Capsule reviews for Jan. 23

The Duke of Burgundy

This bizarre yet stylish examination of perversity and sexual fetishes from British director Peter Strickland (Berberian Sound Studio) follows lesbian lovers Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D’Anna), who spend each day locked into a routine of sadomasochistic domination at a European estate. But when one of them yearns for a change of pace, the relationship is threatened. Although it might seem like a long and deliberately paced tease, Strickland’s throwback visual style is an amusing touch. And like its characters, the film rewards patience and defies expectation by refusing to become the type of exploitative erotic exercise that it initially appears to embrace. (Not rated, 104 minutes).

Manny

A potential knockout documentary pulls most of its punches, offering only a shallow hagiography of champion boxer Manny Pacquiao. The straightforward film dutifully chronicles his impoverished upbringing as a scrawny kid in the Philippines, his rise to fame in the United States, trying to navigate the unscrupulous people in the sport, and trying to give back to his homeland. The charismatic Pacquiao makes a worthwhile subject, and directors Ryan Moore and Leon Gast (When We Were Kings) incorporate abundant interviews and archival footage. Yet their affection for Pacquiao seems to cloud their objectivity, and the film never offers much depth beyond what most boxing fans already know. (Rated PG-13, 88 minutes).

Red Army

You don’t need to be a hockey fan to appreciate this fascinating glimpse behind the scenes of the feared Soviet national hockey program, perhaps best known as the powerhouse team that was upset by the United States at the 1980 Olympics. Through an impressive array of interviews and archival footage, director Gabe Polsky digs much deeper into what made the team so dominant, from an abusive training regime to a team-oriented style of play that reflected its country’s Communist principles against the backdrop of the Cold War. The film also offers an even-handed look at how the program crumbled along with the Soviet Union itself. (Rated PG, 85 minutes).

Song One

There’s a sweet melody without much accompaniment in this slight romance about Franny (Anne Hathaway), who returns from overseas to visit her comatose brother, a street musician who was hospitalized following an accident. In an act of catharsis, she reaches out to his brother’s favorite singer (Johnny Flynn) while he’s in town for a concert, and they start a fling. Despite some intriguing characters and solid low-key performances, the issues of grief, guilt, fame and the artistic process raised in the sentimental screenplay by rookie director Kate Barker-Froyland aren’t explored with much depth. What’s left is some forgettable songs and an abundance of narrative contrivances. (Rated PG-13, 86 minutes).

Son of a Gun

The formulaic tendencies outmuscle the scrappy ambition in this uneven crime thriller marking the debut of Australian director Julius Avery. Brenton Thwaites (The Giver) stars as a youngster serving a short stint in prison, where he befriends a notorious robber (Ewan McGregor), then agrees to orchestrate an elaborate escape for him once he’s set free. That allows the duo to become partners in a major heist, where an exotic girl (Alicia Vikander) gets caught in the middle. The performances are strong, and the film establishes some tension in the first half before fizzling out with some generic twists showcasing greed, revenge and dishonor among thieves. (Rated R, 108 minutes).