A guide to movies playing at theaters in the New York City area, as well as select festivals and film series.

Ratings and running times are in parentheses; foreign films have English subtitles. Full reviews of all current releases: nytimes.com/movies.

★ 'April and the Extraordinary World' (PG, 1:45) A tricky, eccentric, visually ravishing alternative-history animated sci-fi film from France. Marion Cotillard voices the title heroine, an intense young woman trying to find out who is abducting the great scientists of early-20th-century Europe. (Glenn Kenny)

★ 'Barbershop: The Next Cut' (PG-13, 1:52) Ice Cube returns as Calvin Palmer, whose Chicago haircutting establishment is once again the scene of much sexual, political and race-conscious banter. In this reprise of the popular comic franchise, directed by Malcolm D. Lee, the high spirits are shadowed by violence and anxiety, and the blend of comedy and social consciousness is unusually potent. With Common, Nicki Minaj and, of course, Cedric the Entertainer. (A.O. Scott)

'Batman v Superman: Dawn of Justice' (PG-13, 2:31) They fight. You lose. (Scott)

'Being Charlie' (No rating, 1:37) This rehab movie's refusal to abandon commercial formulas and examine its characters' inner lives suggests something about the director, Rob Reiner. His years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. (Stephen Holden)

★ 'A Bigger Splash' (R, 2:04) Tilda Swinton stars in Luca Guadagnino's seductive, reluctant thriller about a rock star, her lover, her former lover and a pretty young thing vacationing under the beautiful Italian sun. Bad things happen, because, you know, life is pain — in the meantime, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. (Manohla Dargis)

★ 'Born to Be Blue' (No rating, 1:38) In this moody biographical fantasia, Ethan Hawke gives what is arguably his deepest performance, playing the self-destructive jazz trumpeter and singer Chet Baker, who died in 1988 following years of heroin addiction. The portrait he creates is of a wounded boy genius who lives for only two things: his trumpet and his drugs. As a young man, Baker was movie-star beautiful ("the James Dean of jazz," some called him) and the romantic fantasy of scores of women, powerfully embodied by Carmen Ejogo as a fictional composite named Jane. (Holden)

'The Boss' (R, 1:39) In her new laugh-in, Melissa McCarthy plays an investment guru with a motivational racket who ends up selling you-go-girl inspiration. The movie isn't much good, but Ms. McCarthy can't help but make you laugh. (Dargis)

'Captain America: Civil War' (PG-13, 2:27) More of a collegial misunderstanding, really, but this episode in the lavish workplace sitcom known as the Marvel Cinematic Universe, in which the Captain (Chris Evans) and Iron Man (Robert Downey Jr.) quarrel about United Nations policy, does have some amusing banter and a few entertaining superhero brawls. (Scott)

'Criminal' (R, 1:53) Kevin Costner gets to show off his collection of tics and other eccentricities in this slick thriller. He plays a convict who is on the receiving end of a neural transplant, a radical procedure the C.I.A. authorizes in an effort to preserve the information in the head of one of its operatives who has been killed. It's all pretty ridiculous, and the ending goes overboard, but Mr. Costner keeps it entertaining. (Neil Genzlinger)

★ 'Dark Horse' (PG, 1:26) This thoroughly disarming documentary about an unlikely racehorse and the forgotten Welsh village that raised it wallows in its working-class roots with cheery oral testimonies and a sincerity that dares you to roll your eyes. (Jeannette Catsoulis)

'Deadpool' (R, 1:48) Jokes and bullets are tossed like confetti in "Deadpool," a feverishly eager-to-please comic-book movie about a supervillain (Ryan Reynolds) who suits up like a superhero. Bang, boom, splatter. (Dargis)

★ 'Dheepan' (R, 1:49, in French) A former Tamil Tiger militant finds asylum in a French housing project in this film by Jacques Audiard ("Rust and Bone," "A Prophet"), which is both an exercise in topical realism and a tense, western-tinged action drama. (Scott)

