Capsule reviews for Jan. 13

Alone in Berlin

This handsomely mounted and well-acted World War II drama lacks the narrative urgency to match its heartfelt sincerity. It chronicles German machinist Otto Quangel (Brendan Gleeson) and his wife, Anna (Emma Thompson), whose son is killed in battle, causing them to retaliate by quietly leaving postcards criticizing the Nazi regime around Berlin. Their message gains steam as a government official (Daniel Bruhl) closes in. The film shines a worthwhile spotlight on the true-life couple’s resistance efforts as an inspirational example of everyday heroism in the face of oppression. Yet it keeps the focus more on the actions than on those risking their lives to commit them. (Rated R, 103 minutes).

Bad Kids of Crestview Academy

If it’s meant to replicate the feeling of being stuck in detention, then this ill-conceived hybrid of Mean Girls and Final Destination does the trick. It’s a predictable sequel to the 2012 big-screen adaptation of the graphic novel Bad Kids Go to Hell, with a new batch of prep-school ingrates trying to scam the system and outwit their clueless school administrators. That is, until a curse turns a Saturday detention into a series of bloody murders. Amid all the gory visual gimmicks, it’s impossible to sympathize with any of these spoiled brats or their attempts to survive the carnage. Then again, maybe that’s the point. (Rated R, 101 minutes).

The Book of Love

The parade of sappy melodramas about mourning and redemption continues with this formulaic effort about a New Orleans architect (Jason Sudeikis) on the brink of a promotion whose impetuous wife (Jessica Biel) dies in a car crash. While trying to pick up the pieces, he strikes up a friendship with a homeless teen (Maisie Williams) whose bizarre goal of building a raft to sail overseas is actually a vehicle for catharsis. The screenplay co-written by rookie director Bill Purple overdoses on self-help chestnuts, forced comic interludes and bad Cajun accents, while offering little insight into the grieving process that hasn’t been explored with more sincerity elsewhere. (Rated PG-13, 106 minutes).

The Crash

Your economic fears aren’t likely to be alleviated by this cynical low-budget thriller about Wall Street corruption and white-collar crime, which chronicles the fictional efforts of the American government to counter a stock-market security breach that could crumble the financial system. As the attack is linked to possible cyber terrorism, officials bring in a shady outside hacker (Frank Grillo) for a desperate fix. The film offers an intriguing insider glimpse into how big banks and corporate interests drive our economy, yet in its strained effort to get your blood boiling, the script by director Aram Rappaport (Syrup) trots out trite cliches that diminish the suspense. (Rated R, 84 minutes).

100 Streets

Despite its abundant good intentions, this British ensemble drama lacks authenticity in its depiction of cultural and socioeconomic diversity within a London neighborhood. It tells a handful of loosely connected stories involving a former athlete (Idris Elba) whose addictions have ruined his personal life, a young gang member (Franz Drameh) trying to escape a cycle of crime and violence, and a cab driver (Charlie Creed-Miles) struggling to cope with various setbacks. Those respective roads to redemption might be paved with strong performances, but despite a few powerful moments, any meaningful emotional resonance is severely compromised by the film’s emphasis on eye-rolling contrivances and heavy-handed melodrama. (Not rated, 93 minutes).