big, more-fun-than-not comic book movie is what we’ve been waiting all winter for, right?

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AMERICAN HUSTLE (R) This fictional account of the real life ABSCAM investigation that sent several members of federal, state and local government to prison was nominated for ten Academy Awards. Conman Irving Rosenfeld (Christian Bale) and his not exactly British girlfriend, Sydney Prosser (Amy Adams), are forced by an unstable FBI agent, Richie DiMaso (Bradley Cooper), into conning the mayor of Camden, New Jersey (Jeremy Renner). Russell has proven an uncanny ability to take a great cast and make them greater. American Hustle is a film made for ensemble cast awards; picking one standout is nearly impossible. Go see it. (Ciné)

BAD WORDS (R) Jason Bateman makes his feature directing debut in a role seemingly written for him by first-time screenwriter Andrew Dodge. Spelling bee loser Guy Trilby (Bateman) uses a loophole—he never made it past the eighth grade—to exact revenge by winning the bee as an adult. Along the way, he befriends the friendless Chaitanya Chopra (Rohan Chand, Jack and Jill). With Kathryn Hahn, Phillip Baker Hall, Allison Janney, Mr. Melissa McCarthy, Ben Falcone, and Mrs. Jason Bateman, Amanda Anka.

CESAR CHAVEZ (PG-13) The biographical film stars Michael Peña as the Latino American Civil rights activist who co-founded the United Farm Workers association with Dolores Huerta, played by Rosario Dawson. The film touches on some of the organization's non-violent campaigns such as the Delano Grape strike. John Malkovich plays an owner of a large grape farm who counterattacks Chavez and the workers' boycott.

CRADLE WILL ROCK (R) 1999. The Georgia Museum of Art accompanies their “Art Interrupted: Advancing American Art and the Politics of Cultural Diplomacy” exhibit with Tim Robbins’ follow-up to Dead Man Walking, Cradle Will Rock. In 1930s New York, Orson Welles (Angus Macfadyen) is putting together a controversial musical. The giant cast includes Hank Azaria, Joan Cusack, Cary Elwes, Philip Baker Hall, Bill Murray, Vanessa Redgrave, Susan Sarandon, John Turturro, Emily Watson, Jack Black, Paul Giamatti and John Cusack. (Georgia Museum of Art)

CUBAN FURY (R) Once upon a time, Bruce Garrett (Nick Frost) was a contender at the UK Junior Salsa Championships. Twenty-two years later, an out-of-shape Bruce again seeks his salsa kingship thanks to his new boss (Rashida Jones). Chris O’Dowd opposes Frost for Jones’ affection. Frost minus Simon Pegg? I’m still in, especially with O’Dowd as Frost’s foil. Director James Griffiths (TV shows like Showtime’s underrated “Episodes” and “Up All Night”) makes his feature debut. With Ian McShane.

DIVERGENT (PG-13) Hunger Games comparisons are inevitable. While Veronica Roth’s book loses the head-to-head against Suzanne Collins’ bestseller, Neil Burger’s filmed adaptation might best Gary Ross’ original Games. In a dystopian future Chicago, humanity is divided into five factions. Right before Beatrice Prior (Shailene Woodley) is to choose the faction in which she’ll spend the rest of her life, the teenager learns she is Divergent, whatever that means. Tris, as she chooses to be called, selects Dauntless, the faction most appealing to teens as they spend most of their time yelling and jumping from trains. Oh yeah, they’re civilization’s soldiers too. After a grueling initiation during which she makes a love connection with the studly instructor, Four (Theo James), Tris learns her perfect society and all Divergents are under attack. The movie distills 500 pages of plot into a pretty decent two-plus-hour flick as scripters Evan Daugherty and Vanessa Taylor smartly eschew Tris’ inner monologues, save for her opening and closing thoughts. Burger excels at sci-fi (see Limitless) and the casting is spot on. Woodley’s the most believably unsure YA heroine seen on the big screen, and James increases Four’s appeal from the page. Bring on Insurgent.

DRAFT DAY (PG-13) Kevin Costner as an underdog in a sports movie? I’m more excited than I should be, especially considering director Ivan Reitman’s recent track record (No Strings Attached? My Super Ex-Girlfriend?). Costner stars as Sonny Weaver, the general manager for the Cleveland Browns, who must decide who to select after trading for the number one pick in the NFL Draft. With Jennifer Garner, Frank Langella, Ellen Burstyn and loads of ESPN/NFL cameos (think Chris Berman and Deion Sanders).

