Capsule reviews for Oct. 9

The Final Girls

If you haven’t seen enough slasher-flick send-ups over the years, here’s another to add to the list, albeit with a few subversive twists. It’s a case of life imitating art for Max (Taissa Farmiga), a young woman who is magically pulled into a film starring her late scream-queen mother (Malin Akerman), where she can attempt to save her fictional character from a machete. The film benefits from some imaginative visuals from director Todd Strauss-Schulson, yet the screenplay has trouble reconciling its obligation to poke fun at horror clichés without indulging in them. Despite some amusing throwaway gags, the attempts at deeper emotional resonance fall flat. (Rated PG-13, 88 minutes).

In My Father’s House

Neither as hopeful nor heartbreaking as it might first appear, this poignant and intimate documentary follows Chicago rapper Che “Rhymefest” Smith as he buys the house in which he grew up, then proceeds to track down the father he hasn’t seen in 20 years. He finds a homeless alcoholic in need of redemption and reconciliation, although the journey to repairing their fractured family is filled with obstacles. Smith and his family deserve credit for opening up their lives so candidly, and at least they mostly succeed in their goals of confronting the epidemic of urban deadbeat fathers and promoting the importance of leaving a legacy. (Rated R, 93 minutes).

Knock Knock

Watching Keanu Reeves descend into madness is fun for a while before this psychological thriller from director Eli Roth (Hostel) turns repetitive and random. Reeves plays a Hollywood architect whose artist wife and kids are gone for the weekend when a pair of seductive young women (Lorenza Izzo and Ana de Armas) pay a late-night visit, claiming to be stranded. But when Evan invites them inside as a gesture of kindness, the situation quickly spirals out of control. The result goes to extreme measures to examine guilt, perception, revenge, sexual politics and socioeconomic class, although it’s ultimately more interested in being lurid than provocative. (Rated R, 99 minutes).

Trash

While the visuals feel authentic, the story doesn’t in this crime thriller from director Stephen Daldry (The Hours) set in the slums of Rio, where three precocious teenage boys find a wallet while combing through a landfill. Once they learn it might have some value, they decide to keep it rather than giving it back to the corrupt politician who sends some henchmen to track it down. The film offers a gritty and evocative glimpse into everyday life in a seaside favela through the wide eyes of its endearing protagonists, but the convoluted plot misses a chance to provide moral complexity and emotional depth. (Rated R, 114 minutes).

Victoria

This ambitious German crime thriller is about more than just visual gimmicks, although stretching a single take over more than two hours is an exhilarating achievement for director Sebastian Schipper (A Friend of Mine). His camera follows the title character (Laia Costa) as she vacations in Berlin, where she can’t avoid trouble after befriending a young man (Frederick Lau) and his buddies who become entangled in an elaborate heist scheme in a desperate attempt to pay off a gangster. While the structural conceit might draw in viewers, the well-acted film also gradually builds suspense and provides an adrenaline rush despite some logical gaps and narrative clichés. (Not rated, 138 minutes).