OPENING TOMORROW

“Beauty and the Beast”

“The Sense of an Ending”

“The Belko Experiment”

NOW PLAYING

“Before I Fall” ***

Boasting themes that are both cerebral and philosophical, “Before I Fall” is a young-adult thriller that goes far beyond the surface level. There’s a supernatural twist as well, borrowed from “Groundhog Day,” in that our protagonist, Samantha (Zoey Deutch), must relive the same Friday over and over, preceding a dangerous car crash. To make matters worse, it’s Cupid Day, wherein the entire high school celebrates Valentine’s Day with “val-o-grams,” rose deliveries that literally account for every student’s popularity points. Sam starts off as a carefree queen bee, ensconced in a tightly knit foursome of popular girls, nicely played by Halston Sage as mean girl Lindsay, Logan Miller as longtime pal Kent, Medalion Rahimi and Cynthy Wu. However, forced to relive the day over and over, which resets at the moment of the crash every time, she zeroes in on the side characters, the nerds and the bullied, and the small interactions that lead toward the inevitable, trying to change things and stop the loop. Director Ry Russo-Young puts the Pacific Northwest setting to work in casting an eerie, ethereal spell over the proceedings, and pop songs played throughout help place us within the cycle. Russo-Young and editor Joe Landauer carefully expand and contract the repeated moments, picking out new pieces of information to parcel out each round. (PG-13, 1:39)

“A Dog’s Purpose” **

“A Dog’s Purpose,” based on the book by W. Bruce Cameron and directed by Lasse Hallstrom, suggests that dogs are constantly reincarnated. We follow the lives of a pup voiced by Josh Gad: first, briefly, as a stray puppy; then a retriever named Bailey in the 1960s and ’70s; Ellie, a German shepherd police dog; Tino, a chubby ’80s corgi; and finally Buddy, a neglected St. Bernard. For all his lives, it’s always Bailey inside there, retaining the memories and experiences along the way. Bailey’s a rather existential dog, constantly questioning the meaning of life. Is it to have fun? To make humans happy? Bailey journeys to a “Pleasantville”-like town to join boy Ethan (Bryce Gheisar, then K.J. Apa), then experiences the human dramatics of first loves, alcoholic fathers and tragedy. The novelty of the film comes from its “dog’s perspective.” The problem is that it’s painfully cheesy pabulum, relying on hokey stereotypes and cliches. (PG, 2:00)

“Fifty Shades Darker” *1/2

Sequel to psychosexual thriller “Fifty Shades of Grey” has the eccentric Christian Grey trying to woo back Anastasia Steele while fending off enemies. (R, 1:58)

“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)

“The Great Wall” *1/2

Filmmaker Zhang Yimou joins forces with Matt Damon in this ambitious story about Western mercenaries who find that China’s Great Wall must be defended against more than just human invaders. (PG-13, 1:43)

“Hidden Figures” ***

“Hidden Figures” takes us back to 1961, when segregation and workplace sexism were widely accepted facts of life, and the word “computer” referred to a person, not a machine. The most important computers here are three African-American women who work at data-entry jobs for NASA but go on to play crucial roles in the space program. Based on Margot Lee Shetterly’s nonfiction book, the film, directed by Theodore Melfi, turns the entwined careers of Katherine Goble (played with perfect nerdy charisma by Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughan (Octavia Spencer) into a rousing celebration of merit rewarded and perseverance repaid. It’s a well-told tale with a clear moral and a satisfying emotional payoff. Best Picture nominee. (PG, 2:06)

“John Wick: Chapter 2” ***

Before you buy a ticket to see “John Wick: Chapter 2,” the improbably fun sequel to the implausibly good “John Wick,” you might want to ask yourself how much tolerance you have for gunshots to the head, because there are a lot of them. Otherwise, stuntman-turned-director Chad Stahelski’s sequel is straightforward, fast-paced and effective, entertainment-wise. “Chapter 2” picks up where the first left off, with John Wick (Keanu Reeves) retrieving his Mustang from the crooks holding it hostage and returning to his modernist castle in the woods to play with his dog (yep, there’s a new one). Soon Santino D’Antonio (Riccardo Scamarcio), who helped John get out of the assassination game, is knocking at his door asking John to repay the favor. This request leads John further into the world of assassins, and boy is it fun, with action sequence after action sequence. The film is jam-packed with cameos, and Reeves is in top form as the perpetually unruffled John Wick. (R, 2:02)

“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. 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.