FRESH LOOK CHILDREN’S INTL FILM FESTIVAL The fifth edition of the “Fresh Look” Athens International Film Festival for Children and Youth includes animation, documentaries and fiction films to introduce youngsters to the world of international independent cinema. The films come from Argentina, Belgium, Canada, England, Estonia, France, Germany, Latvia, Mexico, the Netherlands, Russia, Slovakia, Sweden, Switzerland and the USA. Part of Ciné’s seventh anniversary celebration. (Ciné)

GIMME SHELTER (R) 1970. The classic Rolling Stones rock doc chronicles the band’s infamous 1969 U.S. tour, including the deadly show at Altamont. David and Albert Maysles and Charlotte Zwerin’s film is considered by many to be the greatest rock film of all time. Music journalist Stanley Booth, who is interviewed in the film, recently relocated to Athens and will participate in a book signing and discussion. A catered reception will precede the film, and the party continues afterward with live music at Little Kings Club. Part of Ciné’s seventh anniversary celebration. (Ciné)

GOD’S NOT DEAD (PG) In this Christian feature, a college student, Josh Wheaton (Shane Harper, “Good Luck Charlie”), has his faith challenged by a philosophy professor (Kevin Sorbo, best known as TV’s Hercules) who does not believe in the existence of God. TV’s Superman, Dean Cain, costars, while Christian popsters Newsboys and two of “Duck Dynasty”’s Robertsons, Willie and Korie, provide cameos. Director Harold Cronk’s three previous features (Ever heard of The Adventures of Mickey Matson and the Copperhead Treasure? Me neither.) sound pretty small screen.

THE GRAND BUDAPEST HOTEL (R) Wes Anderson’s latest stars Ralph Fiennes as Gustave H, legendary concierge at the famous hotel, who memorably mentors lobby boy, Zero Moustafa (Tony Revolori, The Perfect Game). The cast is huge—F. Murray Abraham, Mathieu Amalic, Adrien Brody, Willem Dafoe, Jeff Goldblum, Jude Law, Harvey Keitel, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson and Owen Wilson—and the trailer is entertaining in the most Anderson of manners. Hopes are up for this film after Moonrise Kingdom. Part of Ciné’s seventh anniversary celebration. (Ciné)

GRAVITY (PG-13) 2013. Academy Award nominee Alfonse Cuaron’s latest film is as great as you have heard. An astronaut (George Clooney) and a doctor (Academy Award nominee Sandra Bullock) must work together to survive an accident in the cold, silent confines of space. Gravity is an acting tour de force by Bullock (this movie is essentially her Cast Away) and the most incredible special effects driven film I have ever seen. You feel like you are in space, which is simultaneously awe-inspiringly beautiful and coldly dangerous. Though a science fiction film, this Best Picture nominee is the most harrowing cinematic experience I can remember. It’s often more terrifying than any recent horror film. Gravity is heavyweight genre filmmaking that never lets up. 

THE HOBBIT: THE DESOLATION OF SMAUG (PG-13) Peter Jackson’s first return to Middle-earth, The Hobbit: An Unexpected Journey, did not disappoint, even if it failed to excite like The Lord of the Rings trilogy. The second Hobbit feature still feels hobbled by a feeling of déjà vu. Armies of orcs marching to war or battles against giant killer spiders are nothing new. But when Jackson takes us to new locales like Lake Town at the foot of the Lonely Mountain, where mammoth dragon Smaug (v. Benedict Cumberbatch) resides, the epic fantasy film reaches toward those heights of its predecessor. The return of Legolas (Orlando Bloom) does not hurt nor does the first appearance of the lovely elven warrior, Tauriel (Evangeline Lilly, best known as Kate from “Lost”). The river barrel ride that acts as the film’s highlight action set piece is spectacular, except for moments of poor FX so uncharacteristic of Jackson or the Weta digital effects house. Smaug, though, is a wonder, a massive work of CGI art. The climactic, fiery escape from the Lonely Mountain leaves the audience breathless, eager for the final installment, There and Back Again, due next December.

