Capsule reviews for Sept. 27

The Day Shall Come

Taut and timely, this sharply observed farce from British satirist Chris Morris (Four Lions) is an amusing yet provocative glimpse into post-Sept. 11 American antiterrorism efforts. It focuses on the efforts of an FBI field officer (Denis O’Hare) and his deputy (Anna Kendrick) as they attempt to gain publicity by framing a grassroots wannabe militia leader (Marchant Davis), living in poverty in Miami, and funding his misguided revolutionary mission. Morris cleverly navigates a maze of corrupt motives, bumbling informants, and bureaucratic red tape with a tightly focused script that provides big laughs while remaining just grounded enough to resonate. The ensemble cast adeptly plays along. (Rated R, 87 minutes).

The Death of Dick Long

Balancing mockery with sympathy seems especially difficult given the lead characters in this low-budget comedic thriller — two small-town Alabama rednecks desperately trying to cover up the accidental titular tragedy — but the lighthearted result has it both ways. Garage-band partners Zeke (Michael Abbott Jr.) and Earl (Andre Hyland) try to conceal the unspeakable circumstances behind their friend’s death from their families and the authorities, but can’t seem to keep their story straight when it matters most. While they convey a dimwitted charm during their inevitable downward spiral, the film itself is clever in the way it pokes fun at stereotypes and maintains suspense amid the silliness. (Rated R, 100 minutes).

First Love

Just when you think prolific Japanese filmmaker Takashi Miike (Ichi the Killer) might be turning soft and romantic, the blood and bullets start flying in this frequently exhilarating comedic thriller that marks only a slight departure from his genre roots. Leo (Masataka Kubota) is a fledgling boxer who becomes caught up in a series of violent mishaps during the hours after he loses a fight. Besides his personal troubles, he becomes romantically attached to a call girl (Sakurako Kanishi) whose connections intersect with a drug-smuggling operation involving mobsters and assassins. That’s more in Miike’s wheelhouse, and he stages the action with an evocative visual flair. (Not rated, 108 minutes).

Sister Aimee

More noteworthy for ambition than execution, this offbeat quasi-biopic might at least inspire interest in its fascinating but obscure true-life subject. Aimee (Anna Margaret Hollyman) was a pioneering American evangelist who achieved notoriety during the 1920s before disappearing for several weeks in Mexico. That’s where the film concentrates, on her relationship with a guide (Andrea Suarez Paz) who helps her refocus during a series of crazy adventures. The uneven film admits it’s based more on speculation than fact, and certainly leaves the truth up for debate. Yet despite Hollyman’s endearing performance, it struggles to juggle its disparate tones and quirky ideas into an emotionally satisfying whole. (Not rated, 87 minutes).

10 Minutes Gone

“This is making me insane,” exclaims one of the ruthless crooks that populate this aggressively formulaic crime thriller about backstabbing, macho posturing, and dishonor among thieves. Moviegoers might share that sentiment. It begins with an elaborate Cincinnati bank heist gone wrong but concentrates mostly on the aftermath, during which a safecracker (Michael Chiklis) tries to avenge his brother’s death, except he blacked out for 10 minutes and can’t recall the details. Meanwhile, his boss (Bruce Willis) has dispatched backup to claim the missing loot. From there, the woefully uninspired film stages a series of shootouts without bothering to give us any rooting interest. Yay violence! (Rated R, 89 minutes).