Capsule reviews for Oct. 19

Brewmaster

Whether the proliferation of craft breweries prompts you to whet your palate or roll your eyes, you’ll probably savor this crowd-pleasing documentary about ordinary bearded men and their fascination with brewing — beyond a simple love of beer, of course. In particular, director Douglas Tirola (All In: The Poker Movie) follows the efforts of a New York lawyer trying to market his homemade ale, and a Milwaukee beer aficionado who dreams of passing the elite Master Cicerone exam. Their stories are intertwined with a history of craft brewing in general, and it’s all handled with an appropriately lighthearted tone. So raise a glass and enjoy. (Not rated, 95 minutes).

Charm City

With equal doses of hope and despair, this gritty and provocative verite-style documentary chronicles life on the streets of contemporary Baltimore, where the murder rate continues to skyrocket as the divide widens between low-income residents and authority figures. Amid this socioeconomic strife and unchecked violence, which results in part from a legacy of oppression for the city’s black population, the film spotlights the efforts of a few folks trying to peacefully make things better — from grassroots community leaders to police officers to city leaders. We root for them to beat the daunting statistics and make their neighborhoods safe, even though it seems like a monumental task. (Not rated, 107 minutes).

An Evening With Beverly Luff Linn

More interested in being weird than being good, this aggressively obnoxious comedy from director Jim Hosking (The Greasy Strangler) is more off-putting than amusing. It follows Lulu (Aubrey Plaza), a waitress whose husband (Emile Hirsch) stole cash from her brother. Later, Lulu becomes enamored with the enforcer (Jemaine Clement) sent to exact revenge, as well as with a mysterious show starring a grunting performer (Craig Robinson) with ties to Lulu’s past. There’s a very niche audience who might appreciate this parade of eccentricities, which seem to be arbitrarily tossed together without regard to character depth or narrative coherence. It becomes tedious well before the lackluster payoff. (Rated R, 107 minutes).

Galveston

Strong performances and evocative visuals bolster this otherwise familiar redemption story that marks a promising directorial debut for French actress Melanie Laurent (Inglourious Basterds). It’s set in Texas, where a hitman (Ben Foster) still bitter over a lung-cancer diagnosis who escapes a set-up and frees a teenage hooker (Elle Fanning). Together they flee to the titular city, relying on each other to escape their respective past troubles and shape a better future. The film generally works best in its quiet moments, with the two leads conveying some emotionally rich character dynamics, except it’s too often compromised by a predictable noir-style storyline that feels contrived. (Not rated, 93 minutes).

The Guilty

What seems gimmicky on paper becomes suspenseful on screen in this taut Danish thriller from rookie director Gustav Moller. The story is told entirely through the headset of Asger (Jakob Cedergren), an emergency dispatcher who becomes emotionally involved when he takes an emergency call from a kidnapped woman whose abduction reveals greater danger. The concept depends heavily on audience imagination, since nothing is shown. And even if it stalls at times, the tension remains high thanks to some meticulous editing and intricate narrative construction. Like the film, Cedergren’s expressive performance keeps the audience guessing without resorting to cheap manipulation. There’s no reason to feel guilty. (Rated R, 85 minutes).

Mid 90s

Jonah Hill makes a promising directorial debut with this rambunctious yet heartfelt glimpse into the Los Angeles skateboarding subculture through the eyes of Stevie (Sunny Suljic), a 13-year-old with a troubled home life who gradually eases into a tight-knit crew of rebellious teenagers who populate a skate shop. Although Hill’s script lacks character depth and narrative momentum, the film captures a gritty authenticity in its time and place — partially through the use of actual skaters in the cast. And while it relishes in the mischief and mayhem of its setting, the film is just as adept at using its coming-of-age framework to convey hardships and insecurities. (Rated R, 84 minutes).

On Her Shoulders

Nobody envies the task of Nadia Murad, the 23-year-old subject of this powerful documentary that gives fresh perspective to the Middle East refugee crisis. The film chronicles Murad, who was raped and enslaved by ISIS in her native Iraq, as she meets with politicians and dignitaries around the world, trying to advocate for assistance for her fellow displaced Yazidis. As she tearfully repeats her story, hoping to make an impact, it begins to take an emotional toll. That certainly comes across to moviegoers, who can share her frustration at a seemingly hopeless mess of sociopolitical inertia and bureaucratic red tape. It’s both insightful and relevant. (Not rated, 94 minutes).

The Super

It’s faint praise to point out that a film isn’t as bad as it could have been, yet at least this silly psychological thriller downplays its supernatural elements in favor of more grounded twists. That alone can’t rescue some overwrought and ultraviolent silliness taking place in a New York high-rise apartment building, where the new superintendent (Patrick John Flueger) — still mourning his wife’s recent death — moves in with his two young daughters around the same time that tenants start mysteriously disappearing. The ensuing twists are more tedious than compelling, although Val Kilmer’s scenery chewing as a scowling Ukrainian maintenance man provides some modest amusement. (Rated R, 89 minutes).

What They Had

Excellent performances boost this bittersweet drama about the debilitating effects of memory loss not only on the afflicted, but also on their caretakers. Specifically, Ruth (Blythe Danner) is suffering from worsening dementia, causing a rift between her husband of 60 years (Robert Forster) and her ill-tempered son (Michael Shannon) over the future of her care. Ruth’s daughter (Hilary Swank) arrives with her own set of problems to add to the dirty laundry. Aside from some lapses into sentimentality, the screenplay by rookie director Elizabeth Chomko is tender and sincere, offering an unsettling yet uplifting glimpse into the power of reconciliation and the heartbreak of letting go. (Rated R, 101 minutes).