Movie Listings for Aug. 12-18

Joan Crawford plays a wealthy playwright in David Miller’s 1952 suspense film “Sudden Fear,” playing at Film Forum through Thursday. See listing below.

Joan Crawford plays a wealthy playwright in David Miller’s 1952 suspense film “Sudden Fear,” playing at Film Forum through Thursday. See listing below.

‘ABSOLUTELY FABULOUS: THE MOVIE’ (R, 1:26) Thoroughly unnecessary and thoroughly enjoyable, this self-conscious goof brings Eddy (Jennifer Saunders) and Patsy (Joanna Lumley) to the big screen in what is effectively a feature-length episode of the BBC TV series. (Manohla Dargis)

‘AN ART THAT NATURE MAKES: THE WORK OF ROSAMOND PURCELL’ (No rating, 1:15) Molly Bernstein’s documentary is an illuminating portrait of a photographer who specializes in still lifes, capturing the uncanny beauty of death and decay. (A.O. Scott)

‘BAD MOMS’ (R, 1:41) Mila Kunis, Kristen Bell and a wonderful Kathryn Hahn head up a funny, mostly female cast in a giddy, sentimental laugh-in about (not remotely) bad moms from Jon Lucas and Scott Moore, who wrote “The Hangover.” (Dargis)

‘BAZODEE’ (PG-13 1:41) “Bazodee” is Trinidadian slang for being disoriented or dizzy, possibly because of romance. And you might go bazodee over the contagious soca beat set by the singer and heartthrob Machel Montano in this fluffy, candy-colored romance directed by Todd Kessler. (Helen T. Verongos)

‘THE BROOKLYN BANKER’ (R, 1:35) It’s 1973, and Santo (Troy Garity), a young man with a head for numbers, has managed to evade the mob ties that entangle the neighborhood. At least until his father-in-law takes him to the boss (David Proval), who needs a favor. Federico Castelluccio’s minor entry in the genre employs several alumni of “The Sopranos” in a slight film that also pays homage to “Mean Streets” but fails to make much of an impression. To run with a tough crowd, you’ve got to make a statement. (Daniel M. Gold)

‘CAFÉ SOCIETY’ (PG-13, 1:36) Woody Allen wanders back into the worlds of 1930s Hollywood and New York, patching together an intermittently amusing, visually elegant collage of familiar themes. Steve Carell is a powerful movie agent, Jesse Eisenberg is his ambitious nephew from the Bronx, and Kristen Stewart is the young woman they both love. She’s too good for either one of them, and also for this tired movie. (Scott)

★ ‘CAPTAIN FANTASTIC’ (R, 1:59) Viggo Mortensen stars in this pleasurably freewheeling movie about a young family who leave the radical isolation of their Oregon home and go back on the grid. The writer and director Matt Ross takes both his characters and his audience seriously. (Dargis)

★ ‘DON’T THINK TWICE’ (R, 1:32) Mike Birbiglia’s acutely observed study of a struggling six-member New York improv group that has to come to terms with the ascent of one of its members to television stardom could have been a much nastier movie. But its portraits of disappointed show business hopefuls dreading their expiration dates make no bones about their insecurities, and the ensemble acting is first-rate. (Stephen Holden)

★ ‘EQUITY’ (R, 1:40) This tightly wound boardroom thriller, directed by Meera Menon from a script by Amy Fox, casts a furious, unsentimental eye on the challenges facing women in and around the financial industry. Anna Gunn is excellent as an investment banker bumping her head on the glass ceiling as a younger colleague (Sarah Meghan Thomas) and an old friend (Alysia Reiner) pursue their own complicated career agendas. (Scott)

★ ‘FINDING DORY’ (PG, 1:43) While it lacks the technical dazzle and emotional sweep of “Finding Nemo” and other Pixar masterpieces, this sequel, with Ellen DeGeneres as the voice of an absent-minded blue tang, is a warm, lively and inclusive piece of summer entertainment. Ed O’Neill almost runs away with it as a grumpy, helpful seven-armed octopus named Hank. (Scott)

‘GHOSTBUSTERS’ (PG-13, 1:36) Kate McKinnon’s magnificent, eccentric turn embodies Paul Feig’s reboot at its best. Girls rule; women are funny; get over it. With Leslie Jones, Melissa McCarthy and Kristen Wiig. (Dargis)

