OPENING TODAY

“After the Storm”

Not reviewed

“The Case for Christ”

Not reviewed

“Going in Style”

“Raw”

“Smurfs: The Lost Village”

“Your Name”

NOW PLAYING

“Beauty and the Beast” ***1/2

This live-action/digital hybrid, directed by Bill Condon and starring Emma Watson and Dan Stevens in the title roles, is more than a flesh-and-blood revival of the 26-year-old cartoon, and more than a dutiful trip back to the fairy tale. It looks good, moves gracefully and leaves an invigorating aftertaste. The cast is stellar. Watson perfectly embodies Belle’s compassion and intelligence, while Stevens, blandly handsome as a prince, is a splendid monster. Emma Thompson is wonderful as Mrs. Potts, the singing teakettle, while Stanley Tucci and Audra McDonald are the excitable harpsichord and the operatic wardrobe; Ewan McGregor and Ian McKellen are the suave candelabra and the anxious clock. Gugu Mbatha-Raw is the lissome feather duster. The singing and banter are so vivid and so natural that you almost take for granted that they are mechanical objects sharing the frame with human characters. There’s also the obligatory scene-stealing villain — Gaston (Luke Evans), a narcissistic former soldier who is sweet on Belle — and his comical sidekick LeFou (Josh Gad). The awkward business about imprisonment turning into true love is handled smoothly. There are a few moments where the digital seams show; most of the time, though, you are happily fooled and enchanted. Howard Ashman and Alan Menken’s songs still inspire joyful dance routines, with “Be Our Guest” backing a choreographic extravaganza that enfolds decades of Disney history (all the way back to “Snow White” and “Fantasia”) in contemporary cinematic craft. (PG, 2:09) Also presented sing-along style.

“The Boss Baby” **1/2

Babies, for all their cuteness, joyful squeals and wonderful-smelling heads, are basically jerks. They’re even worse if you’re a big brother or big sister, dislodged from the center of the universe by a tiny being who doesn’t have the sense to stop peeing in his own bath water. “The Boss Baby” understands this well, but there are distracting side plots that sabotage much of what’s enjoyable about the movie. Alec Baldwin voices a baby who upon his arrival is running the Templeton family like a company president. Older brother Tim Templeton can hear the baby talk, and they develop a sibling rivalry that amounts to a lot of Sylvester vs. Tweety-style maneuvering, while the parents (voiced by Lisa Kudrow and Jimmy Kimmel) remain oblivious. Things get greatly complicated with a war between infants and puppies, a secret new breed of dog and an unnecessary save-the-world plot. (PG, 1:37)

“CHIPS” *

Reimagined by writer, director, producer and star Dax Shepard, the big-screen “CHIPS” is a tawdry, testosterone-fueled tale built around penis jokes and endless evaluation of women’s appearances, with the two main characters discussing the looks of almost every woman on screen. The best thing about “CHIPS” is some classic Southern California scenery and superb motorcycle riding, complete with stairwell tricks, airborne stunts and long shots of that beloved mecca for local bikers, the Angeles Crest Highway. But overall, the film is an uncomfortable eye-roll. Shepard (as Jon Baker) and co-star Michael Pena (Frank “Ponch” Poncherello) have plenty of charm, but not enough to support the feeble story and tasteless jokes. The low-brow stupidity could be redeemed by a strong story or well-developed characters, but “CHIPS” offers neither. (R, 1:41)

“The Devotion of Suspect X”

Not reviewed

Chinese crime-thriller. In Mandarin with English and Chinese subtitles. (Not rated, 1:52)

