Capsule reviews for July 25

Beneath

Allegedly inspired by a true story, this low-budget thriller about trapped coal miners chooses generally to exploit its real-life connections for cheap shocks. It chronicles the collapse of a mine that traps several workers deep underground, where they must wait 72 hours to be rescued. In the meantime, the oxygen decreases as the paranoia heightens, leading to the workers being bludgeoned one by one. At least the screenwriters did some research into mining, and the film generates modest suspense from its claustrophobic setting. Yet the film relies on too many contrivances and generic scare tactics, and there’s not enough character depth to establish any emotional connection. (Not rated, 89 minutes).

Happy Christmas

Some powerful character-driven moments elevate this otherwise slight low-budget comedy from prolific director Joe Swanberg (Drinking Buddies). The premise follows Jenny (Anna Kendrick) as she moves in with her older brother (Swanberg) and young family following a break-up, only to see her irresponsibility and overindulgence in drugs and alcohol cause friction with her sister-in-law (Melanie Lynskey). The mostly improvised project is uneven by nature, but yields some dialogue that is both funny and honest in the way it looks at relationships and family dynamics. Basically, the good scenes outnumber the dull ones, and the actors manage to find fresh ways to explore familiar themes. (Rated R, 82 minutes).

Ironclad: Battle for Blood

Indeed, the key word is blood in this pointless low-budget sequel to the grisly 2011 period piece about a medieval Scottish siege. Since few of the characters survived that bloodbath, this story shifts to the English border, where a clan of Celtic warriors tries to claim control over a castle as an act of vengeance, with the constant battle scenes yielding a steady stream of gory casualties. Returning director Jonathan English seems content to replicate the original film on the cheap, which isn’t very ambitious, and it throws historical accuracy out the window even more than its predecessor. It leaves no reason to care. (Not rated, 108 minutes).

A Master Builder

Strong performances boost this big-screen adaptation of an Ibsen play from director Jonathan Demme about a prominent architect (Wallace Shawn) who hosts a string of visitors on his deathbed, recounting tragedies that led to his cynicism and left him devoid of compassion. Demme doesn’t add many visual flourishes, outside of his generous use of close-ups, but rather allows Ibsen’s sharp-tongued dialogue to take center stage in a film that rewards patience. The latest collaboration between Shawn and stage director Andre Gregory (who makes a cameo appearance) doesn’t captivate to the same degree as My Dinner With Andre, but the character dynamics still pack an emotional punch. (Not rated, 127 minutes).

Very Good Girls

A talented ensemble cast is squandered in this calculated melodrama about rebellious Brooklyn college student Lilly (Dakota Fanning), whose bond with best friend Gerri (Elizabeth Olsen) is tested over the summer by a pact for each of them to lose their virginity, their mutual attraction to a street vendor (Boyd Holbrook), and tragic events within their respective dysfunctional families. The directorial debut of screenwriter Naomi Foner (Running on Empty) is a soap-opera starter kit with lead characters who are more spoiled than sympathetic, and it rings false in its portrayal of sisterhood and coming-of-age angst. The supporting cast includes Peter Sarsgaard, Richard Dreyfuss and Demi Moore. (Rated R, 91 minutes).