'Dough' (No rating, 1:34) All sorts of bridges are built in this pat but pleasant film about an aging Jewish baker who takes on a young Muslim apprentice and sees business boom after marijuana finds its way into the dough. Racial, religious and generational stereotypes are overcome, mutual respect is earned, and traditions are preserved. Yeah, it's fiction. (Genzlinger)

'Elvis & Nixon' (R, 1:27) Michael Shannon stars as Elvis in Liza Johnson's recreation of the 1970 meeting that the King had with President Nixon (Kevin Spacey). Mr. Shannon's casting makes no sense until you realize that he's the only one that you're paying attention to. (Dargis)

★ 'Embrace of the Serpent' (Not rated, 2:05) This majestic, spellbinding film is a tragic cinematic elegy for vanished indigenous civilizations in the Amazon jungle. Viewed largely through the aggrieved eyes of a shaman whose tribe is on the verge of extinction at the hands of Colombian rubber barons in the 19th and 20th centuries, this complicated mixture of myth and historical reality shatters lingering illusions of first-world culture as more advanced than any other, except technologically. (Holden)

★ 'Eva Hesse' (No rating, 1:48) Marcie Begleiter's documentary is a conscientious and moving portrait of the German-born American painter and sculptor, who died in 1970 at 34. Full of arresting images of her work and revealing interviews with friends and colleagues, it is also enriched by generous excerpts from Hesse's letters and diaries. (Scott)

★ 'Everybody Wants Some!!' (R, 1:56) The last weekend before the start of classes at a Texas college in the fall of 1980. Weed is smoked, beer is drunk, skirts are chased. This rambling, nostalgic excursion, courtesy of Richard Linklater, is sweet and wholesome and surprisingly absorbing, given how little of consequence seems to happen. (Scott)

★ 'Eye in the Sky' (R, 1:42) This suspenseful film about an American drone attack on a terrorist meeting place in Nairobi, Kenya, is grim farce in which unpredictable human behavior repeatedly threatens an operation of astounding technological sophistication. Helen Mirren, in one of her fiercest screen performances, plays the chilly officer in charge of an operation to capture a radicalized Englishwoman she has been pursuing for years. But as the moment of capture arrives, her plans abruptly change when a cyborg beetle, a small surveillance device, reveals two inhabitants strapping on explosives for a suicide mission. (Holden)

'The Family Fang' (R, 1:47) Jason Bateman (who also directed) and Nicole Kidman star as the struggling children of self-serving performance artists (Christopher Walken and Maryann Plunkett). After an unexpected family reunion, the kids finally try to grow up. (Dargis)

'The First Monday in May' (PG-13, 1:30) The Metropolitan Museum of Art teams up with Anna Wintour for a costume exhibit and benefit gala. Andrew Rossi's film is a very controlled peek behind the scenes that could have used more visual splendor and more genuine candor. (Kenny)

'Green Room' (R, 1:35) A punk band on a hand-to-mouth tour of the Northwest falls afoul of a gang of white supremacists in this nasty, witty siege movie, craftily directed by Jeremy Saulnier ("Blue Ruin.") Anton Yelchin, Alia Shawkat and Imogen Poots are all good, but Sir Patrick Stewart steals the movie as a menacing skinhead graybeard. (Scott)

'Hello, My Name Is Doris' (R, 1:30) An irresistible, stealthily touching Sally Field plays an outwardly ridiculous woman in her 60s who falls in love with a much younger man (Max Greenfield). The director Michael Showalter oversells the goods, but resistance is futile. (Dargis)

'A Hologram for the King' (No rating, 1:37) This film ponders a modern world in the thrall of illusions. Of what essential use a holographic teleconferencing system is, we are never told. In their semi-reality, the King's Metropolis of Economy and Trade and the ghostly holograms being sold might just as well be a desert mirage. Tom Hanks's performance elevates an ominous downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. (Holden)

'The Huntsman: Winter's War' (PG-13, 1:48) Maybe not the worst movie of the year, but an impressive anthology of all the ways a movie can be bad in an age of soulless franchise entertainment. With Chris Hemsworth in the title role, and a lot of other people we can look forward to seeing in other projects. (Scott)

