Capsule reviews for May 19

Abacus: Small Enough to Jail

Both intriguing and frustrating, the latest documentary from director Steve James (Hoop Dreams) won’t exactly renew your lost faith in the American financial system. It looks back at the 2008 economic downturn through the eyes of a Chinese immigrant family that ran Abacus Federal Savings, a small bank in Manhattan that became the target of a federal mortgage fraud indictment while their larger competitors received bailouts instead. Structured like a legal thriller, the film invites cynicism and conspiracy theories regarding the injustice of it all, yet James keeps his focus on the kind-hearted people behind the scenes, which adds charm even if it subtracts suspense. (Not rated, 88 minutes).

The Commune

Despite its heartfelt intentions, this semiautobiographical period piece from Danish director Thomas Vinterberg (Far from the Madding Crowd) doesn’t have much overall nostalgic or dramatic value. It shows how life changes, not always for the better, after an impulsive Amsterdam couple invites some acquaintances to share a communal living arrangement during a period of sociopolitical turbulence in the 1970s. The period re-creation is a highlight, although considering its title, the film needs more supporting character development to flesh out its central domestic drama. Vinterberg values mood over plot here, and he achieves some powerful moments, even if the result feels too disjointed and emotionally distant. (Not rated, 111 minutes).

The Lovers

It’s not the best date movie in the world, but this sharply observed and well-acted drama about a philandering suburban couple provides an intimate and insightful glimpse into contemporary relationships. With their relationship on the rocks, Michael (Tracy Letts) and Mary (Debra Winger) have no clue that they’re cheating on one another, or that the other is secretly plotting to leave their longtime marriage. But will a tense weekend visit from their son (Tyler Ross) spark second thoughts? The mildly contrived screenplay by director Azazel Jacobs (Terri) not only leaves uncertainty with regard to the outcome, it provides reason for emotional investment in both characters. (Rated R, 94 minutes).

Radio Dreams

The global pursuit of the American Dream hits the airwaves in this frequently hilarious deadpan comedy about an Iranian radio station in San Francisco, where the owner has arranged an on-air jam session with a Kabul rock band and Metallica. The promotion leads to a much-needed surge in ratings and advertising revenue, although as the hours pass without any signs of the featured guests, the station’s programmer (Mohsen Namjoo) becomes both agitated and desperate. The uneven but amusing script by director Babak Jalili (Frontier Blues) celebrates the unifying powers of art and culture — not to mention capitalism and commerce — while layering such observations with sociopolitical context. (Not rated, 94 minutes).

The Survivalist

This deliberately paced post-apocalyptic thriller rewards patience with a character-based approach that gradually builds suspense. It follows a man (Martin McCann) who lives in an isolated cabin in the woods, farming a small plot of land to ward off starvation. But his solitude is disrupted when he reluctantly welcomes two female visitors seeking food and shelter — but perhaps with ulterior motives — which forces him to confront past demons while their safety is threatened. The screenplay by rookie director Stephen Fingleton doesn’t share much context about his characters or their plight, although the well-acted film is rich in unsettling atmosphere, which balances out the inconsistent narrative momentum. (Not rated, 103 minutes).