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Movie capsules: Reviews of current movies

Rooney Mara and Channing Tatum star in “Side Effects,”

Barry Wetcher/open road films

Rooney Mara and Channing Tatum star in “Side Effects,”

New releases

½ 56 UP The latest installment of this groundbreaking documentary series represents a bit of a holding pattern. The 13 British men and women who have been filmed at seven-yearintervals since they were 7 are now in the space between middle age and old age, and they want us to know they’re not dead yet. Essential viewing nonetheless. (144 min., unrated) (Ty Burr)

Identity Thief All the good will Melissa McCarthy earned from “Bridesmaids” is undone in an obnoxious comedy made worse by obnoxious sentimentality. She’s a credit-card-fraud artist, Jason Bateman is her uptight victim, and the two hit the road together. Unfunny, vulgar, predictable, it’s the generic equivalent of a Judd Apatow movie. (108 min., R) (Ty Burr)

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Side Effects A sleekly clever murder mystery that plays as many games with the audience as it does with its characters. Rooney Mara and Channing Tatum play a married couple, Catherine Zeta-Jones and Jude Law play psychiatrists, somebody ends up dead. In the end, though, it’s just a genre exercise and evidence that director Steven Soderbergh is getting bored. (106 min., R) (Ty Burr)

Previously released

Amour A simple yet devastatingly profound story of an elderly French couple (Jean-

Louis Trintignant and Emmanuelle Riva) during the long, squalid months of the wife’s decline. Writer-director Michael Haneke (“Caché”) observes his subject with an unadorned style that takes on aspects of the holy. The movie avoids melodrama; instead, it’s just extraordinarily intimate. In French, with subtitles. (127 min., PG-13) (Ty Burr)

Gangster Squad Josh Brolin and Ryan Gosling head a secret crew of cops intent on bringing down crime boss Mickey Cohen (Sean Penn). This is almost like every popular movie about crooks and cops made in the last four decades, but it’s never enough like its own movie.
Director Ruben Fleischer gives it some flash and bang, but it inadequately substitutes for what you could be watching instead. (113 min., R ) (Wesley Morris)

The Oscar Nominated Short Films 2013: Animated and Live Action As advertised, the 10 films vying for Academy Awards in the animated and live action shorts categories. While there are few knockouts, it’s an impressive group, with “Paperman” the most charming of the animated shorts and “Henry” the most affecting of the live-action. (animated, 40 min.; live action, 96 min., unrated) (Ty Burr)

The Oscar Nominated Short Films 2013: Documentaries Homeless teens, women with breast cancer, Rwandan children in dire need of heart surgery — in theory, this year’s nominated shorts promise compassion fatigue. In practice, they’re inspiring in the toughest, most moving ways. “Inocente” is the standout, but they’re all good. In English, Spanish, Rwandan, Italian, with subtitles. (Program A, 123 min.; Program B, 83 min., unrated) (Ty Burr)

½ Quartet From first-time director Dustin Hoffman, a sweet-tempered, rather fuddly drama about retired British opera singers, less slick than the vaguely similar “Best Exotic Marigold Hotel” and better for it. Maggie Smith gets to go glam as a famous soprano who has lost her gift; Tom Courtenay, Billy Connolly, and Pauline Collins provide support. A minor treat. (98 min., PG-13) (Ty Burr)

Warm Bodies A zombie date flick that has its “Twilight” and makes fun of it too, thanks to a cheeky screenplay and tart direction by Jonathan Levine. Nicholas Hoult and Teresa Palmer play a zombie lad and a living girl who fall for each other after the apocalypse. It’s silly, often funny, and surprisingly sweet. (97 min., PG-13) (Ty Burr)

Find an archive of movie
reviews at www.boston.com/movies.
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