Capsule reviews for Nov. 2
Bodied
Getting served on the dance floor is nothing compared to the verbal beatdowns delivered in this sharp-tongued comedy from veteran music-video director Joseph Kahn (Torque) that takes place in the underground battle-rap scene. That’s where Adam (Calum Worthy) is supposed to feel out of place as a nerdy English major at Berkeley working on a thesis about racially charged lyrics. Except his own wordplay gains him followers of his own, which lead to an obsession that threatens to destroy his personal life. The insightful and immersive film manages to both salute the artistry of battle rappers and satirize the hypocritical culture that sustains their livelihood. (Rated R, 121 minutes).
In Harm’s Way
Although it means well, this emotional stakes in this bilingual World War II melodrama from director Bille August (Pelle the Conqueror) get lost in translation. It takes place in the days following Pearl Harbor, following an American bomber pilot (Emile Hirsch) who crashes in China — a U.S. ally at the time. He’s rescued by a widow (Crystal Liu), who nurses him back to health while trying to evade capture by the Japanese army. The surrounding historical context is more intriguing than the character-driven story that funnels awkwardly toward a predictable climax. The film’s admirable message of peace and compassion is delivered without a hint of subtlety. (Not rated, 97 minutes).
In Search of Greatness
A good place to start that search is with legendary athletes such as Wayne Gretzky (hockey), Jerry Rice (football), and Pele (soccer), who are interviewed extensively in this intriguing if somewhat unfocused documentary from director Gabe Polsky (Red Army). The film simply tries to piece together how they got to the pinnacle of their sport. The result might not be that surprising — referencing hard work, favorable genetics, good coaching, and a dash of luck — but the candidness of the subjects is refreshing. Plus, their role-model insight might inspire youngsters who lack physical gifts but are willing to compensate with work ethic and old-fashioned determination. (Rated PG, 80 minutes).
Maria by Callas
Opera aficionados will appreciate this documentary about the legendary soprano renowned for both her glorious voice and her diva behavior in the public eye, assembled using only archival video and soundbites, along with Callas’ various writings. Rookie director Tom Volf also includes plentiful performance footage that showcases both her singing range and her magnetic stage presence. The film provides an intimate and insightful glimpse into her life and career, mostly suggesting that Callas was misunderstood, although there’s no counterbalance to that assertion with just one voice telling the story. Still, it’s a worthwhile examination of fame and an introduction of her work to a new generation. (Rated PG, 113 minutes).
Monster Party
With style and attitude to spare, this subversive horror exercise contains heavy doses of gore for genre aficionados while incorporating a clever satire about unchecked affluence. It centers on a trio of young thieves — Casper (Sean Strike), Iris (Virginia Gardner), and Dodge (Brandon Micheal Hall) — who plan to rob an upscale dinner party at a Malibu mansion, only to learn its smug and sadistic guests share a violent secret that leaves them running for their lives. The screenplay by director Chris von Hoffmann (Drifter) loses momentum after its big reveal, but even the subsequent descent into ultraviolent mayhem is handled with an agreeably twisted playfulness. (Not rated, 89 minutes).
Searching for Ingmar Bergman
German filmmaker Margarethe von Trotta (Hannah Arendt) conducts the “search,” which involves interviewing collaborators and relatives of the legendary Swedish director whose career spanned more than a half-century, including such classics as The Seventh Seal and Fanny and Alexander. The film weaves together archival footage from his films and behind the scenes, resulting in an insightful glimpse into his artistic process and how it consistently intertwined with his volatile personal life. Even if it lacks depth in exploring his failed relationships and fractured family (whose welcome contributions are brief), the film offers a fitting salute to Bergman’s cinematic influence and legacy that should please discerning cinephiles. (Not rated, 99 minutes).