'The Jungle Book' (PG, 1:46) Stuffed with computer-generated flora and fauna (a real boy plays Mowgli), Disney's latest take on the Rudyard Kipling tales is being touted as a live-action movie but there's scarcely anything alive in it. The whole thing is lightly diverting, and canned. (Dargis)

'Keanu' (R, 1:40) In the first movie to showcase Keegan-Michael Key and Jordan Peele together, they play a couple of regular guys who infiltrate the underworld to rescue a kitten; unfortunately they forget to bring along the big laughs. (Dargis)

'London Has Fallen' (R, 1:39) In this sequel to "Olympus Has Fallen," the president of the United States once again is snatched by terrorists, and only his favorite Secret Service agent can save the day. It's dumb and uninvolving, a collection of ugly sentiments served via clumsy dialogue. (Genzlinger)

'The Man Who Knew Infinity' (PG-13, 1:48) Dev Patel (the "Best Exotic Marigold Hotel" movies) plays yet another earnest, well-meaning character in this portrait of the early-20th-century mathematician Srinivasa Ramanujan, who was mentored by the Cambridge professor G. H. Hardy (Jeremy Irons) and surmounted racism to become the first Indian to hold a fellowship at Trinity College. The film is tidy, handsome and, yes, earnest. (Webster)

★ 'The Meddler' (PG-13, 1:40) Susan Sarandon plays one half of an insistently winning, hopelessly irresistible mother-daughter duet (Rose Byrne plays the daughter) in Lorene Scafaria's enjoyable, touching comedy. Cecily Strong and J.K. Simmons co-star. (Dargis)

'Midnight Special' (PG-13, 1:51) The latest from Jeff Nichols ("Mud," "Take Shelter") is a lean and tense genre puzzle — a backwoods crime thriller that's also a heady science-fiction allegory. Michael Shannon and Kirsten Dunst give it emotional weight, playing the protective parents of an exceptional child. (Scott)

★ 'Miles Ahead' (R, 1:40) In this pleasurably impressionistic movie, Don Cheadle plays Miles Davis as a mercurial fantasy figure who's part boxer, part gangster, part time-traveler and 100 percent enigmatic genius. Purists may howl at the portrait, but Mr. Cheadle – who also directed and cowrote – understands that some legends are bigger than any one telling. (Dargis)

'Mothers and Daughters' (PG-13, 1:30) Recognizable names like Susan Sarandon, Christina Ricci and Courteney Cox turn up in this drama made up of interlocking stories involving mothers and daughters, and it's full of heart-to-heart conversations earnestly delivered. But those conversations come out of nowhere, because the film doesn't have the time or patience to lay the kind of groundwork that fleshes out characters and makes you care about them. (Genzlinger)

'Mother's Day' (PG-13, 1:58) Julia Roberts, Jennifer Aniston, Kate Hudson and Jason Sudeikis do director Garry Marshall's uninspired bidding in this not-at-all opportunistic holiday-themed "comedy." While it's still in theaters, you can see it as the filmmakers intended, that is, with your brain turned off. (Kenny)

'My Big Fat Greek Wedding 2' (PG-13, 1:34) A washed-out recycling of ethnic clichés and exhausted jokes, Kirk Jones's embarrassingly awful sequel returns us to the smothering bosom of the Portokalos family — a yapping clan of upraised shoulders and upturned palms. (Catsoulis)

'Papa: Hemingway in Cuba' (R, 1:46) Based on an autobiographical screenplay and shot at Finca Vigía, the author's home near Havana, this film by Bob Yari bristles with authentic detail, down to the very typewriter Ernest Hemingway used. But in the end, with a less-than-powerful actor dispatching that author's thunderbolts of emotion, the film is more artifact than art. (Helen Verongos)

'Ratchet & Clank' (PG, 1:34) This computer-animated adaptation of a successful video game offers minimal wit and a dearth of ideas, despite formidable names (Paul Giamatti, Rosario Dawson) in its voice cast. What it has is a lot of product to sell. (Andy Webster)

'Sing Street' (PG-13, 1:45) John Carney, best known for "Once," is a filmmaker with many songs in his heart and his heart on his sleeve. This sweet, rough-edged romance, set in Dublin in the 1980s, stars Ferdia Walsh-Peelo as a teenager who starts a pop band to impress a girl (Lucy Boynton). (Scott)

