Steamboat Movie Times

Wildhorse Stadium Cinemas
655 Marketplace Plaza

Aug. 28 to Sept. 3

No Escape (R)
5:10 and 7:40 p.m. weekdays, 2:20, 5:10 and 7:40 p.m. Saturday and Sunday

American Ultra (R)
5:25, 7:50 p.m. weekdays, 2:30, 5:25 and 7:50 Saturday and Sunday

Hitman: Agent 47 (R)
5:35 8 p.m. weekdays, 2:40, 5:35 and 8 p.m. Saturday and Sunday

Mission: Impossible Rogue Nation (Pg-13)
7:30 p.m. weekdays, 2 and 7:30 p.m. Saturday and Sunday

Straight Outta Compton (R)
5 and 8:10 p.m. weekdays, 2:10, 5 and 8:10 p.m. Saturday and Sunday

The Man From U.N.C.L.E. (PG-13)
4:50 p.m. daily

Sinister 2 (R)
5:45 a.m. 8:20 p.m. Monday through Wednesday and Friday, 5:45 p.m. Thursday, 2:50, 5:45 and 8:20 p.m. Saturday and Sunday

The Transporter Refueled (Pg-13)
8:20 p.m. Thursday

Aug. 21 to Aug. 27

“Mission: Impossible - Rogue Nation” PG-13
4:40 and 7:40 p.m. Friday through Monday
4:40 p.m. ends Tuesday

“The Man from U.N.C.L.E.” PG-13
2, 5:20 and 7:30 p.m. Friday through Tuesday
5:20 and 7:30 p.m. Wednesday and Thursday

“American Ultra” R
2:30, 5:10 and 7:50 p.m. Friday through Tuesday
5:10 and 7:50 p.m. Wednesday and Thursday

“Ricki and the Flash” PG-13
2:20 p.m. Friday through Tuesday, ends Tuesday

“Hitman: Agent 47” R
2:40, 5:30 and 8 p.m. Friday through Tuesday
5:30 and 8 p.m. Wednesday and Thursday

“Straight Outta Compton” R
1:50, 5 and 8:10 p.m. Friday through Tuesday
5 and 8:10 p.m. Wednesday and Thursday

“Sinister 2” R
2:50, 5:40 and 8:20 p.m. Friday through Tuesday
5:40 and 8:20 p.m. Wednesday and Thursday

“No Escape”

Action thriller, R, 103 minutes “No Escape” is an outlandish, sometimes brutally violent, exploitative, fast-paced white-knuckler featuring your classic American everyman who suddenly develops action-hero skills when his family is placed in danger. As a bloody revolution breaks out in an unnamed Asian country that resembles Cambodia (it was filmed in Thailand, but there’s no reference to any one nation) an American family arrives from Texas. Hundreds of innocent locals are murdered — but all of the focus and suspense is about those people from Texas and their desperate attempts to avoid a band of thugs who track them with the relentless fervor of mask-wearing killers in slasher movies. We don’t even learn the names of most of the Asians who are slaughtered throughout the movie while the American family hides and ducks and runs and plans an escape. And yet. There’s no denying director/co-writer John Erick Dowdle’s skill set for creating almost unbearably tense and quite twisted suspense pieces in which you’ll find yourself laughing at the sheer unapologetic insanity of it all.
Rating: Three stars

— Richard Roeper, Universal Press Syndicate

“The Man From U.N.C.L.E.”
Spy adventure, PG-13, 116 minutes Guy Ritchie’s slick, stylish and consistently entertaining “The Man From U.N.C.L.E” is based on a Cold War-era television series created in the 1960s. Ritchie (“Snatch,” the Robert Downey Jr.-starring “Sherlock Holmes” movies) can’t resist the temptation to invoke some of his trademark dazzling (and sometimes dizzying) camera moves, but “The Man From U.N.C.L.E.” is also very much of its time. This is a movie that revels in the fashions, the interior designs, the cars, the weapons and the overall vibe of its time period. It’s a great-looking film populated by great-looking people engaged in the usual convoluted espionage shenanigans in which we’re not quite sure until the very end who’s really on the side of good and who’s working for the forces of evil. And we don’t much care, because it’s more about the ride than the plot payoffs. Kudos to Ritchie and his team of co-writers for not taking the story too seriously. This is as much a comedy as a thriller.
Rating: Three stars

— Richard Roeper, Universal Press Syndicate

“Straight Outta Compton”
Music biography, R, 147 minutes In some ways “Straight Outta Compton” is a conventional biopic of an iconic musical force -- not so different from “Ray” or “Walk the Line” or “What’s Love Got to Do With It” or “Jersey Boys” or “Get On Up.” The early days of dreaming big. The creative sessions deep into the night. The first big break. The electric live performances. The multiple explosions of success and fame and money and sex and drugs. The in-fighting and the breakups and the tragedies. All of that is told to great effect in F. Gary Gray’s enthralling, energized, 147-minute tribute to N.W.A -- but this is also something of a docudrama about the racial tinderbox that was Los Angeles in the wake of the Rodney King verdict, the ugly, violent feuds between warring rap labels, and N.W.A’s role as rhyming journalists chronicling the times. There was a reason some called it “reality rap.” When first you see the actor playing the high school student who will become the hip-hop artist known as Ice Cube, the facial resemblance is so startling, the familiar expressions so dead solid perfect, the voice such a perfect match, you might wonder if some sort of CGI magic has allowed the 46-year-old Cube to play the 18-year-old version of himself. It’s actually Ice Cube’s son, O’Shea Jackson Jr., playing Cube, and what a remarkable performance.
Rating: Three and a half stars

— Richard Roeper, Universal Press Syndicate

Comedy, drama, romance PG-13, 105 minutes
Bradley Cooper is terrific as a defense contractor working in Hawaii, reconnecting with an ex (Rachel McAdams) and charmed by a fighter pilot (Emma Stone). Brian respects the Hawaiian culture, and Allison is a flat-out spiritual devotee. There's lots of talk of various Hawaiian myths. We get a strange and beautiful occurrence late one night that may or may not have been an apparition. At times it does have the feel of a movie that's less than the sum of its parts, as it veers from a study of the complicated political history and rich cultural traditions of Hawaii to a commentary on filthy rich civilians using the military for their own gain to a romantic quadrangle, and what's with the colonel and his flying fingers, anyway? And there are some lovely musical interludes. Cameron Crowe has directed a great-looking movie with just enough bright spots to get us past the cloudy moments.
Rating: Three stars

— Richard Roeper, Universal Press Syndicate