‘HIERONYMUS BOSCH: TOUCHED BY THE DEVIL’ (No rating, 1:29, in English, Dutch and Spanish) In Pieter van Huystee’s documentary there is a bizarre, almost comical disconnect between the artworks assembled for a historic exhibition and the fuss surrounding its preparation. Teeming with demons and images of hell, the phantasmagoric paintings seen in the film are remarkably powerful, but too much of the movie shows prim archivists equipped with the latest technology poring over his works to determine their authenticity. (Holden)

★ ‘HUNT FOR THE WILDERPEOPLE’ (PG-13, 1:41) In this charming, funny movie about a lost kid and a crusty geezer (a perfect Sam Neill), the New Zealander director Taika Waititi takes some familiar story types and strips them of cliché. (Dargis)

‘ICE AGE: COLLISION COURSE’ (PG, 1:34) This computer-animated franchise with wisecracking woolly mammoths and a manic squirrel sputters through its latest installment in a particularly uninspired fashion. (Glenn Kenny)

★ ‘INDIGNATION’ (R, 1:50) This loving screen adaptation of Philip Roth’s 2008 novel about his college years in the early 1950s might be dismissed as a small, exquisite period piece, but it is so precisely rendered that it gets deep under your skin. There are a lot of words, and every word counts. You feel the social pressures bearing down on characters who, in accordance with the reticence of the times, tend to withhold their emotions and suffer in silence. (Holden)

★ ‘THE INFILTRATOR’ (R, 2:07) In some ways, Bryan Cranston’s character in “The Infiltrator” is an alternate version of Walter White, the good-guy-turned-rotten he portrayed so magnetically in “Breaking Bad.” This seedy, drug-soaked thriller is based on a memoir by Robert Mazur (Mr. Cranston), an undercover cop who in 1986 posed as a high-rolling money launderer in a sting operation against Pablo Escobar’s Colombian drug cartel. Unlike Walter, Robert is a good guy who remains good when faced with temptation. (Holden)

★ ‘THE INNOCENTS’ (PG-13, 1:55, in French and Polish) Much of Anne Fontaine’s blistering film, set within the walls of a Polish convent in December 1945, just after the end of World War II, is based on true events recalled by a French doctor (Lou de Laâge) stationed at a nearby Red Cross hospital. Summoned to the convent, she discovers pregnant nuns who were serially raped by Soviet soldiers and supervises the deliveries of their babies. Until its too soft ending, “The Innocents” is a hair-raising evocation of unspeakable barbarity. (Holden)

‘JASON BOURNE’ (PG-13, 2:03) In which everybody’s favorite amnesiac super-assassin endures an on-the-job Generation X midlife crisis, caught between a cranky boomer boss (Tommy Lee Jones) and a tech-savvy, careerist millennial (Alicia Vikander). (Scott)

‘THE LEGEND OF TARZAN’ (PG-13, 1:49) The filmmakers behind this enjoyable romp have given Tarzan (Alexander Skarsgard) a thoughtful, imperfect makeover, which must have been tough, given the origin story’s white supremacy problems. Samuel L. Jackson co-stars as a crusader based on a real human rights activist. (Dargis)

‘LIGHTS OUT’ (PG-13, 1:21) Whipping up an eerie blend of haunted-house thriller and supernatural-stalker story, the Swedish director David F. Sandberg extracts maximum frights from the simplest of conceits: an entity that materializes in darkness and vanishes in light. (Jeannette Catsoulis)

★ ‘LITTLE MEN’ (PG, 1:25) Ira Sachs’s latest film is a subtle and quietly wrenching story of friendship and gentrification, in which two Brooklyn boys (Theo Taplitz and Michael Barbieri) are ensnared in the banality and selfishness of grown-up business. (Scott)

★ ‘THE LITTLE PRINCE’ (PG, 1:48) The masterstroke of “The Little Prince,” Mark Osborne’s re-imagining of Antoine de Saint-Exupéry’s 1943 children’s classic, is its side-by-side use of two styles of animation. Today’s cold, corporate world, in which gray-faced hunched-over adults grimly slog through life, is depicted in severe, rectilinear computer graphics. The magical universe of Saint-Exupéry’s wistful poetic novella is rendered in stop-motion animation. The film is really a movie within a movie, in which the author’s delicate, fanciful story is folded into a harsh modernist fable about depersonalization and conformity in the contemporary workplace. (Holden)

★ ‘THE LOBSTER’ (R, 1:59) Colin Farrell and Rachel Weisz star in Yorgos Lanthimos’s mordant allegory of managed emotion and mandatory monogamy, set in a chilly, plausibly cruel imaginary world. (Scott)