THE HUNGER GAMES: CATCHING FIRE (PG-13) The Hunger Games returns, and its sequel, while more a formality setting up the series’ final, revolutionary entry, improves upon an original that was more of a visual book report than an exciting cinematic adaptation. (Original director Gary Ross’ absence was addition by subtraction.) After surviving the 74th Hunger Games, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) are the Capitol’s newest celebrities. But all is not well in the Districts, and creepy President Snow (Donald Sutherland, who I’ve only just noticed resembles Sid Haig) lets Katniss know it by putting her back in the next year’s Games. New director Francis Lawrence (I Am Legend) paces the film better once we escape District 12 (every scene in it is so drab and boring), and the Quarter Quell is excitingly envisioned with deadly fog, killer monkeys and fun new faces like Finnick (a key new role well played by Sam Claflin) and Johanna (Jena Malone). Largely dismissed as repetitive upon the novel’s release, the underrated Catching Fire successfully adds more wrinkles to the Suzanne Collins’ formula than its more straightforward predecessor. However, it’s about time Katniss take more charge of her situation, a flaw hopefully remedied by the franchise finale, Mockingjay.

JOE (R) After his last film, Prince Avalanche, David Gordon Green seems to be sticking with independent cinema after the run of drugged out comedies, Pineapple Express, Your Highness and The Sitter. Nicolas Cage stars as ex-con Joe Ransom, who befriends a teenage boy played by Tye Sheridan of Mud. A quick glance at this movie would lead one to make more than a few comparisons to Mud. Winner of two awards at the Venice Film Festival.

THE LEGO MOVIE (PG) The LEGO Movie is most certainly the young year’s best new, wide release. The intricate, interconnected universes built by writing-directing duo Phil Lord and Christopher Miller (Cloudy with a Chance of Meatballs and 21 Jump Street) have an age-defying Muppets-like appeal. When generic construction mini-figure Emmet (v. Chris Pratt, who is so devilishly appealing) gets up in the morning, he follows the day’s instructions as handed down by president/overlord Business (v. Will Ferrell). Soon, Emmet gets involved with a Matrix-ian rebel group led by Vitruvius (v. Morgan Freeman), a pretty mini-fig who goes by Wildstyle (v. Elizabeth Banks) and her BF, Batman (v. Will Arnett). The LEGO Movie uses its licenses (D.C., Star Wars, The Lord of the Rings) smartly as it argues for the salvation of creativity. A movie made from the toy that frees the childhood (and adult) imagination has to stay on its toes in order not to diminish the property. This film, which should battle for the year’s best animated film come the next awards cycle, reconstructs the greatest childhood movie memories from the building blocks that best defined the young and not-yet-so-old generation.

MR. PEABODY & SHERMAN (PG) Mr. Peabody and Sherman get much better feature film treatment than their cartoon pals Rocky and Bullwinkle. The super smart canine, Mr. Peabody (v. Ty Burrell, "Modern Family"), and his adopted son, Sherman (v. Max Charles, young Peter Parker in The Amazing Spider-Man), travel back in time via Peabody's WABAC machine. The duo meet Marie Antoinette, King Tut, Leonardo da Vinci (v. Stanley Tucci), Mona Lisa (v. Lake Bell) and other historical luminaries as they try to right the wrongs  perpetrated against the space-time continuum. Burrell keeps Peabody as punny as ever, and kids will relate to Sherman's childish, lesson-teaching mistakes. The historical gags are a hit, though the dramatic narrative is structured too familiarly. And who is the target demo, kids who have never heard of these classic cartoons or the adults bound to be at least a little disappointed by the newfangled incarnations of their childhood faves? Trying to please both might not fully please either. Nonetheless, 2014 will see worse kids movies than Mr. Peabody & Sherman.

MUPPETS MOST WANTED (PG) Somewhere between the plots of The Great Muppet Caper and The Muppets Take Manhattan lies Muppets Most Wanted. After the success of their reunion, the Muppets embark on a world tour on the advice of their new manager, Dominic Badguy (Ricky Gervais, as impish as ever). But when the World’s Most Dangerous Frog, Constantine, replaces Kermit, the world tour becomes a globe-hopping heist to steal the crown jewels. It being a Muppets movie, expect oddball movie callbacks and celebrities to pop up in the most random of cameos. The three human leads—Gervais, Tina Fey and Ty Burrell—are great foils for the Muppets; Burrell’s Inspector Clouseau impersonation is funnier than Steve Martin’s, were anyone planning on rebooting The Pink Panther again. Bret McKenzie, one half of Flight of the Conchords, supplies a couple of show-stopping numbers (particularly, Fey’s showcase, “The Big House”), but just a few years later, I cannot remember anything he wrote for 2011’s The Muppets. Come to think of it, as immediately engaging as the family friendly movie is, it mostly pointed out just how unmemorable its 2011 predecessor ultimately was. The Muppets always entertain, but this adventure isn’t timeless. 

