42, PG-13, 2 HRS., 8 MINS.
An old-fashioned drama about how Jackie Robinson broke the color line in professional baseball. B+ —Owen Gleiberman
The Big Wedding, R, 1 HR., 30 MINS.
Corny and contrived, but the actors shine in this matrimonial ensemble comedy — notably Robert De Niro and Diane Keaton as a divorced couple pretending to be married. B —Owen Gleiberman
Deceptive Practice: The Mysteries and Mentors of Ricky Jay, Not Rated, 1 HR., 29 MINS.
Cardsharps, cheats, and conjurers. These are the curious characters who make up the weird world of Ricky Jay — arguably the world’s greatest (and certainly most entertaining) magician. Jowly, erudite, and decidedly untrustworthy, Jay pays tribute to his mentors in a fantastically sly documentary. You’ll feel like you’re witnessing miracles. A —Chris Nashawaty
New Release: Love Is All You Need, R, 1 HR., 50 MINS.
Danish director Susanne Bier applies her heavy-handed touch to what is basically a Nora Ephron movie. In the clankingly surprise-free lonelyhearts romance, Pierce Brosnan plays an uptight widower, and Trine Dyrholm is the shy, put-upon wife whose daughter is marrying Brosnan’s son. The two actors click so smoothly that all that’s really keeping them apart is the script. C —Owen Gleiberman
Mud, PG-13, 2 HRS., 10 MINS.
Matthew McConaughey is charismatic and loose as an Arkansas fugitive aided by two teenage boys in Jeff Nichols’ leisurely life-on-the-river coming-of-age story. B+ —Chris Nashawaty
Oblivion, PG-13, 2 HRS., 5 MINS.
Tom Cruise is essentially the last man on earth in this postapocalyptic mash-up of older, better sci-fi brainteasers. C+ —Chris Nashawaty
An Oversimplification of Her Beauty, Not Rated, 1 HR., 25 MINS.
Visually this is a great peyote trip of a movie, bursting with brightly colored animation and stop-motion sequences. If only the live-action part were as compelling: Director Terence Nance and his costar Namik Minter play themselves, retelling the ups and downs of their relationship. Somehow the film is both heartfelt and pretentious. But isn’t that how you are when you’re young and in love? B —Melissa Maerz
Pain & Gain, R, 2 HRS., 9 MINS.
Shock-and-awe auteur Michael Bay lightens up with a true-crime comic caper about three gym rats hatching a lame-brain kidnap plot in sun-soaked ’90s Miami. B —Chris Nashawaty
The Reluctant Fundamentalist, R, 2 HRS., 8 MINS.
In Mira Nair’s remarkable drama, a young Pakistani (Riz Ahmed) gets radicalized against the U.S. after 9/11. (Also available on VOD) A- —Owen Gleiberman
New Release: Scatter My Ashes at Bergdorf’s, PG-13, 1 HR., 33 MINS.
A who’s who of high fashion swings by to blow air-kisses at New York’s legendarily luxe department store Bergdorf Goodman in Matthew Miele’s slick documentary. Michael Kors dishes up a funny anecdote about Liz Taylor custom-ordering 200 pairs of white mink earmuffs, but the rest of the film has the breathless hype of a press release. B- —Chris Nashawaty
New Release: Something in the Air, Not Rated, 2 HRS., 2 MINS.
Set in Paris in 1971, Olivier Assayas’ drama follows Gilles (Clément Métayer) and his leftist high school friends as they vandalize property and spray revolutionary graffiti — all without any real idea that their ”radical” stance is just a bourgeois conceit. The social critique is sharp, the characters less so. (Available on VOD 5/9) B —Owen Gleiberman
New Release: The Source Family, Not Rated, 1 HR., 38 MINS.
If Jim Baker didn’t exist, hippies would have invented him. The subject of this gripping doc started a health-food restaurant in L.A. during the late ’60s (where he served Marlon Brando and John Lennon), lived on a commune with his 13 wives, and played in a psych-rock band. It’s fascinating to watch how his daisy-chain utopianism planted the seeds of its own destruction before the Me Decade killed it for good. (Available on VOD 5/21) B+ —Melissa Maerz
Sun Don’t Shine, Not Rated, 1 HR., 20 MINS.
The less you know about this feature directorial debut from indie actress Amy Seimetz, the better. A young couple (Kate Lyn Sheil and Kentucker Audley) are driving to the Everglades, but the rest is unclear. Is the guy taking the woman hostage? Or is something even more complicated going on? There’s a great Badlands vibe as the truth is revealed, with a captivating performance by Sheil and a final line that haunts you long after the credits roll. (Also available on VOD) A —Melissa Maerz