Capsule reviews for March 29

The Brink

We probably didn’t need another documentary about embattled right-wing political strategist Steve Bannon so quickly after Errol Morris profiled him last year. Yet this film at least takes a different approach, mostly eschewing interviews in favor of a fly-on-the-wall approach to his whirlwind schedule of meetings and fundraisers promoting his extreme nationalist agenda during the year leading up to the 2018 midterm elections. It’s more insightful about Bannon’s workaholic nature and persuasive methods than it is about passing judgment on his ideology, which is fine since director Alison Klayman (Ai Weiwei: Never Sorry) smartly realizes her film won’t change the minds of moviegoers on either side. (Not rated, 91 minutes).

The Chaperone

For a film about two strong-willed women confronting stereotypes and cultural norms, this historical drama from screenwriter Julian Fellowes (“Downton Abbey”) is curiously passive and bland. It follows future Hollywood starlet Louise Brooks (Haley Lu Richardson), traveling as a teenager from her Kansas hometown to New York to chase her Broadway dreams. But her parents insist she not travel alone, so she’s paired with Norma (Elizabeth McGovern), whose journey includes discoveries about her past. Both performances outshine the film itself, which handsomely re-creates the period but rarely captures the compelling drama that seems apparent. Focusing more on Louise and less on Norma would have helped. (Not rated, 108 minutes).

Diane

A quietly powerful performance by Mary Kay Place (Being John Malkovich) drives this perceptive character study about aging, guilt, spirituality, and maternal instincts. She plays the title role, as a baby boomer who visits ailing friends at the hospital, volunteers at the local homeless shelter, and tries to support her unappreciative, drug-addicted son (Jake Lacy). Meanwhile, she neglects her own happiness and lingering insecurities while helping others. Place’s balance of strength and vulnerability allows Diane to earn audience sympathy while remaining authentic in terms of her flaws. And the screenplay by director Kent Jones explores generational relationships with a sense of gentle humor and bittersweet catharsis. (Not rated, 95 minutes).

Screwball

You don’t need to be a fan to appreciate this lighthearted documentary investigation into the most recent of Major League Baseball’s doping scandals. The primary subject is Tony Bosch, the sleazy Miami “doctor” who allegedly was a primary testosterone provider circa 2013 for sluggers Alex Rodriguez, Manny Ramirez, and others. The film chronicles how his ability to skirt MLB rules on performance-enhancing drugs fueled his rise to power, as well as various other hangers-on who became both his confidantes and enemies. The snarky approach to the abundant re-enactments certainly isn’t subtle, but they capture the absurdity. And nobody — especially the sport itself — is spared scrutiny. (Not rated, 104 minutes).

Sobibor

A few moments of excitement and insight can’t elevate this formulaic retelling of the horrors and heroism surrounding the Sobibor extermination camp in Poland during World War II. It marks an ambitious directorial debut for Russian actor Konstantin Khabenskiy, who also stars as a Soviet officer assigned to the camp who risked his own life to spearhead a rebellion among the prisoners against the sinister commandant (Christopher Lambert). Their subsequent 1943 uprising was the most successful of its kind against the Nazi regime. There’s a harrowing potency to the violence, and the adrenaline pumps during its final act, but the film overall lacks depth and complexity. (Not rated, 110 minutes).

A Vigilante

The title character’s mix of rage and compassion should carry over to moviegoers in this uneven but blistering low-budget thriller from rookie director Sarah Daggar-Nickson. It follows Sadie (Olivia Wilde), who escaped from an abusive marriage and now attends group therapy sessions. Taking the catharsis further, she buffs up physically and turns into a superhero of sorts for fellow domestic-abuse survivors who need a way out, only to realize her own past is catching up. A committed performance by Wilde (Life Itself) drives this brutal and uncompromising revenge saga that feels more empowering than exploitative in dealing with its hot-button subject matter. It’s gritty and powerful. (Rated R, 91 minutes).