★ 'Tale of Tales' (No rating, 2:13) Weaving the wondrous into the everyday, Matteo Garrone's adaptation of three 17th-century Neapolitan fables braids magic and familiar fairy-tale characters (among them an imperiled princess, an ogre and two ugly sisters) into a colorful and kinky exploration of what women want. (Catsoulis)

★ '10 Cloverfield Lane' (PG-13, 1:46) Sneakily tweaking our fears of terrorism, Dan Trachtenberg's tale of a captive girl (Mary Elizabeth Winstead), her dour jailer (John Goodman) and whatever is lurking outside their shelter is a master class on narrative pacing and carefully managed jolts. (Catsoulis)

★ 'Viva' (R, 1:40) An exhilarating hybrid of social realism and feel-good aspirational entertainment, Paddy Breathnach's "Viva" is an oddity by its very pedigree: an Irish movie set in Havana, where it was filmed with a keen eye to that city's dinginess in tropical light. Its hero, Jesus (Héctor Medina), is a gay hairdresser who dreams of becoming a drag entertainer at a nightclub. The film infuses a too-familiar story with so much heart that you forgive it for retracing a well-worn path. (Holden)

★ 'The Witch' (R, 1:32) This finely calibrated shiver of a movie from Robert Eggers follows a Puritan family that, in 1630, sets off to live alone in the New England wilderness. Something wicked this way comes. (Dargis)

★ 'Zootopia' (PG, 1:48) This smart, funny animated film from Disney tells the story of a determined bunny named Judy Hopps who wants to become the first of her kind to be a police officer in Zootopia, a metropolis where animals live and work together, having set aside their genetic tendencies to eat one another. There are witty jokes for all ages and messages about inclusion and intolerance that are more nuanced than in most such fare. (Genzlinger)

Film Series

'Black Girl' (Wednesday through May 24) One of the most internationally acclaimed African movies of its time, the Senegalese filmmaker Ousmane Sembène's classic gets a new restoration for its 50th anniversary. Mbissine Thérèse Diop stars as a woman from Dakar who takes a job as a maid and follows her employer back to the South of France. Instead of finding the glamour she expects, she experiences a form of domestic slavery — a toxic atmosphere in which she is chronically subject to menial tasks and patronizing remarks within earshot. And increasingly, she begins to fight back. Today it's difficult to imagine the shock that this landmark postcolonialist film may have been to the bourgeoisie, but it still packs a punch. BAM Rose Cinemas, 30 Lafayette Avenue, at Ashland Place, Fort Greene, Brooklyn, 718-636-4100, bam.org. (Ben Kenigsberg)

Noël Coward (Friday through Thursday) Who connects Ernst Lubitsch, Alfred Hitchcock, David Lean and Otto Preminger? The playwright, composer and actor Noël Coward's name may not be the first that comes to mind, but his wit left a mark on all four auteurs' careers. Coward's collaborations with Lean ("Brief Encounter," "Blithe Spirit") and Lubitsch ("Design for Living") are among both directors' most beloved films. And while the melodrama "Easy Virtue" may seem like an odd fit for Hitchcock, the director cited it in a 1962 interview with François Truffaut to illustrate the concept of suspense. Film Forum, 209 West Houston Street, Manhattan, 212-727-8110, filmforum.org. (Kenigsberg)

La Magnani (Wednesday through June 1) When the plain but full-throated actress Anna Magnani (1908-1973) appeared in Roberto Rossellini's "Rome Open City," in some ways she represented the ideal of Italian neorealism, a movement that found heroism in the everyday. Still, this program makes the case for her as much more than that. It showcases her collaborations with Luchino Visconti (the showbiz melodrama "Bellissima"), Pier Paolo Pasolini ("Mamma Roma") and Federico Fellini ("Fellini's Roma"), as well as her Oscar-winning performance in "The Rose Tattoo" (in a role that Tennessee Williams is said to have tailored to her when he wrote the stage version). Many of the movies are rare. Perhaps even rarer, the entire lineup will be shown on celluloid. At various times at the Elinor Bunin Munroe Film Center, 144 West 65th Street, and the Walter Reade Theater, Lincoln Center, 165 West 65th Street, 212-875-5601, filmlinc.org. (Kenig sberg)