“La La Land” ****

A musical with big numbers, intimate reveries and adult feelings, Damien Chazelle’s musical “La La Land” is a boy-meets-girl tale with early-21st-century rhythms. It grapples with love between equals in a story about an aspiring actress, Mia (Emma Stone), who meets an ambitious musician, Sebastian (Ryan Gosling), Los Angeles-style during a traffic jam: He honks at her; she flips him the bird. They end up swaying in that fading, soft-light time known as the magic hour, tapping and twirling. This must have been what it was like to see Astaire and Rogers dance for the first time, and one hopes it will appeal to contemporary moviegoers. While “La La Land” engages with nostalgia, it also passionately speaks to the present. Best Picture nominee. (PG-13, 2:08)

“The Lego Batman Movie” ****

“The Lego Batman Movie” is quite possibly the best Batman movie ever made. Liberated from the constraints of “dark,” “edgy,” or even “campy,” “Lego Batman” is able to poke fun at the costumed gentleman hero, and really dig into the elements of Batman that make the character who he is, for better or for worse. Writer Seth Grahame-Smith, known for his twists on classics like “Pride and Prejudice and Zombies,” and a host of comedy writers keep the jokes coming fast and furious — visual gags, puns, wordplay, one-liners. Will Arnett plays Bruce Wayne/Batman as the arrogant playboy he always has been, still mourning his family, but with room for a new one: sidekick Robin (Michael Cera), new police commissioner and love interest Barbara Gordon (Rosario Dawson), and, of course, Alfred (Ralph Fiennes). As the saying goes: “Everything is awesome, everything is cool when you’re part of a team.” (PG, 1:44)

“Lion” ***

“Lion”is the incredible true story of two remarkable journeys that Saroo Brierley took in his life — one far away from home, and his return trip. Based on his memoir, “A Long Way Home,” the film is split in two. The first half depicts the travels of young Saroo (Sunny Pawar), who is just 5 when he becomes separated from his brother in Khandwa and ends up 900 miles away in Kolkata. Two decades later, after he’s been taken from an orphanage and adopted by an Australian couple, he returns as the adult Saroo (Dev Patel) in the emotional journey, using modern technology to find his family. Both Pawar and Patel are impressive in their portrayal of Saroo young and old, and Nicole Kidman, as his adoptive mother, Sue, in a brief but juicy role, is luminous as a woman who demonstrates her boundless love in sharing a son with another mother. Best Picture nominee. (PG-13, 2:00)

“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 has 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)

“Moonlight” ****

The extraordinary film “Moonlight” uses restraint, quiet honesty, fluid imagery and an observant, uncompromising way of imagining one outsider’s world so that it becomes our own. “Moonlight” traces the life of an African-American male — played in three segments, each by a different actor — growing up in Miami. Alex Hibbert portrays the boy, known as Little, who faces the dilemma of trusting a drug dealer (Mahershala Ali) who befriends him, acting as a father figure while serving crack to his mother (Naomie Harris, who is riveting), a loving, hostile paradox of a wreck. In segment two, Little, now called Chiron (superb young actor Ashton Sanders), has a clandestine sexual encounter with childhood friend Kevin, but is betrayed when Kevin joins in on a beating with some bullies. In the third act, Chiron is called Black (Trevante Rhodes); he gets a call out of the blue from Kevin. Their extended, nearly real-time conversation is reason enough to champion the film. Winner of the Academy Award for Best Picture. (R, 1:50)

“My Ex and Whys”

Not reviewed

This romantic comedy from the Philippines concerns a blogger whose ex-boyfriend unexpectedly comes back into her life. With English subtitles. (Not rated, 2:34)

“Rock Dog” **

This Chinese-American co-production is based on rock musician Zheng Jun’s graphic novel “Tibetan Rock Dog,” which mixes Tibetan culture with contemporary Brit-rock and a splash of mob movies. In a village on Snow Mountain, young mastiff Bodi (Luke Wilson) and his dad Khampa (J.K. Simmons) guard a bunch of ditsy sheep from wolves. Bodi discovers rock music on a radio dropped from a biplane and is soon obsessed with the tunes of Angus Scattergood (Eddie Izzard). After a rift with his father, Bodi heads for “the city,” connecting with his idol Angus, a super cool cat, and soon they’re writing songs together as well as eluding capture by the wolves, who are now suited up and organized into a gang. Compared with animated features with high joke-density, both visual and written, “Rock Dog” is a serious downshift. The characters aren’t fully expressive, and the visual compositions lack detail. “Rock Dog” makes for a perfectly fine afternoon at the theater, but you’ll hardly be itching to see it again. (PG, 1:20)

“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)

