Capsule reviews for Oct. 21

Good Kids

Contemporary high school satire is downplayed in favor of sophomoric shenanigans in this raunchy comedy that follows four nerdy best friends led by a math whiz (Nicholas Braun) who realize after graduation that their overachievement has caused them to become social outcasts and miss out on some of the experiences of their hard-partying classmates. So before college, they agree on a summer of drinking and debauchery. The young cast is appealing and the screenplay by rookie director Chris McCoy — even though it’s detached from reality — has some amusing moments of awkward silliness. Yet the jokes eventually become more lazy and obnoxious while the plotting turns predictable. (Rated R, 86 minutes).

The Handmaiden

Lush cinematography complements the twisty narrative in this lurid thriller from Korean director Park Chan-wook (Oldboy), that’s deliberately paced but never tedious. Set against the backdrop of the Japanese occupation of Korea during the 1930s, the film centers on Sook-Hee (Kim Tae-ri), the new handmaiden for an heiress (Kim Min-hee) living in a rural estate. But Sook-Hee becomes torn between her ulterior motives and her erotic desires, leading to torn loyalties. The subversive script, adapted from a Sarah Waters novel, requires a buy-in. However, while it’s shallow and melodramatic, there’s also an intoxicating quality to the imagery and the storytelling that keeps it compelling throughout. (Not rated, 144 minutes).

In a Valley of Violence

Even if you’re poking fun at genre clichés, they’re still clichés. And indeed, there’s a familiarity that drags down this stylish revisionist Western from director Ti West (The Sacrament), which begins with a drifter (Ethan Hawke) headed to Mexico with his loyal collie when a small-town water stop includes a run-in with an outlaw (James Ransone) who happens to be the son of the local marshal (John Travolta). The resulting machismo leads to a violent act of revenge and an eventual bloody final showdown. West subverts some genre conventions to amusing effect, but despite the game cast, the film consistently steers itself into predictable directions. (Rated R, 104 minutes).

King Cobra

We might not need an expose into corruption in the gay-porn industry, but at least this drama finds a healthy dose of humor amid its modest insight. It tells the true-life story of Sean (Garrett Clayton), who goes by the screen name Brent Corrigan, a teenager who breaks into the industry under the tutelage of a clandestine filmmaker (Christian Slater) who develops an attraction off-camera. However, when he becomes an online star without fair compensation, Sean learns the cutthroat realities of the business. The film’s mild behind-the-scenes glimpse into its unscrupulous world often feels shallow and superficial, but given its subject matter, perhaps that’s appropriate. (Not rated, 91 minutes).

The Whole Truth

Perry Mason could have easily spotted the holes in the testimony of this lackluster courtroom thriller from director Courtney Hunt (Frozen River), which might have fit better on the small screen. It follows the capital murder trial of a teenager (Gabriel Basso) who allegedly killed his abusive father (Jim Belushi) to spare his mother (Renee Zellweger). At least that’s the argument made by the defense attorney (Keanu Reeves), until secrets are revealed that threaten to change the course of the trial. The film’s cynicism about attorney integrity and rampant dishonesty in the legal system might have been more persuasive with a more grounded screenplay. (Rated R, 93 minutes).