Scott Renshaw

For many years, high-profile theme parks around the country and around the world have been the play—and work—ground for social-media influencers, sharing their tips, tricks and affection for places that for most are just occasional destinations. Here in Utah, Farmington’s Lagoon Park isn’t any exception to the way park regulars can turn their favorite places into content.

Backrooms; The Breadwinner; Pressure; Tuner

Robert Macfarlane: The Book of Birds; Los Muros on Main; Back to the Future: The Musical;

Masters of the Universe; Power Ballad; Scary Movie; Carolina Caroline; Office Romance

Aliens, kung fu and a runaway train make for an eventful weekend at the movies.

Disclosure Day; Stop! That! Train!; The Furious; Jinsei; Find Your Friends

Lil Poppet Productions; Dr. Chris Hill; Interdisciplinary Arts Collective

Joining the Distinguished Gentleman's Ride with a 1950 Harley-Davidson frame, a go-kart engine, and a pink suit.

The Death of Robin Hood **1/2 Two ideas are twice as many as most movies have in their heads, but in this case, writer/director Michael Sarnoski has them bump up against one another rather than combine to elevate a generally dour drama. Hugh Jackman plays the legendary bandit Robin Hood, living a solitary life in the hills of 13th-century England and dealing with his legacy as—in his own words—a “murderous brigand” rather than a hero of the common people. After being pulled into a violent adventure by his old friend Little John (Bill Skarsgård), Robin finds himself seriously wounded, and left at an island priory to be healed by its prioress (Jodie Comer). Sarnoski clearly wants to tell a tale of cycles of violence, vengeance and retribution, as a grim Robin—played by Jackman very much like his aging anti-hero in Logan —perpetually faces ghosts from his past. But there’s also a strong undercurrent about the power of stories, from folk tales to scripture, including an almost offhand reference to the way Robin might have created his own heroic legends as a manipulation. And neither of those angles pays off in a satisfying enough way, not when Sarnoski begins focusing on a possible redemption arc for Robin in caring for Little John’s daughter (Faith Delaney). Cinematographer Pat Scola casts an appropriately chilly grey hue over the landscapes, but the aesthetics can’t pull together a story that’s more interesting in theory than in execution. Available June 19 in theaters. (R)

SLAC Summer Show; Utah Festival Opera & Musical Theatre; Derek Hough