“Get Out” ***

Fifty years after Sidney Poitier upended the latent prejudices of his white date’s family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in his comedy-horror “Get Out.” Chris (Daniel Kaluuya) is visiting the home of his white girlfriend Rose (Allison Williams), who hasn’t told her parents he’s black. He gets a warm welcome, but it’s only skin-deep in a household where all the hired help is black. They are a spooky, robotic bunch, with zombielike demeanors in a “Stepford Wives” kind of way. Bradley Whitford and Catherine Keener are excellent as Rose’s pseudo-progressive parents, saying things like, “But I voted for Obama!” and, “Isn’t Tiger Woods amazing?” Things get even stranger when Chris meets some family friends, who all appear oddly frozen in time. Eventually, the truth comes out, and things turn bloody. “Get Out” is radical and refreshing in that it defies the lamentable tradition in horror films — never the most inclusive of genres — that the black dude is always the first to go. (R, 1:43)

“Ghost in the Shell”

Not reviewed

A cyborg policewoman attempts to bring down a nefarious computer hacker. (PG-13, 1:42)

“Kong: Skull Island” ***

Sci-fi action has so degenerated that to see one that’s not a succession of explosions feels almost nostalgic. But “Kong: Skull Island” is no throwback. It’s movie literate, informed by techniques from across several decades, even as it makes full use of CGI technology. It’s set in the 1970s, right after the Vietnam War. John Goodman plays a spooky scientist who’s exploring an uncharted island. Though ostensibly interested in earthquakes, he’s really interested in monsters. He leads a team that includes Samuel L. Jackson as a military officer brooding about Vietnam, Tom Hiddleston as a tracker and Brie Larson as a nosy journalist. The expedition’s first encounter with Kong is a kind of replay of the Empire State Building scene from the 1933 classic, only this time Kong has the home-field advantage. We get the perspective from inside the attacking aircraft — and it’s not fun for the crew. The rest of the film deals with the various characters figuring out which monsters are bad, which are worse and which are only sort of bad. Adding to the general festivity is John C. Reilly, as an aviator who has been stuck on Skull Island since 1944.

“Life” *

“Life” was made by humans (we double-checked), and it’s a disappointment. The film takes an interesting idea — the perils of reanimating ancient life on Mars — and provides almost no rooting interest. The action begins promisingly, with six crew members on the International Space Station using a robotic arm to catch a package containing soil samples from Mars that contain alien life. The crew treats the ET “Calvin” like a pet — but Calvin has the strong survival instincts the crew lacks, and no one on the ship recognizes the peril that’s obvious to everyone in the audience. Soon, the alien starts taking out the crew in order, from most interesting character to least. The alien, a jellyfish/starfish/python hybrid, is arguably the most interesting character on screen, but the crew is a complete drag. Other than Ryan Reynolds as a wise-cracking engineer, there’s no sense of humor, adventure or resourcefulness. Jake Gyllenhaal is particularly listless as a ship’s doctor who doesn’t want to go back home. And just when you think the dialogue couldn’t get any worse, the children’s picture book “Goodnight Moon” becomes part of the plot. (R, 1:43)

“Logan” ***

In “Logan,” the clawed mutant Wolverine gets to slash through the constraints of a kid-friendly PG-13 rating, and the result is bloody, vicious fun. Young children should not be allowed anywhere near this movie, but fans of the beloved character will relish the sight of the hot-tempered hero in his full limb-and-artery-slashing glory. Director James Mangold’s movie is filled with big action set pieces, chases and supervillains, yet it feels like it takes place in the real world. Initially, Wolverine (Hugh Jackman) is a functioning alcoholic working as a limo driver in a border town, living with Caliban (Stephen Merchant), a mutant who fries in direct sunlight, and looking after Professor Xavier (Patrick Stewart), now feeble and suffering from seizures that paralyze anyone standing nearby. Wolverine’s powers have declined and his interests have turned to sailing into retirement, so when a Mexican immigrant (Elizabeth Rodriguez) offers him $50,000 to take Laura (Dafne Keen), a curious 11-year-old, to a safe haven, he’s reluctant. But they develop a sincere father-daughter relationship when some mean-looking dudes in black SUVs come looking for her, bringing what had been a vaguely depressing movie roaring to life. It could have been 10 minutes shorter, but giving a protracted farewell to Jackman playing his signature role seems appropriate. (R, 2:15)

“Northern Lights: A Journey to Love”