NEED FOR SPEED (PG-13) Whether the moviegoing world wanted one or not, Fast & Furious now has a competitor in outlandish car-chase franchises. Need for Speed, based on the Electronic Arts series of racing videogames, stars Aaron Paul in his first major headlining gig post-“Breaking Bad,” and it’s fast enough to win the box office race, if nothing else. The way-too-generously plotted movie takes a while to reach its top speed as small town race car driver Tobey Marshall (Paul) establishes his bonafides. Once released from prison for a crime for which he was only tangentially responsible, Tobey drives his way into an exclusive underground race called the Deleon, mostly to seek revenge against real bad guy, professional race car driver Dino Brewster (Dominic Cooper). But who am I kidding, wasting so much space on a plot synopsis? What potential viewers of Need for Speed need to know is the cars are fast, exotic and well shot by director Scott Waugh (Act of Valor). Paul also proves capable as a leading man, and Michael Keaton continues his fun 2014 renaissance. Sure, the movie’s too long, but it’s a solid racing adventure that happens to be adapted from a videogame.

NOAH (PG-13) Noah may be the strangest blockbuster since Ang Lee’s Hulk. Fortunately, the new biblical epic is more successful. It also isn’t your Chuck Heston biblical epic. Russell Crowe (no actor is more comfortable in the past than this guy) effectively grimaces and growls as the man chosen by the Creator to save the animal kingdom from a world-cleansing flood in Darren Aronofsky’s foreboding take on this beloved children’s bible story. Opening with a summary emphasizing the mythic, Noah establishes a harsh, sci-fi pre-apocalypse for Noah and his family—wife Naameh (Jennifer Connelly) and sons, Shem, Ham and Japheth. After a visit with his ancient grandfather, Methuselah (Anthony Hopkins giving good Yoda), Noah begins a decade-long task of building his ark, while giant stone creatures (one recognizably voiced by Nick Nolte) protect his family from the evil men led by Tubal-cain (Ray Winstone). When the flood epically arrives amidst a massive Lord of the Rings battle, an hour remains to reveal what happens when one family’s cruise goes way too long. As expected, Aronofsky visually stuns, but his film’s most insidious brilliance might be how fantastically fanciful it makes this ancient tale.

NON-STOP (PG-13) Maybe the Liam Neeson Action Star franchise isn’t dead yet. In his latest portrayal of the deadliest daddy ever, Neeson stars as Bill Marks, a U.S. Air Marshal receiving threatening texts “on a secure network” (oooh) demanding $150 million, or someone will die every 20 minutes. Neeson is joined by a big-name co-star, Julianne Moore, and several recognizable bit players like Academy Award winner Lupita Nyong’o, Michelle “Lady Mary” Dockery and Scoot McNairy; however, the real co-star is the claustrophobic, transparent setting. Besides the lavatories and the cockpit, everything takes place in the various cabins of the transatlantic flight. (None of that cargo-hold crap resorted to by other plane-trapped protagonists.) A more than serviceable whodunit, Non-Stop should please the millions of mystery fans as well as those moviegoers feeling there are more asses Neeson needs to kick. As usual, the reveal is never as clever as the setup, but the tense first two acts are filling if not fulfilling. Marks could be a more pleasant protag with whom to spend two hours. Fortunately, the movie rarely slows down enough for Marks’ authoritarian abuses to outrage. I wonder if this flick will get shown on many future flights.

THE NUT JOB (PG) The latest animated feature (it seems as if there are so many nowadays) pits a curmudgeonly squirrel named (a bit on the nose) Surly (v. Will Arnett) against the city. When he finds Maury’s Nut Store, he may just have found the way to alleviate his and the rest of his park community’s winter worries. Brendan Fraser, Liam Neeson and Katherine Heigl are the next three biggest names in the voice cast. Will this movie capture its family audience without a big name like Disney or DreamWorks behind it?

OCULUS (R) Karen Gillan, one of the Doctor’s prettiest companions, gets a shot headlining a movie as a young woman, Kaylie Russell, trying to get her convicted murderer brother (Brenton Thwaites, soon to be seen in Maleficent and The Giver) exonerated by proving a ghost did it. The trailer has some intriguingly creepy moments (e.g. Gillan chomping on a light bulb rather than an apple). Writer-director Mike Flanagan’s previous feature, Absentia, impressed. With Katee “Starbuck” Sackhoff.

