Capsule reviews for Jan. 30

Above and Beyond

A chronicle of wartime heroism and a critical turning point in the Middle East, this compelling documentary explores Israel’s battle for independence from Palestine through the story of volunteer Jewish pilots who traveled from around the world in recycled aircraft from World War II and led to the formation of the country’s first air force. Although the approach is too straightforward, and there’s a reliance on too many reenactments, the film conveys a valuable history lesson that’s both informative and inspirational. Plus, it’s almost certainly the only documentary to feature a roster of interviewees that includes both Paul Reubens and former Israeli president Shimon Peres. (Not rated, 85 minutes).

Amira and Sam

This modestly affecting romance doesn’t exactly break any new ground, but its character-based approach allows it to sidestep some of the usual clichés. Sam (Martin Starr) is an ex-soldier and aspiring deadpan comedian struggling to hold down a job in New York, where he meets Amira (Dina Shihabi), the niece of an Arabic translator who befriended Sam during a combat mission overseas. The script by rookie director Sean Mullin is too idealistic, yet his characters feel complex and authentic, allowing their chemistry to develop naturally as they traverse cultural differences, socioeconomic issues and potential legal troubles. The result is more charming than simply cute. (Not rated, 87 minutes).

The Devil’s Violinist

The life of 19th century Italian violinist Niccolo Paganini resembled that of a 21st century rock star, according to this amusingly campy biopic from director Bernard Rose (Immortal Beloved). Acclaimed violinist and composer David Garrett makes his acting debut as Paganini, a prodigy who sold his soul to the devil in the form of his manager (Jared Harris), for fame and fortune. That leads to a spiral of drugs, women and diva behavior as his path crosses with a London promoter (Christian McKay). The melodramatic script includes plenty of historical liberties, but at least it doesn’t take itself too seriously. Plus, the music is a highlight. (Rated R, 122 minutes).

Mommy

Young Canadian filmmaker Xavier Dolan (Laurence Anyways) continues to progress both visually and narratively while exploring familiar themes. The latest example is this captivating melodrama that chronicles a blue-collar Montreal widow (Anne Dorval) forced to care for her violent teenage son (Antoine-Olivier Pilon) after he is kicked out of a juvenile facility. But hope arrives in the form of a timid young neighbor (Suzanne Clement) who helps to calm the dysfunctional tension. Even if his histrionic approach is rambling and self-indulgent, as always, Dolan’s enthusiasm jolts the film with energy at almost every turn. Ultimately, however, it’s the performers who keep the material emotionally grounded. (Rated R, 139 minutes).

Wild Card

An odd confluence of talent on both sides of the camera turns this generic remake of a 1986 Burt Reynolds action vehicle – based on a novel by screenwriter William Goldman (All the President’s Men) – into a missed opportunity. It follows a Las Vegas bodyguard (Jason Statham) whose gambling addiction gets him into as much trouble as the gangsters and thugs who oppose his clients. The visually slick film has more quiet character-driven moments than the typical Statham potboiler, although much of the climactic energy is focused on a series of trumped-up, ultraviolent fight sequences. Most of the narrative depth gets lost in the process. (Rated R, 92 minutes).