“Table 19” **

One couldn’t help but expect more from “Table 19.” It has a solid comedic cast and a director (Jeffrey Blitz) known for episodes of “The Office.” Still, while it’s never less than pleasant, “Table 19” is disappointing. Anna Kendrick is Eloise, a maid of honor who has been stripped of her duties because she and the bride’s brother, Teddy (Wyatt Russell), have broken up. For the reception she’s exiled to the dreaded “table 19,” where the bride has put the guests she didn’t really want to invite: married couple Bina and Jerry Kepp (Lisa Kudrow and Craig Robinson), former nanny Jo Flanagan (June Squibb), lonely teenager Rezno (Tony Revolori) and gangly inmate out for the weekend Walter (a deadpan but funny Stephen Merchant). Of course, they bond over their orphan status. While this situation is promising, the humor is generally tepid, with a character even predictably toppling over the wedding cake. Much of the film’s focus is on whether Eloise and Teddy will get back together, and their situation is neither engaging nor funny. “Table 19” is better when it’s not going for laughs, but for the bittersweet. (PG-13, 1:27)

“A United Kingdom” *1/2

“A United Kingdom” makes no bones about attempting to turn a story of cross-cultural romance and international politics into a solid crowd-pleaser. But it doesn’t strike that irresistible spark. The narrative centers on the true story of Seretse Khama, an African law student (David Oyelowo) at Oxford University, and his English beloved Ruth Williams (Rosamund Pike). It’s a postwar era of social and political antagonism. The story’s fairy tale dimension is that Seretse was a prince, next in line to rule Britain’s colony of Bechuanaland (now known as Botswana). The pair’s union brings to light issues of race relations between Britain and its colony, triggering hostility from all corners. Ruth’s intolerant working-class parents are predictably aghast. Britain’s political and diplomatic corps sees the scandal endangering relations with ally South Africa, which is in the process of instituting its racist apartheid policies. Seretse’s clan feels that the scheming British, already interested in the area’s diamonds, are taking away another of its national treasures. The film veers to oversaturated sentiment, as the couple moves through a range of traditional Harlequin Romance events, completing each task to the barest minimum standard. (PG-13, 1:51)

SPECIAL SCREENINGS

Bolshoi Ballet: A Contemporary Evening

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

Famous Russian ballet company known for its traditional style takes on modern works by contemporary choreographers. Featuring dances by Hans Van Manen, Sol Leon and Alexei Ratmansky’s Russian Seasons.

Royal Shakespeare Company: “The Tempest” Live

2 p.m. Wednesday, Kahala, $20

Shakespeare’s popular drama about a group of shipwrecked people and their encounters with the inhabitants of a mysterious island. Simon Russell Beale returns to the RSC after 20 years as the magician Prospero in this production that features spectacular stagecraft.

“Slamma Jamma”

7:30 and 10:15 p.m. Thursday, Regal Windward, $8.50-$11.50; 7 and 9:50 p.m. Thursday, Kapolei Commons, $10.50-$14; 7:15 and 9:55 p.m. Thursday, Pearl Highlands, $8-$12

Sports-based feature film about a former prison inmate seeking redemption for his wrongful conviction through a national slam-dunk competition. Chris Staples stars, 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.

ARTHOUSE

DORIS DUKE THEATRE

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

25th Anniversary: “Twin Peaks: Fire Walk With Me”

7 p.m. today

Gearing up for Showtime’s reboot of David Lynch’s television series as it celebrates its 25th anniversary, this one-time prequel screening follows the last week of Laura Palmer’s life after her plastic-wrapped body was found floating in a river. (1992, 3:29)

“The Elephant Man”

1 and 4 p.m. Saturday

John Hurt portrays John Merrick, who is afflicted by a rare condition called Proteus syndrome in 19th-century London. Anthony Hopkins plays the compassionate doctor who rescues him from a freak show. Directed by David Lynch, this film earned eight Oscar nominations in 1981. (1980, 2:04)

Honolulu Jewish Film Festival 2017

Runs through March 26.

>> Fanny’s Journey”

1 p.m. today and 4 p.m. Sunday

A teen and her sisters are sent from Nazi-occupied France to a foster home for Jewish children in Italy. When Nazis arrive in Italy, the schoolmistress is determined to get them to the Swiss border. In French with English subtitles. (2016, France/Belgium, 1:34)

>> “Remember”

7:30 p.m. Saturday and 1 p.m. Wednesday

In this psychological thriller, a 90-year-old Auschwitz survivor fighting dementia is determined to find a Nazi who managed to escape justice. In English and German with English subtitles. (2016, Canada/Germany, 1:34)

>> “Abulele”

11:10 a.m. and 1 p.m. Sunday

Family-friendly film about a boy dealing with his older brother’s tragic death who meets a mythical creature that helps him overcome his grief. In Hebrew with English subtitles. (2015, Israel, 1:30)

Double feature:

7:30 p.m. Sunday

>> “Beautiful Music”

Richard Trank directed this documentary short about American-born Orthodox Jewish pianist and composer Devorah Schramm, who began teaching 9-year-old blind, autistic Palestinian girl Rasha Hamid how to play piano in 1987 and has worked with her extensively since. Narrated by Brooke Shields. (2005, 0:38)