Not reviewed

A man comes back into the life of a son whom he had left behind in the Philippines; as the man tries to be a real father, he crosses paths with a quirky but broken Filipina. In Filipino with English subtitles. (PG, 1:38)

“Saban’s Power Rangers” **1/2

The silly but beloved “Mighty Morphin Power Rangers” television series gets a big-screen reboot, this time as “Saban’s Power Rangers.” The film is more about a bunch of oddball teens than it is about colorfully suited karate-chopping superheroes — like “The Breakfast Club” with way more extreme daredevil behavior, as these misfits discover each other and stumble into their startling new powers, by way of five coins they happen to blast out of a mountainside. Explosives enthusiast Billy (R.J. Cyler, who steals the movie) is a neuro-diverse nerd who befriends disgraced jock Jason (Dacre Montgomery) in detention. Rebellious ex-cheerleader Kimberly (Naomi Scott), heavy metal yogi Trini (Becky G) and adrenaline-addled delinquent Zack (Ludi Lin) also power up. Soon they’re being groomed by the alien Zordon (Bryan Cranston, no really), and a sassy robot, Alpha (Bill Hader), to take on Rita Repulsa (Elizabeth Banks), who plans to use a monster to steal the Earth’s life crystal. We’re denied a good morphin’ sequence, and the production values are murky, but ultimately, “Power Rangers” maintains the essence of its origins in that it’s rather pleasantly bonkers. (PG-13, 2:04)

“The Shack” **

A folksy Octavia Spencer serving up baked goods is the vision of the divine in “The Shack,” Stuart Hazeldine’s nondenominational, magical realist, faith-based drama, an adaptation of the best-seller by William P. Young. But it’s a dark and windy road to get there, delving into the personal history of “Mack” Phillips (Sam Worthington). Mack’s childhood was marred by domestic violence, forging his understanding of God as wrathful and judgmental. That worldview is exacerbated by the abduction of his youngest daughter, Missy (Amelie Eve). Plunged into depression, Mack receives a mysterious invitation in the mail: a note from “Papa” (his wife’s name for God) asking him to a getaway at the shack where his daughter was likely killed. There he’s greeted not by a child killer, but by a trio of groovy spiritual teachers: God, aka Papa (Spencer); Jesus (Avraham Aviv Alush); and The Holy Spirit Sarayu (Sumire). They spend the weekend reiterating to Mack that God doesn’t judge, God only loves, and impressing upon him the importance of forgiveness and compassion so that he can move beyond the tragedy that has left him “stuck” in that shack. Though the dialogue is written with all the finesse of a self-help book, and the visuals are a garish technicolor explosion, there are some nuggets of wisdom that do resonate, regardless of personal belief. (PG-13, 2:12)

“Slamma Jamma”

Not reviewed

Chris Staples stars as a former prison inmate seeking redemption for his wrongful conviction through a national slam-dunk competition. With appearances by former football player Michael Irvin and baseball player Jose Canseco, who in real life suffered downfalls late in their star careers and worked to restore their reputations. (PG, 1:44)

“T2: Trainspotting” *** 1/2

The first “Trainspotting” was released in 1996, an unexpected hit about heroin addiction among Scottish working-class youth. It was a funny movie, despite all the scenes involving needles. This one is even funnier, possibly because the heroin element has been reduced to almost nothing, but also because the characters are all 20 years older and can’t quite take themselves as seriously. Renton (Ewan McGregor) looks in good shape for a fellow who was strung out 20 years ago. He’s returning to Scotland after a 20-year absence, finding himself in a new, Europeanized Edinburgh, with women speaking in funny accents handing out tourist information at the airport. (“Where are you from?” he asks one of them. The answer: “Slovenia.”) We soon learn that Renton robbed his old buddies. Now he’s back to pay his debts. All the characters get a flashy introduction. Begbie (Robert Carlyle), an explosive maniac, is in prison, screaming at and terrifying his lawyer. Spud (Ewen Bremner) is still a junkie and living a pathetic existence. In a scene both laugh-out-loud funny and unbelievably grotesque, he is in the process of suffocating himself with a plastic bag when Renton comes to visit him. And Simon (Jonny Lee Miller) is working low-level scams, hoping to set up a brothel with his Bulgarian girlfriend. With characters like these, director Danny Boyle never stops of thinking of interesting things to do. “T2” is not a great film, but its pleasures are great — and so rare and accomplished that it raises “T2” to a level approximating greatness. (R, 1:57)

