INSURGENT

As was destined to happen at my well-attended-by-teenage-girls screening of Insurgent, I heard plenty of nervous titters when Shailene Woodley and Theo James finally unzipped their faux X-Men garb and got (PG-13) busy with one another, and solemn silence during most of the rest of this tear-stained, thematically pushy action adventure. But I did hear one other occasional sound, because nearly every time Miles Teller opened his mouth for a throwaway retort or vicious insult, the girls in my crowd laughed, and were completely right to. As Teller's Peter is an eternal thorn in our heroes' sides and a grade-A prick to boot - a character you'd presume more deserving of hisses than giggles - this was somewhat surprising. It was also hugely cheering. Those teen patrons may have collectively enjoyed the rampaging mediocrity of this Divergent sequel, but they also, just maybe, recognized true greatness when they saw it.

CHAPPIE

The sci-fi-action-comedy-thriller Chappie is the tale of an insentient creature who gains a soul and learns to love, just like Pinocchio and WALL•E and Short Circuit's Number 5. But this is a film by Neill Blomkamp, the writer/director of the violence- and profanity-laden District 9 and Elysium, so don't expect Disney-style warmth or Guttenberg-ian sweetness from this similarly R-rated outing. Instead, prepare to be amazed - though "stupefied" is the more appropriate term - by just how mawkish a movie can be despite boasting a title character who proves expert at carjacking, and whose most frequent malapropism involves his spirited twist on a 12-letter cuss word.

Neil Patrick Harris, at the tail end of last night's Academy Awards ceremony, climaxed his hosting duties with the resolution to a magic trick he'd set up earlier in the evening. Much, much earlier in the evening.

STILL ALICE

In Still Alice, newly minted Oscar winner Julianne Moore plays Alice Howland, a 50-year-old recently diagnosed with a hereditary form of Alzheimer's. At one point in the movie, after a series of not-bad days and pretty-awful ones, Alice and her family attend an off-Broadway production of The Three Sisters starring the youngest Howland daughter, Lydia (Kristen Stewart). We see Lydia enact Chekhov's dialogue with appropriate, impressive anxiety and fortitude, and our view of Alice in the audience suggests that she sees it, too. After the play ends, the family goes backstage to congratulate Lydia, and Alice, with carefully chosen words, praises her daughter for her complex rendering of Chekhovian heart and humanity. Lydia smiles and blushes; this might be the most interest her mother has ever shown in her acting career. Then Alice asks what play Lydia is doing next, and whether she'll be sticking around New York much longer. And in the reaction shot that follows, the heartbreak in Lydia's eyes verifies what we immediately suspect: Alice, at this moment, has no idea who Lydia is.