>> “Joe’s Violin”

Documentary about the life-changing results of a violin donated to an instrument drive by a 91-year-old Holocaust survivor, after the musical instrument comes into the hands of a 12-year-old girl from the Bronx. (2016, 0:24)

>> “Flory’s Flame”

1 p.m. Tuesday

Directors Curt Fissel and Ellen Friedland’s documentary about renowned Sephardic composer and performer Flory Jagoda, known as the Ladino Mamma Mia. (2014, 1:00)

>> “Denial”

7:30 p.m. Tuesday

Courtroom drama based on the real-life experience of university professor Deborah Lipstadt (Rachel Weisz), who, in a book about Holocaust deniers, exposes the claims of World War II historian David Irving (Timothy Spall). Irving sues her in the U.K. for libel, igniting a legal battle in search of historical truth; barrister Richard Rampton (Tom Wilkinson) helps craft the case in court. (2016, U.K./U.S., 1:50)

>> Broadway Musicals: “A Jewish Legacy”

7:30 p.m. Wednesday

Michael Kantor’s documentary on the role of Jewish songwriters in modern American musicals and the influence of Jewish music on Broadway melodies. (2013, 1:24)

MOVIE MUSEUM

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

>> “Pavee Lackeen: The Traveller Girl”

Noon, 3:30 and 7 p.m. today

Documentary/hybrid film delves into the lives of Irish Travellers, a nomadic ethnic group, focusing on Winnie, a 10-year-old girl who’s expelled from school while her family is being forced to move their trailer home into even rougher territory. For ages 15 and older. With English subtitles. (2005, Ireland, 1:28)

>> “Jackie”

1:45, 5:15 and 8:45 p.m. today; 2, 5:30, 7:15 and 9 p.m. Sunday

With a stunned nation behind her, first lady Jacqueline Kennedy must cope with shock and grief after her husband’s assassination. With Natalie Portman and Peter Sarsgaard. Rated R. Nominated for three Oscars. (2016, Chile/France/U.S., 1:40)

>> “Fences”

11 a.m. and 1:30, 4, 6:30 and 9 p.m. Saturday

Adaptation of August Wilson’s Pulitzer Prize-winning play set in 1950s Pittsburgh about a sanitation worker (Denzel Washington) who absorbs decades of hurt and frustration, poisoning his outlook on life and family. Rated PG-13. With Oscar winner Viola Davis in a supporting role. Nominated for three other Oscars. (2016, 2:19)

“Risky Business” (“Les risques du metier”)

3:45 p.m. Sunday

When a popular schoolteacher is falsely accused of rape by a star student, his and his wife’s lives are forever changed. For ages 12 and older. In French with English subtitles. (1967, France, 1:35)

>> “Ixcanul” (“Volcano”)

Noon, 3:30 and 7 p.m. Monday

Maria, who lives on a farm along the slope of a Guatemalan volcano, prepares to meet her future husband but knows nothing of his world, which consists of electricity, cars and running water. For ages 12 and older. In Kaqchikel with English subtitles. (2015, Guatemala/France, 1:33)

>> “Heart of a Lion” (“Leijonasydan”)

1:45, 5:15 and 8:45 p.m. Monday

A neo-Nazi skinhead must reconsider his beliefs when he learns his newfound love, a beautiful blond woman, has a biracial son. For ages 15 and older. In Finnish with English subtitles. (2013, Finland/Sweden, 1:39)

>> “Cosimo e Nicole”

11:15 a.m. and 3 and 6:45 p.m. Thursday

During the Genoa G-8 riots, an Italian boy and French girl fall in love at first sight and escape to Genoa to live and work, but their happiness is foiled when they cover up an incident involving an illegal immigrant who falls off scaffolding. For ages 15 and older. In Italian and French with subtitles. (2012, Italy, 1:46)

>> “A Second Chance” (“En chance til”)

1:15, 5 and 8:45 p.m. Thursday

A Danish police officer encounters a moral dilemma when he discovers a neglected baby similar in age to his own son at the home of a violent junkie and his abused partner. For ages 15 and older. In Danish and Swedish with subtitles. (2014, Denmark/Sweden, 1:38)

MONDAY SUPPER CINEMA @ WISP

7 p.m. Monday, WISP Restaurant & Lounge, Lotus Hotel, second floor; doors open 5:30 p.m. (for dinner). $5. Reservations: 436-4326.

“The Umbrellas of Cherbourg”

With an all-singing dialogue and credited with being a primary influence on “La La Land,” this film won the grand prize at the Cannes Film Festival and the Academy Award for best foreign film in 1964, paving stardom for Catherine Deneuve and composer Michel Legrand. (1964, France, 1:50)