Capsule reviews for Nov. 1

Big Sur

This latest big-screen tribute to Beat Generation poet Jack Kerouac is a meditative adaptation of the titular 1962 book, which he wrote under a pseudonym. It depicts the visits of Kerouac (Jean-Marc Barr) to the northern California cabin of fellow writer Lawrence Ferlinghetti (Anthony Edwards) to engage in his usual drinking and revelry with friends while offering sardonic reflections on philosophy and life. The adaptation by director Michael Polish (Northfork) is a modest collection of vignettes more than a linear story, some of which are accompanied by long stretches of narration. The result is an uneven if picturesque mood piece that grows tedious at feature length. (Rated R, 81 minutes).

The Broken Circle Breakdown

Convincing performances drive this strange yet affecting Flemish drama about free-spirited Didier (Johan Heldenbergh) and Elise (Veerle Baetens), who find a romantic connection through their shared love of American bluegrass music. But when their young daughter is diagnosed with cancer, their relationship is tested. Based on a stage play co-written by Heldenbergh, the narrative is chronologically jumbled by Belgian director Felix van Groeningen, with some lovely musical interludes to lighten the mood. The second half feels overwrought, yet despite some melodramatic tendencies, the intimate relationship dynamics feel authentic and the film becomes a powerful exploration of grief, spirituality and the healing power of music. (Not rated, 111 minutes).

Diana

A persuasive performance by Naomi Watts in the title role is the only reason to see this would-be biopic that attempts to expose an affair between the late Princess Diana and a Pakistani heart surgeon (Naveen Andrews) during the months leading up to her tragic death in a car crash. The result is more ill-conceived than exploitative, and it’s hardly worth all the controversy it’s certain to attract. Watts captures the subject convincingly, but German director Oliver Hirschbiegel (Downfall) can’t prevent this adaptation of a book by journalist Kate Snell from veering into melodramatic territory with its lack of relevant context and its soap-opera script. (Rated PG-13, 113 minutes).

Last Love

As he has done many times in his distinguished career, Michael Caine delivers a performance that rises above some mundane material in this family drama in which he plays a widowed professor living in Paris who meets an impetuous young dance instructor (Clemence Posey), prompting him to reconsider his notions about friendship and family, including his estrangement from his two adult children. There’s a heartfelt quality to the script by German director Sandra Nettelbeck (Mostly Martha), which examines relationships across cultural and generational lines. Yet despite some powerful character-driven moments, the film lacks narrative momentum and stumbles through some contrivances in the final act. (Not rated, 116 minutes).

Man of Tai Chi

Impressive fight choreography is the highlight of this otherwise muddled, bilingual directorial debut from Keanu Reeves, which chronicles a Beijing delivery boy (Tiger Chen) who is proficient in the martial art of Tai Chi, which leads to a lucrative offer by the ruthless operator of an illegal underground fight club (Reeves) to recruit him for battles that test his survival skills. Chen is a former stuntman whose limited acting range isn’t really a factor when he’s engaged in combat. Reeves demonstrates some visual flair behind the camera, but the formulaic film gets caught somewhere between edgy and cheesy, with little attempt at any emotional payoff. (Rated R, 105 minutes).