★ ‘LOVE & FRIENDSHIP’ (PG, 1:32) Whit Stillman takes a minor Jane Austen work and whips it up into a sharp, silly farce, starring Kate Beckinsale as Lady Susan Vernon, a Regency schemer on the prowl for money and husbands, some of whom already have wives. (Scott)

★ ‘MAGGIE’S PLAN’ (R, 1:38) Rebecca Miller’s new film is a sharp, genial comedy about Maggie, a young New Yorker (Greta Gerwig) who falls in love and starts a family with an older man (Ethan Hawke), after which things get complicated. Ms. Miller’s ear for emotional foibles is acute, and the cast is in good form, in particular Julianne Moore as Maggie’s rival, a Danish professor. (Scott)

‘MISS SHARON JONES!’ (No rating, 1:33) Barbara Kopple’s moving, no-nonsense profile of the soul-singing firecracker Sharon Jones focuses less on performance than on the grit that supported Ms. Jones through her 2013 treatment for pancreatic cancer, giving insight into a personality toughened too young and still burdened by the financial needs of too many. (Catsoulis)

‘MULTIPLE MANIACS’ (NC-17, 1:31) When John Waters released this scathing, sloppy satire in 1970, it was condemned as indecent — and some scenes are still shocking in a comical sort of way. A new restoration by the Criterion Collection is must viewing for Waters fans, because the actors who populated his later, better-known works are all here. Chief among them is Divine, who in a memorable scene is raped by a giant lobster. (Neil Genzlinger)

‘NERVE’ (PG-13, 1:36) Adapting Jeanne Ryan’s 2012 young-adult novel about two teenagers (Emma Roberts and Dave Franco) caught in a dangerous internet game, Henry Joost and Ariel Schulman concoct a movie that amounts to little more than a string of flashy stunts before it fizzles to a contrived close. (Catsoulis)

‘NINE LIVES’ (PG, 1:27) “The Shaggy Dog” done with a cat, and with far less wit. Kevin Spacey is a too-busy father who finds himself in the body of a cat so he can see his family from a different perspective. Christopher Walken plays the owner of the pivotal pet shop, but his presence doesn’t help enliven this lifeless yarn. (Genzlinger)

‘THE SECRET LIFE OF PETS’ (PG, 1:26) From the studio that unleashed the Minions on the world, this talking-animal, celebrity-voiced animated caper falls somewhere in the middle of the spectrum between cat’s meow and utter dog. (Scott)

‘STAR TREK BEYOND’ (PG-13, 2:00) Not really “beyond” anything, but directed with reasonable flair by Justin Lin and inhabited by the reliably appealing crew of the rebooted Enterprise, with the welcome additions of Idris Elba as the bad guy and Sofia Boutella as a traveler stranded on a remote planet. (Scott)

‘SUICIDE SQUAD’ (PG-13, 2:02) A loud and tedious introduction to a band of misfit superheroes, somewhat redeemed by the performances of Will Smith and Viola Davis. (Scott)

★ ‘TRAIN TO BUSAN’ (No rating, 1:58) Agile cinematography and hurtling action — with a side helping of class warfare — propel Yeon Sang-ho’s public-transportation horror movie as elite passengers on a South Korean bullet train face a twitching, hissing threat from the cheap seats. (Catsoulis)

★ ‘THE WAILING’ (No rating, 2:36) The audacious Korean director Na Hong-jin’s new movie is an expansive and sometimes excruciating horror tale. Xenophobia and possible demonic possession are among several story ingredients that boil up to a terrifying brew over the movie’s more than two-hour running time. (Kenny)

★ ‘WEINER’ (R, 1:40) “What’s wrong with you?” That question, posed to the disgraced New York City mayoral candidate Anthony Weiner in the infuriating and depressing but rivetingly watchable documentary that bears his name, is never answered and only barely addressed in the film directed by Josh Kriegman (a former Weiner aide) and Elyse Steinberg. As almost everyone knows, Mr. Weiner’s meteoric political career was ended — or at least interrupted — by a sexting scandal in which Mr. Weiner flirted with and exhibited himself to women online. The movie is also the portrait of a marriage in disarray. His wife, Huma Abedin, a trusted assistant to Hillary Clinton, is present in much of the film, ready to stand by her man but clearly unhappy. (Holden)

