Capsule reviews for Jan. 27

Antarctica: Ice and Sky

The wintry beauty of the titular continent collides with the harsh realities of climate change in this intermittently compelling documentary from director Luc Jacquet (March of the Penguins). It pays tribute to famed French glaciologist Claude Lorius, who returns to Antarctica at age 82 after leading multiple expeditions there decades ago, and reflects on the shifts in the icy landscape related to global warming. Although it takes a while to get there, the film uses its subject’s spirited dedication to scientific discovery as a basis for examining the evolution of its setting. Amid some structural deficiencies, the result is both persuasive and visually striking. (Not rated, 89 minutes).

The Daughter

Compelling characters compensate for some melodramatic deficiencies in this contemporary Australian adaptation of a Henrik Ibsen play about an extended family torn apart by alcoholism, infidelity, economic hardship and past secrets. Christian (Paul Schneider) returns from living abroad for the wedding of his estranged father (Geoffrey Rush) to a younger woman. Meanwhile, Christian’s childhood friend Oliver (Ewen Leslie) is impacted by the impending closure of the family lumber company. And Oliver’s teenage daughter (Odessa Young) has emotional troubles affecting her own relationships. The top-notch ensemble cast elevates an uneven but stylish adaptation by rookie director Simon Stone that provides some haunting if improbable twists. (Not rated, 96 minutes).

I Am Michael

A perceptive performance by James Franco drives this otherwise uneven biopic of Michael Glatze, whose journey begins as a prominent gay activist living with his boyfriend (Zachary Quinto) in San Francisco, and ends with him denouncing homosexuality as the pastor of a Christian fundamentalist church in Wyoming, where he meets his future wife (Emma Roberts). The script by director Justin Kelly (King Cobra) struggles to find a consistent tone and feels embellished in spots, yet it evolves into a provocative examination of the crossroads between religion and sexuality. Its sincere depiction of Michael’s transformative inner conflict offers both sympathy and rage, but few easy answers. (Not rated, 98 minutes).

Lost in Florence

The exotic setting has tremendous potential — not only do you get the picturesque Italian city as a backdrop, but also a plot concerning the ancient gladiatorial sport of calcio storico, a brutal underground form of football. That makes this drama of self-discovery all the more disappointing for its formulaic story involving an American athlete (Brett Dalton) whose relationship falls apart, causing him to reevaluate his life in Florence, where he hangs out with a cousin and finds a new romance with a local woman. Between its narrative clichés and flat characters, the film doesn’t provide much incentive to care whether the lost protagonist finds himself. (Not rated, 97 minutes).

The Salesman

Arthur Miller’s “Death of a Salesman” might be the second most compelling drama in the latest from Iranian director Asghar Farhadi (A Separation), which is meant as a supreme compliment. That’s the play being performed by two married actors who become involved in a cycle of violence and revenge after moving into a Tehran apartment. Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) find their relationship tested both physically and psychologically by an outsider, while trying to maintain their status within the local arts community. The result is a fascinating examination of ethical complexities, legal boundaries and bloodthirsty vengeance that effectively builds tension through some unexpected turns. (Rated PG-13, 125 minutes).