Capsule reviews for July 29

Equity

Perhaps it’s not surprising that the glass ceiling is especially tough to crack in the cutthroat world of high finance, yet this stylish and modestly compelling Wall Street thriller manages a few fresh twists. Set amid economic turmoil, it follows a controlling investment banker (Anna Gunn) and her relationships to a slick insider (James Purefoy), a federal investigator (Alysia Reiner) and her own workaholic assistant (Sarah Megan Thomas) seeking a raise. A scandal during the buildup of her latest deal sends everyone into a downward spiral of backstabbing and corruption. Despite some frustrating contrivances, the film subtly explores gender politics while sharply observing corporate dynamics. (Rated R, 100 minutes).

Into the Forest

Perhaps it’s fitting that a lack of narrative energy is one of the primary issues plaguing this drama about an epic power outage in the Pacific Northwest that strands Eva (Evan Rachel Wood) and her younger sister, Nell (Ellen Page), in their rural house, where they must fend off potential danger essentially without contacting the outside world. Such a scenario is provocative in an age of technological overload, but the screenplay by Canadian director Patricia Rozema (Mansfield Park) turns into a muddled mood piece rather than capitalizing on its inherent urgency. The scenery is lovely and the performances are strong, although the film gradually strains credibility. (Rated R, 101 minutes).

The Land

Gritty and evocative on the surface, this drama about drug-dealing teenage skateboarders in Cleveland is more formulaic in its storytelling. Specifically, it chronicles Cisco (Jorge Lendeborg), who figures his ticket out of the projects is becoming a professional skater. But he doesn’t have the funds, so he gets his buddies involved in a small-time narcotics ring for some quick cash, leading to some dangerous consequences. The screenplay by rookie director Steven Caple tries to dissect the cyclical nature of urban poverty, but his earnest intentions too often become formulaic and predictable. While the young ensemble cast is solid, using unknown actors doesn’t by itself guarantee authenticity. (Rated R, 97 minutes).

Miss Sharon Jones

The titular subject of this documentary appropriately steals the show, with her upbeat personality and booming voice. And more than anything, director Barbara Kopple (Harlan County USA) captures the resilience of the soul singer during a recent bout with cancer that kept Sharon Jones and the Dap-Kings sidelined for almost a year. The film is granted intimate access to Jones’ diagnosis and treatment, and her efforts to plan for the future of the band amid the uncertainty. Yet while Jones is captivating even away from the stage, the film shortchanges other potentially intriguing angles, such as the financial well-being of her bandmates. The result feels incomplete. (Not rated, 93 minutes).

Viral

When a parasitic virus causes a suburban mountain community to become quarantined, what could have been a contemporary satire about public paranoia instead opts for a misguided tale of angst and rebellion involving hormonal suburban teens. Specifically, the film follows bickering sisters Emma (Sofia Black-D’Elia) and Stacey (Analeigh Tipton) who must cope after one of them becomes infected at a party. Fortunately, their boyfriends are there to keep them company. Despite some stylish touches, the story gradually becomes detached from reality, losing any emotional connection in the process. The result is a gory tribute to teenage ignorance and irresponsibility that’s neither funny nor scary. (Rated R, 85 minutes).