“The Zookeeper’s Wife” ***

In German-occupied Poland during the darkest days of World War II, a zookeeper and his wife managed to save the lives of hundreds of Jews from the Warsaw Ghetto by giving them shelter and refuge on the zoo grounds. This extraordinary true story is dramatized rather effectively in director Niki Caro’s “The Zookeeper’s Wife.” Our heroine Antonina (Jessica Chastain, affecting an accent that you’ll get used to) seems to live the most picture-perfect life that’s ever existed, frolicking with zoo animals, gazing lovingly at her doting husband Jan (Johan Heldenbergh) and son, disturbed only by a proud German zoologist, Lutz (Daniel Bruhl). Antonina and Jan risk their lives to stage elaborately planned extractions from the ghetto. An already tense situation is made even more heightened when Lutz, now Hitler’s chief zoologist, takes a special interest in their zoo (and Antonina), his presence a constant threat to the entire operation and a causing a sour note in Antonina’s marriage. But look past the sepia and the dreary title. “The Zookeeper’s Wife” is riveting and inspiring, and comes as a welcome reminder in this time of uncertainty that even in the face of astonishing evil, humanity and goodness can rise to the occasion. (PG-13, 2:04)

SPECIAL SCREENINGS

Kizumonogatari Part 3: “Reiketsu”

11 a.m. Saturday and 7 p.m. Monday, Consolidated Ward, $15

Final chapter of “Wound Story” anime trilogy in which a youth is transformed into a vampire and seeks his humanity again.

Bolshoi Ballet: “A Hero of Our Time”

12:55 p.m., Sunday, Regal Dole, $16-19

Famous ballet troupe’s rendition of a new work by choreographer Yuri Possokhov and theater director Kirill Serebrennikov about an anti-heroic soldier’s misadventures into the Caucasus.

Bolshoi Ballet: “A Contemporary Evening”

12:30 p.m., Sunday; and 7 p.m. Tuesday, Consolidated Kahala, $20

The Bolshoi performs three modern works: Hans Van Manen’s “Frank Bridge Variations,” Sol Leon and Paul Lightfoot’s “Short Time Together” and Alexei Ratmansky’s “Russian Seasons.”

“Facing Darkness”

7 p.m., Monday, Regal Dole, $13

Dramatic documentary about international relief organization Samaritan’s Purse and its efforts to fight Ebola in West Africa, which is thrown into turmoil when two members contract the deadly virus.

“Dirty Dancing” (1987)

7 and 10 p.m., Wednesday, Consolidated Ward and Olino by Consolidated, $10

Thirtiethanniversary screening of classic film, a combination coming-of-age story and period drama set in a Catskills resort. Stars Patrick Swayze as the hunky dance instructor and Jennifer Grey as the mousy Baby, with a great performance by Jerry Orbach as the gruff but understanding father.

“Samurai Cop”

8 p.m. Thursday and 7:30 p.m., April 18, Regal Dole, $13

See the 1991 film in a theater for the first time. The 1991 straight-to-video feature is about a cop taking on Japanese gangsters in Los Angeles.

ARTHOUSE

DORIS DUKE THEATRE

Honolulu Museum of Art, 532-6097, honolulumuseum.org; $8-$10

Cinematheque Francaise 2017

Runs through April 18.

