Movies » Movie Reviews & Stories

Opening in Orlando: ‘Ender’s Game,’ ‘Free Birds,’ ‘Last Vegas’

Movies playing in Orlando theaters this week

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'Ender’s Game'
  • 'Ender’s Game'

Ender’s Game This is one of those weekends that splits society right down the middle. Sci-fi fans who aren’t afraid of a little controversy will be seeing the big-screen adaptation of Orson Scott Card’s novel about a young warrior conscripted to save Earth from alien predators. Meanwhile, everybody who doesn’t harbor a genocidal loathing of homosexuals is going bowling! (PG-13) – Steve Schneider

Free Birds Having had his ass handed to him after trying to break into live action with Jonah Hex, director Jimmy Hayward heads back to the animated realm that served him so well in Horton Hears a Who. Hayward’s latest has a bunch of turkeys traveling back in time to make sure their kind never become the traditional Thanksgiving bill of fare. You just knew this would happen if that pardon-happy appeaser Obama had his way. (PG) – SS

Last Vegas Finally ready to tie the knot with his much younger, dangerously bipolar girlfriend, Michael Douglas heads for Vegas in the company of his old buddies Papa Focker, President Dave and Black God. Together, they rediscover their vanished youth by all getting tongue cancer together from protracted cunnilingus. Don’t you love it when art imitates life? (PG-13) – SS

Also playing

The Fifth Estate Much like WikiLeaks – the organization whose story it’s telling – The Fifth Estate is an interesting and often revelatory suspense-drama that almost collapses under its own weight, thanks to its unorganized, unfocused and jumbled structure. Based on the tell-all book by Julian Assange’s second-in-command, Daniel Domscheit-Berg, the movie relays as much of the news organization’s story as it can in 128 minutes, from the early days of reporting on corruption in a Swiss bank to the earthshaking 2010 revelations about the Afghanistan War. Along the way, we learn about the website’s news-gathering process and the battle between traditional media and this new brand of journalistic anarchy. But director Bill Condon seems so intent on re-creating the frenzied feel of the events that he adopts an equally busy style of filmmaking, complete with frenetic, ADD cinematography and ephemeral supporting characters. Like Assange, he wasn’t about to redact any of his ideas. (R) – Cameron Meier

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