Labor of Love: 100 Years of Movie Dates (through Tuesday) Moira Weigel, author of "Labor of Love: The Invention of Dating," a new book on the history of modern courtship, is a curator of this eclectic series about romance (and anti-romance) on screen. The lineup is not what you might expect; many of the selections would make terrible date movies. Alongside "You've Got Mail" and "Pretty Woman," expect such dark titles as the never-on-DVD "Looking for Mr. Goodbar," in which Diane Keaton plays a schoolteacher drawn to one-night stands, and William Friedkin's "Cruising," in which Al Pacino plays a cop posing as a member of New York's gay leather scene in order to catch a serial killer. A full schedule is at bam.org/film. BAM Rose Cinemas, 30 Lafayette Avenue, Brooklyn, 718-636-4100. (Kenigsberg)

Modern Matinees: Fifteen by Otto Preminger (through June 30) The Museum of Modern Art dusts off its collection of prints by the director Otto Preminger, who could infuse nearly any genre with a prickly ambiguity. Several of his greatest works ("Advise and Consent," "Bonjour Tristesse," "Bunny Lake Is Missing") will play alongside titles ripe for re-evaluation ("Daisy Kenyon"), although there are also notable omissions. (Where is "Anatomy of a Murder"?) The program includes "Laura," Preminger's sort-of ghost story from 1944, in which Dana Andrews, investigating a murder, begins to fall in love with the dead woman (Gene Tierney). Clifton Webb has a memorable turn as a newspaper columnist who writes "with a goose quill dipped in venom." 11 West 53rd Street, 212-708-9400; a full schedule is at moma.org/film. (Kenigsberg)

New York Indian Film Festival (through Saturday) This festival, presented by the Indo-American Arts Council and now in its 16th year, provides a survey of subcontinental cinema drawn largely from the last two years. The closing-night film is "Aligarh," which dramatizes the true story of a gay professor. The movie, which was met with praise when it opened in India, has been cited as an example of Bollywood's increasing open-mindedness in depictions of gay characters. The festival takes place at two locations in Manhattan: City Cinemas Village East Cinemas, 181-189 Second Avenue, and Skirball Center for the Performing Arts, 566 La Guardia Place. A full schedule is at iaac.us/NYIFF2016. (Kenigsberg)

Panorama Europe 2016 (through May 22) Presented by the European Union National Institutes for Culture, this grab bag of a festival stocks up on recent titles from all over the E.U. The offerings include documentary portraits of refugees and marginalized communities ("Lampedusa in Winter," "Spartacus & Cassandra") as well as genre fare like "The Lure," a tale of vampire mermaids who, after going ashore, find work in a Warsaw burlesque club. The festival will be held at two locations: Museum of the Moving Image, 35th Avenue at 37th Street, Queens; and Czech Center New York, Bohemian National Hall, 321 East 73rd Street, Manhattan. A full schedule is at movingimage.us/panoramaeurope. (Kenigsberg)

Universal Pictures: Restorations and Rediscoveries, 1928 to 1937 (Friday through June 15) The current climate of Hollywood studios' staking their bets on comic-book movies would probably have puzzled Carl Laemmle Jr., who became head of production at Universal when he was 21 and had a reputation for taking chances. The Museum of Modern Art is bringing back many of the most significant movies from this underscreened period; some of the titles have been out of circulation since then. The lineup includes work by John Ford ("Air Mail," Sunday and May 24) and Frank Borzage ("Little Man, What Now?," also on Sunday and May 24) as well as several films each from James Whale and John M. Stahl. The program opens on Friday with "King of Jazz" (1930), part of a brief boom of Technicolor musicals at the dawn of the sound era. After a herculean restoration effort, it will show in its full form in what is being billed as the first time since the 193 0s. 11 West 53rd Street, 212-708-9400, moma.org. (Kenigsberg)