>> “After Love”

1 p.m. today

In this drama surrounding a Brussels household, a woman wants to separate from her unemployed companion of 15 years. She’s been the main breadwinner of the family, but he refuses to leave the house until he gets his 50 percent. In French with English subtitles. (2016, Belgium/France, 1:38)

>> “Frantz”

7:30 p.m. today

Francois Ozon’s black-and-white remake of Ernst Lubitsche’s 1932 “Broken Lullaby,” about a handsome Frenchman who, following World War I, travels to Germany to search for the family of war casualty Frantz. There he meets Frantz’s fiancee and they grow closer, but his presence is met with resistance by a defeated community. In French and German with English subtitles. (2016, France/Germany, 1:53)

>> “Elle”

1 and 7:30 p.m. Tuesday

In this psychological thriller, Isabelle Huppert (who won the Golden Globes’ best-actress award) is the ruthless leader of a video game company who, after being brutally attacked in her home, is determined to track the man down while getting entangled in a thrilling game that could spiral out of control at any given moment. In French with English subtitles. (2016, France, 2:10)

>> “Slack Bay” (“Ma Loute”)

1 and 7:30 p.m. Wednesday

A murder mystery swirls around the beaches of Channel Coast, where several tourists have vanished in Slack Bay, home to a community of fishermen including the Brufort family with its two prankster sons. Meanwhile, the Van Peteghems’ summer mansion towers high above the bay, prompting a shocking love story between members of both families. In French with English subtitles. (2016, France/Germany, 2:02)

>> “The Death of Louis XIV” (“La Mort de Louis XIV”)

1 and 7:30 p.m. Thursday

This film, set in Versailles in 1715, finds Louis XIV returning from hunting with leg pain and a high fever that leaves the fated king of France leading the country from his bed. In French with English subtitles. (2016, France/Portugal/Spain, 1:55)

>> “The 400 Blows” (“Les quatre cents coups”)

5:30 p.m. Thursday

Francois Truffaut’s defining film during the French New Wave era re-creates his own childhood, with the backdrop of aloof parents, oppressive teachers and petty crime. In French with English subtitles. (1959, France, 1:39)

Berlin & Beyond Honolulu 2017

Runs Saturday and Sunday. Scaled-down version of North America’s premier festival of German-language films, presented by Goethe-Institut San Francisco.

>> “At Eye Level”

11 a.m. Saturday

Michael, an 11-year-old orphan, meets his father for the first time and learns he is the opposite of the strong, masculine image he’d expected, being shorter than Michael himself. Michael gets teased by the other orphans, runs away and, with nowhere else to go, moves in with his father and brings them closer together. Winner of the 2016-17 Youth 4 German Cinema Award. In German with English subtitles. (2016, Germany, 1:46)

>> “Eva Hesse”

1 p.m. Saturday

Marcie Begleiter’s film about the German-born artist, whose pioneering sculptures helped to establish the post-minimalist movement in a male-dominated field, and who died of brain cancer at the age of 34. (2016, Germany, 1:48)

>> “Fukushima, mon Amour”

3 p.m. Saturday

Filmed in Japan in black and white, Doris Dorrie’s film alludes to Alain Resnais’ “Hiroshima, mon amour,” portraying a woman living a frustrated life in Germany who travels to Fukushima with the Clowns4Help organization in hopes of bringing joy to survivors of the 2011 nuclear disaster. In English, German and Japanese with English subtitles. (2016, Germany, 1:46)

>> “Scrappin’” (“Schrotten!”)

7:30 p.m. Saturday

Mirko reluctantly heads back to his family’s scrapyard after two strangers show up in his posh insurance office to remind him of his roots, just as his father dies and leaves the ailing business to him and his brother. Despite the brothers’ constant quarreling, they decide to unite after a rival company bullies them into selling the scrapyard. In German with English subtitles. (2016, Germany, 1:36)

>> “Heidi”

11 a.m. Sunday

Adaptation of the book about an orphan who lives a simple and carefree life in isolation with her eccentric grandfather in a cabin, until her aunt suddenly relocates her to Frankfurt to gain a formal education and become a playmate for a wealthy wheelchair-bound girl. Winner of the 2016 German Film Award for best children’s film and the most successful Swiss film in Swiss box office history. In German and Swiss German with English subtitles. (2015, Switzerland/Germany, 1:45)

