Capsule reviews for Nov. 30

Anna and the Apocalypse

This holiday-themed mashup of High School Musical and Shaun of the Dead scores more points for ambition than execution. It follows Anna (Ella Hunt), a precocious teenager whose British private-school classmates seem pretty ordinary, as does her slightly rebellious attitude toward her single father (Mark Benton) and cruel headmaster (Paul Kaye). What’s not ordinary is the zombies terrorizing her town, causing the students to fight for their lives, in Anna’s case using a giant candy cane as her weapon of choice. The film features some moments of inspired mischief and quirky genre twists, although the satire falls flat and the musical numbers aren’t especially memorable. (Rated R, 92 minutes).

Bathtubs Over Broadway

The self-deprecating humor of Steve Young proves an ideal fit for this documentary about a quirky and amusing guy with a quirky and amusing hobby. Young is a former comedy writer for David Letterman who has amassed a voluminous collection of recordings of rare industrial musicals from yesteryear. So the film uses his curiosity to introduce the audience to these often ridiculously sincere productions with titles like “The Bathrooms Are Coming” that were once a staple of corporate sales conventions. Young even tracks down some of the actors and musicians who made a living at it. The result, while somewhat unfocused, is fascinating and frequently hilarious. (Rated PG-13, 87 minutes).

Driver X

Besides dealing with the occasional drunk or sourpuss, work for a rideshare driver is pretty mundane. That’s exemplified in this low-key character study, but it’s not really the point. It’s more about a midlife crisis that prompts unemployed former record-store owner Leonard (Patrick Fabian) to sign up for an Uber clone under increasing desperation to pay the bills for his wife and children. As their relationship becomes strained, the screenplay by director Henry Barrial aims to examine both contemporary middle-class socioeconomic strife and generational dynamics in the social-media age. However, the film never establishes a sufficient emotional foothold to make it insightful or dramatically compelling. (Not rated, 98 minutes).

The Mercy

Just when we didn’t need another movie about a wayward sailor stranded at sea, this compelling drama from director James Marsh (The Theory of Everything) proves otherwise. It tells the true-life story of Donald Crowhurst (Colin Firth), a British weekend yachtsman who built a small boat in 1968 as part of a contest to circumnavigate the globe solo. As he undertakes the arduous months-long journey with no guarantee of return, his wife (Rachel Weisz) tries to remain optimistic while a reporter (David Thewlis) trumpets his accomplishments. The film achieves only modest suspense aboard the vessel. However, Firth’s performance and some second-half twists make it worthwhile. (Not rated, 112 minutes).

Never Look Away

Art history buffs will appreciate the vivid portrayal of the connection between art and life in this provocative drama from German director Florian Henckel von Donnersmarck (The Lives of Others). The ambitious story spans three decades, chronicling an artist (Tom Schilling) moving throughout Germany in the years following World War II, whose works interpret the horrors of Nazi atrocities that have haunted him since his upbringing in Dresden years earlier. He meets a young woman (Paula Beer) who shares his desire for a fresh start. The uneven but well-acted film offers a deeply felt perspective on socioeconomic volatility and artistic freedom in mid-20th century Germany. (Rated R, 188 minutes).

People’s Republic of Desire

Perhaps “Black Mirror” is more realistic than we realize, judging from this provocative documentary about the proliferation in China of live-streaming celebrities whose viral channels provide a source of income, a chance to pursue their dreams of fame and fortune, and a method of connection with fans and followers. In following a singer and a comedian from different walks of life, and the travails in their personal lives, director Hao Wu incorporates some broader context to illustrate how this trend transcends cultural and geographic boundaries. The film also examines the socioeconomic consequences of such pursuits, which make it a cautionary tale both intriguing and unsettling. (Not rated, 95 minutes).