ONLY LOVERS LEFT ALIVE (R) Jim Jarmusch returns for his first film since 2009’s The Limits of Control. His latest, an offbeat romantic horror movie, stars Academy Award winner Tilda Swinton and The Avengers’ Tom Hiddleston as two vampires that have been in love for centuries. The impressive cast also includes Anton Yelchin, Mia Wasikowska, John Hurt and Jeffrey Wright. Broken Flowers did not signal Jarmusch’s ascent into the mainstream as some assumed. Can Hiddleston do what Bill Murray could not?

PHILOMENA (PG-13)  Two of my favorite British Stephens—Coogan and Frears—team up for what sounds pretty unintriguing from its based on a true story logline. A shamed journalist, Martin Sixsmith (Steve Coogan), helps an old Irish woman, Philomena Lee (Academy Award nominee Judi Dench), find the child she lost to adoption 50 years earlier. Coogan, who co-wrote the Oscar-nominated script with Jeff Pope, hones his sharp wit and creates some moments of genuine emotion as his cynical journo interacts with sweet old Philomena, who is unsurprisingly embodied perfectly by Dench. The writers also sharpen their knives to carve up the Catholic Church, here represented by a few evil nuns. The script, acting and two-time Oscar nominee Stephen Frears (The Grifters and The Queen) take this TV movie scenario and turn it into a unexpectedly strong Best Picture nominee. (It wouldn’t make a shortlist of five, but it’s not the last of the nine.) Shades of Coogan’s wonderful road trip comedy The Trip color Martin and Philomena’s trek to Ireland and finally America as they unravel the film’s central mystery. Let the awards mystique, not the pedestrian synopsis, draw you into Philomena. Her film is as extraordinary as her story.

THE RAILWAY MAN (R) Colin Firth, Nicole Kidman and Stellan Skarsgard star in a true story of World War II from The Weinstein Company, and it didn’t receive an awards-eligible release. That’s worrying. During WWII, Eric Lomax (Jeremy Irvine) was a tortured Japanese POW on the “Death Railway.” Years later, Lomax (now played by Firth) attempts to exorcise his demons by confronting a Japanese officer (Hiroyuki Sanada). Director Jonathan Teplitzky’s film is based on the autobiography written by Lomax.

RIO 2 (G) Blu (v. Jesse Eisenberg), Jewel (v. Anne Hathaway) and the three kids leave the wilds of Rio de Janeiro for the real wilds of the Amazon, where Blu must battle his father-in-law (v. Andy Garcia). I don’t recall caring that much for the first trip to Rio, though it could have been worse. The voices of Will.i.am, Jamie Foxx, George Lopez, Tracy Morgan, Jemaine Clement, Leslie Mann, Rodrigo Santoro and Jake T. Austin return, while Garcia and Bruno Mars headline the newcomers.

SABOTAGE (R) Sabotage is not as affecting as David Ayer’s previous film, End of Watch. However, it is the first of Ah-nuld’s comeback movies to prove the former superstar still has relevance. As DEA legend John “Breacher” Wharton, Arnold Schwarzenegger gets to play a character that’s not just a nostalgic play on his '80s persona (i.e. The Last Stand, Escape Plan and both Expendables). Wharton is the cigar-chomping leader of the DEA’s best bunch of badasses (Sam Worthington, Terrence Howard, Joe Manganiello, Josh Holloway and Mireille Enos). How do you know? They have tough G.I. Joe code names like “Monster” and “Grinder.” That and they go to strip clubs to drink and fight when they’re not laser-focused on hunting cartels. Ayer has developed his flair for the modern tough cop since Training Day. Sabotage may overdo the brutality and the blood, but it has some entertaining cult credentials beyond Schwarzenegger. Enos (“The Killing”) gifts a truly nutty performance as the team’s lone woman whose screws loosen in each scene. Even after umpteen Atlanta-based Tyler Perry flicks, seeing the state capital on the big screen still momentarily thrills. Sabotage may not hit it big, but this action flick is far from generically forgettable.