Film Series

ECSTATIC TRUTHS: DOCUMENTARIES BY HERZOG (through Thursday) A side effect of Werner Herzog’s emergence as a pop-culture celebrity is that it has drawn attention to his career-long work as a documentarian and globe-trotting adventurer. IFC Center can hardly cover all of his nonfiction movies in just one week, but this retrospective does offer a sense of the range of his interests, and it includes some earlier movies, like “Fata Morgana” (Friday), which verges on the purely abstract. Mr. Herzog’s most entertaining documentary may be “My Best Fiend” (Saturday), his remembrance of his combative friendship with Klaus Kinski, his five-time leading man, whose tantrums on the sets of “Aguirre, the Wrath of God” and “Fitzcarraldo” made him as much a force of nature as the jungle. 323 Avenue of the Americas, at Third Street, Greenwich Village, 212-924-7771, ifccenter.com. (Ben Kenigsberg)

GAUMONT: CINÉMA POUR TOUT LE MONDE (through Sept. 7) The Gaumont studio is one of the great constants of French cinema, as dependable as the Eiffel Tower or steak frites. Although this series celebrates the production company’s 120-year history with some favorites from the canon — including Max Ophüls’s “The Earrings of Madame de …” — it makes room for titles that are relatively disreputable or ripe for reappraisal, like Joseph Losey’s 1982 feature “The Trout” (Saturday), starring a young Isabelle Huppert in a role originally intended for Brigitte Bardot. It also showcases the company’s continuing importance with newer films like Mélanie Laurent’s “Breathe” (Wednesday and Aug. 21), a chronicle of a teenage friendship that turns obsessive and suffocating. Museum of Modern Art, Roy and Niuta Titus Theaters, 11 West 53rd Street, 212-708-9400, moma.org. (Kenigsberg)

SEE IT BIG! THE 70MM SHOW (through Sept. 4) A 70-millimeter film print has a larger image area than a 35-millimeter print, which means it captures more detail; the format has a vibrancy and richness that makes just about any other type of projection seem puny by comparison. In recent years, “The Master” and “The Hateful Eight” have helped revive interest in the medium, which is effectively obsolete. This retrospective brings back fat-celluloid favorites like “2001: A Space Odyssey” and Kenneth Branagh’s 1996 “Hamlet” (Sept. 2 through 4), both of which show the technology at its most imposing. But some of the other titles are unlikely to come around again for years. These include “Star!” (Aug. 27 and 28), Robert Wise and Julie Andrews’s maligned follow-up to “The Sound of Music”; the Rolling Stones concert film “Let’s Spend the Night Together” (Aug. 26 and 28); and “Khartoum,” from 1966, the last feature to use the extra-wide Ultra Panavision 70 format until “The Hateful Eight” in 2015. Museum of the Moving Image, 35th Avenue at 37th Street, Astoria, Queens, 718-784-0077, movingimage.us. (Kenigsberg)

SHALL WE PLAY A GAME? (through Thursday) The Metrograph opened in March with much fanfare and abundant promise. Yet five months in, the theater has chosen to revive “The Wizard” (Sunday), a 1989 Fred Savage movie best known for its undisguised attempts to hawk the Nintendo Power Glove and Super Mario Bros. 3. Exploring turf far from the traditional realm of the art house, this weeklong series looks at the ways that movies have tackled the subject of video games. Some of the titles, such as “Tron” (Saturday) or “eXistenZ” (Sunday), have proved influential in design or ideas; others, like “Resident Evil” (Tuesday), have cult followings. And still others are, well, “Super Mario Bros.” (Sunday), the 1993 live-action feature that cast Bob Hoskins and John Leguizamo as the superhero plumbers and Dennis Hopper as King Koopa. 7 Ludlow Street, near Canal Street, Lower East Side, 212-660-0312, metrograph.com. (Kenigsberg)

‘SUDDEN FEAR’ (through Thursday) A wealthy playwright (Joan Crawford) has her new production’s leading man (Jack Palance) fired because he isn’t handsome enough for the role. But when the two meet again on a train bound for California, he doesn’t take long to reveal his romantic side. Soon after they arrive in San Francisco, they marry. And then — best not to spoil too much, but the irrepressible Gloria Grahame puts in an appearance. David Miller’s 1952 suspense film is hardly a rival to Alfred Hitchcock’s similar “Suspicion,” but it has its charms, including great location work, some expressionist interludes that capture the Crawford character’s mental state and an ingeniously convoluted climax. On Sunday at 12:30 p.m., Film Forum is also showing a bill of Crawford’s home movies. 209 West Houston Street, west of Avenue of the Americas, South Village, 212-727-8110, filmforum.org. (Kenigsberg)