Capsule reviews for Feb. 28

The Bag Man

John Cusack continues his downward career trajectory in this incoherent thriller, playing a morally conflicted hitman whose assignment from a crime boss (Robert De Niro) forces him to wait inside a seedy motel with a mysterious bag, the contents of which entangle him with a seductive ex-stripper, a nosy innkeeper, a corrupt cop and a Serbian dwarf. With all of its time-wasting twists and gratuitous moments of sadistic silliness, it feels like a leftover Pulp Fiction wannabe from 20 years ago, which contains a moderately intriguing idea but isn’t clever enough to generate much suspense. At least a scenery-chewing De Niro refuses to take this mess seriously. (Rated R, 108 minutes).

The Lunchbox

There’s plenty of offbeat charm in this romance set amid the hustle and bustle of Mumbai, where a widower (Irrfan Khan) exchanges notes with a young housewife (Nimrat Kaur) through a lunchbox that was delivered by mistake through a typically reliable city courier system. It’s a kind of twist on a long-distance relationship during which two lonely people – who ordinarily wouldn’t cross paths – make a connection with one another while learning about themselves. Strong performances help smooth out the contrivances in this quietly perceptive character study from rookie director Ritesh Batra, whose modest story achieves a poignancy that feels more authentic than manipulative. (Rated PG, 104 minutes).

Odd Thomas

That title appropriately describes both the character and his movie, an adaptation of a Dean Koontz novel about a small-town fry cook (Anton Yelchin) with a paranormal power. He has visions that allow him to see impending death and destruction before it happens, if only he can convince the local sheriff (Willem Dafoe) and his adventurous girlfriend (Addison Timlin) to listen to him. Yelchin brings some charisma to his role, and the script by director Stephen Sommers (The Mummy) features some amusing rapid-fire comedic banter. Yet the film fails to establish a consistent tone and never becomes truly funny or scary as a result. (Not rated, 92 minutes).

Stalingrad

Noteworthy as the first Russian production shot in 3D, this epic about Red Army wartime heroism chronicles the events surrounding the Battle of Stalingrad, in which the Germans met a resilient troop of Soviet reconnaissance soldiers in one of the deadliest conflicts of World War II. But the film isn’t as concerned with history as it is with elaborate combat sequences featuring slow-motion bullets and bloodshed more befitting a video game. Director Fedor Bondarchuk obviously has some Hollywood influences in his commitment to spectacle over story, and explosions over character development. It’s visually impressive, but hardly a fitting way to salute military courage and sacrifice. (Rated R, 131 minutes).

Two Lives

A juicy sociopolitical subtext elevates this character-driven German thriller that takes place shortly after the fall of the Berlin Wall. Katrine (Juliane Kohler) has built a successful middle-aged life in Norway with her husband (Sven Nordin) and mother (Liv Ullmann), who are unaware of some past secrets that resurface when a lawyer snoops around for clues about crimes involving German babies who were born under the Nazi regime. While the film turns into more of a standard procedural in the second half, the real-life subject matter and strong collection of performances are enough to compensate for a muddled script overwrought with contrivances and flashbacks. (Not rated, 97 minutes).