THE SEA HAWK 1940. Ciné's seventh anniversary celebration continues with an Errol Flynn tribute. Presented in 35mm, The Sea Hawk features Flynn in full-on swashbuckler mode as privateer Geoffrey Thorpe seeks to defeat the Spanish Armada. Claude Rains also appears. Director Michael Curtiz is best known for Casablanca but also helmed Flynn’s The Adventures of Robin Hood. Errol Flynn’s daughter, Rory Flynn, will be present to discuss her legendary father. A reception will be catered by The National. (Ciné)

SON OF GOD (PG-13) At least The Passion of the Christ was a feature film and Mel Gibson a decorated (if now crazed) filmmaker. Son of God is cobbled together from the Jesus sequences (plus more!) from the History Channel miniseries, “The Bible,” and its slightly ethnic unknown actors do not benefit from the big screen treatment. The only debatably recognizable face is that of producer Roma Downey (“Touched by an Angel”), who plays Mary, Mother of Jesus. Portuguese-born Diogo Morgado is a photogenic Savior with a nice smile; he recedes into Christly caricature during the climactic imprisonment and crucifixion. An obvious cash grab by “Survivor” producer Mark Burnett (Downey’s husband), Son of God merely takes advantage of an audience hungry for faith-based films (see the success of the releases from Albany’s Sherwood Pictures) by repackaging previously seen material with a few new scenes, none of them worth the price of admission. Minus a whit of believer’s passion, this film simply retells the greatest story ever told like a Greatest Hits of Jesus compilation. Most viewers will have heard this tale told before and better.

300: RISE OF AN EMPIRE (R) More of a companion film than a sequel or prequel, 300: Rise of an Empire is better than the rest of the post-300 wannabes (The Immortals, Clash/Wrath of the Titans). Happening concurrently with the beautiful death of the abs of Sparta's King Leonidas, 300:RoaE finds a new, Athenian hero in Themistocles (Sullivan Stapleton). He must battle with god-king Xerxes (Rodrigo Santoro) and his gorgeous naval commander, Artemesia (Eva Green, Casino Royale), if Greek society is to survive. Though Zack Snyder isn't around to direct, the script he cowrote allows new helmer Noam Murro (Smart People) to craft a stylistically similar movie. In other words, the entire movie looks like an extended video game cutscene. Outside of its gorgeous, violent visuals, 300 Again makes less of an impression, and its predecessor hasn't exactly mirrored Greece for cultural legacy. Stapleton is no Gerard Butler, and none of the supporters are going to be the next Michael Fassbender. No one will remember the events of More 300 hundreds of minutes later, but it's digital bloody fun for two hours.

TYLER PERRY'S THE SINGLE MOMS CLUB (PG-13) Tyler Perry returns with a new flick. Five struggling single moms bond and help each other through the tough times through sisterhood. The cast features lots of familiar faces, including Nia Long (last seen in The Best Man Holiday), Wendi McLendon-Covey (“Reno 911!”), Amy Smart, Terry Crews, Eddie “Mr. LeAnn Rimes” Cibrian and Perry, of course. This Perry feature has struggled more to find its audience than any Perry movie since his second, Daddy’s Little Girls.

WHO CARES ABOUT KELSEY? 2012. Kelsey Carroll failed to receive a single academic credit during her freshman year and was caught dealing drugs. Thanks to Positive Behavioral Interventions and Supports (PBIS) and a planning program called RENEW, she turned it around. Filmmaker Dan Habib’s documentary follows Kelsey through the ups and downs of her senior year. This free screening is sponsored by the UGA School Counseling Program, UGA Office of Service Learning, Rutland Academy, The Cottage/Child Advocacy Center, Nuci's Space and Empowered Youth Programs. (Ciné)

THE WIND RISES (PG-13) Hayao Miyazaki’s latest, a fictionalized account of airplane designer Jiro Horikoshi, the man who built the Mitsubishi “Zero” fighter plane used in battle in World War II, is a hauntingly poignant and beautiful work, encompassing many of the themes that have obsessed Miyazaki over the course of his magnificent career. Jiro, a young aeronautical engineer, dreams of designing an airplane of incomparable beauty and usefulness. His first job for the Mitsubishi company constructing such a plane, however, is not a craft for peace time, but for war. Japan's government is gearing up for battle and want the sleekest, deadliest aircraft they can build. Although Jiro is a thoughtful man, literally guided by his dreams to envision the reality of building the perfect plane, he is also ambivalent in his role as an architect of war. Meanwhile, Jiro falls in love with the lovely yet ill Naoko, whom he had met years ago in the horrific aftermath of the 1923 earthquake. Naoko is dying of tuberculosis when he reunites with her, yet the two marry and attempt to find some semblance of happiness in their lives. World War II then erupts and... engulfs all. [Derek Hill] (Ciné)