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Opening in Orlando

‘The Conjuring,’ R.I.P.D.,’ ‘Red 2’ and ‘Turbo’

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'The Conjuring'
  • 'The Conjuring'

The Conjuring “Isn’t this the same movie?” a guy next to me asked his girlfriend when our viewing of The Purge was preceded by back-to-back trailers for two haunted-house flicks, and both seemed to star Patrick Wilson as an embattled dad. Had they known that The Conjuring and Insidious: Chapter 2 were also both directed by James Wan, they really would have felt good and surreal. But according to erstwhile Orlando Weekly reviewer William Goss, the two films actually aren’t so similar: In The Conjuring, Wilson doesn’t play an embattled dad, but rather the advocate of an embattled dad. Thanks, William! Now we have to see both. (R) – Steve Schneider

R.I.P.D. Ubernerds know that this supernatural actioner is an adaptation of the Dark Horse comic about mismatched cops waging a secret war against the evil spirits who walk undetected among us. Everyone else knows it as “that Men in Black ripoff I’m not going to see.” (PG-13) – SS
Red 2 Speaking of the gulf between comics fans and normal people, how many of the mainstream moviegoers who made the old-fart spy caper Red a big enough hit to inspire a sequel know the series is based on a semi-obscure DC title? Extra credit: How many would have stayed away in droves had they known that it had anything in common with Jonah Hex? (PG-13) – SS

Turbo Every time I’ve seen the trailer for this 3-D cartoon about a snail with a yen to race, the biggest crowd reaction goes to voice artist Snoop Dogg/Lion’s line as a fellow gastropod who moves so fast that the rest of the world seems to be moving “in slow mo-o-otion, baby.” Yeah … I can think of one reason Snoop might assume the rest of us are on frame advance, and you don’t want to explain it to your kids. (PG) – SS

Also playing

The East The second collaboration between actress Brit Marling and director Zal Batmanglij pits anti-corporate militants against big-business security forces. What we get is a morally vague melodrama that lacks urgency – and an awkward romance that barely rises above YA fiction. More tragic: The depiction of the central crusaders as angry rich kids with daddy issues undermines its legitimate concerns about unchecked corporate greed. (PG-13) – Jeff Meyers

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