>>“Silicon Valley Revolution”

1 p.m. Sunday

Jan Tenhaven’s documentary about the Bay Area’s computer pioneers and large corporations before the advent of Apple. In English and German with English subtitles. (2017, Germany, 1:30)

>> “Center of My World”

3:30 p.m. Sunday

Jakob M. Erwa’s adaptation of Andreas Steinhoefel’s coming-of-age romance novel about teenage Phil, who falls for Nicholas, the handsome new boy in school. Although they share mutual feelings, Phil’s situation with his first love becomes complicated by problems of his past. Best feature film at the 2016 Florence Queer Festival in Italy and in competition at the 2016 Moscow International Film Festival in Russia. In German with English subtitles. (2016, Germany/Austria, 1:55)

>> “Stefan Zweig: Farewell to Europe”

6:45 p.m. Sunday

Maria Schrader’s drama about the Austrian writer, who lived in exile from 1936 to 1942. After his books were banned in Germany and with Hitler in power, Zweig sought unsuccessfully to find refuge in various countries, while longing to return to his homeland in Heimatland. Ultimately he committed suicide, along with his wife. Austria’s entry to the 2017 Academy Awards for best foreign language film. In German, English, Portuguese, French and Spanish with English subtitles. (2016, Germany/Austria/France, 1:46)

MOVIE MUSEUM

3566 Harding Ave., 735-8771; $5, $4 members

“20th Century Women”

11:30 a.m. and 1:45, 4, 6:15 and 8:30 p.m. today; 9 p.m. Sunday

Comedy-drama about a divorcee who prevails on her younger housemates to help raise her 14-year-old son during a time when society is facing rapid social change. With Annette Bening and Elle Fanning. Rated R. (2016, 1:59)

“Patriots Day”

11:30 a.m. and 1:45, 4, 6:30 and 8:45 p.m. Saturday

Peter Berg directs this Boston tribute with a re-enactment of events surrounding the 2013 Boston Marathon terrorist attack. With Mark Wahlberg, Michelle Monaghan, John Goodman, Kevin Bacon and J.K. Simmons. Rated R. (2016, 2:13)

“Rogue One: A Star Wars Story”

11:45 a.m. and 2, 4:15 and 6:45 p.m. Sunday

In this segment of the “Star Wars” saga set before 1977’s original film, Jyn keeps hearing how her father, designer of the Death Star, was a traitor, but she knows the truth. She sets out to battle the evil empire, armed with her father’s knowledge of how to destroy it. Rated PG-13. (2016, U.S./U.K., 2:13)

“Silence”

11 a.m. and 3:45 and 8:30 p.m. Monday

Adaptation of Shusaku Endo’s “Chinmoku,” set in the 17th century, about two Catholic missionary priests who travel to Japan in search of their mentor who left the Church. Earned an Oscar nomination for best cinematography. Rated R. (2016, U.S./Taiwan/Mexico, 2:41)

“Paterson”

1:45 and 6:30 p.m. Monday

A poetic bus driver named Paterson, of Paterson, N.J., who has the five-volume epic poem “Paterson” on his desk, sits quietly on the job as he listens to and observes the people and world around him. Rated R. (2016, U.S./France/Germany, 1:58)

“100 Days” (“Zhen ai 100 tian”)

11 a.m. and 2:45, 4:45 and 6:45 p.m. Thursday

It’s been decades since arrogant executive Bo Dan has been home, returning only for his mother’s funeral where he is reunited with his childhood sweetheart. For ages 12 and older. In Mandarin with English subtitles. (2013, Taiwan, 1:44)

“The Most Beautiful Day of My Life”

1 and 8:45 p.m. Thursday

Comedy-drama about a modern Italian family as seen through the eyes and camera of a young girl about to receive her first Communion. Behind the walls of their conservative grandmother’s home, family members must behave while struggling with hidden emotions. In Italian with English subtitles. (2002, Italy/U.K., 1:42)