Capsule reviews for March 6

Bacurau

Beneath the genre elements on the surface, a blistering sociopolitical subtext galvanizes this offbeat Brazilian adventure fantasy. It takes place in the near-future in a small village where Teresa (Barbara Colen) returns to mourn her grandmother, who served as the town matriarch. The funeral jump-starts a series of bizarre occurrences, including the corrupt politicians, outlaw cowboys and even UFOs. But their resolve is further tested by something more sinister. The combination of Western, science fiction, horror, and other elements proves highly uneven, although the film is stylish and suspenseful throughout. With its relevant undercurrent, it pays tribute to cinematic influences while finding fresh a voice. (Not rated, 131 minutes).

The Booksellers

Although we can all share in its lament about the gradual demise of antiquarian bookstores, this uneven deep-dive documentary about the used-book world is hardly a page-turner. There are amusing bits scattered throughout, as we’re introduced to the quirky world of collectors who still value their texts printed and bound, and the retailers whose New York shops have succumbed to the rise of online trends and shifting customer tastes. Such nostalgic observations aren’t especially insightful when they feel more like old people venting about the good old days. At least the film’s heart is in the right place, and its eccentric subjects leave room for optimism. (Not rated, 99 minutes).

Escape from Pretoria

Despite pushing some familiar buttons, this prison drama lacks the depth and suspense that perhaps its true-life source material deserves. In the 1980s, Tim Jenkin (Daniel Radcliffe) and Stephen Lee (Daniel Webber) were white Apartheid freedom fighters imprisoned for their political subversion. Over the next several months, without any communication with the outside world, they devise a daring escape plan involving homemade wooden keys. The climactic escape sequence generates some tension and rooting interest the rest of the film generally lacks, while the well-intentioned screenplay — based on Jenkin’s memoir — too often downplays the sociopolitical context that could help unlock the two men’s motives and methods. (Rated PG-13, 106 minutes).

Extra Ordinary

Poking fun at genre clichés while also generating some big laughs organically, this supernatural comedy provides a worthy showcase for Irish comedian Maeve Higgins. She shines as Rose, a Dublin driving instructor whose late father passed down his gift for performing exorcisms and paranormal investigations. She wants to leave that life behind, but is lured into action by a father (Barry Ward) whose daughter is targeted for a virgin sacrifice by an American musician (Will Forte) during a satanic ritual. Mischievous and playful but always good-natured, this silliness becomes too convoluted during the final act. Yet while the concept is thin, it’s also frequently hilarious. (Rated R, 94 minutes).

First Cow

The latest from director Kelly Reichardt (Certain Women) is another low-budget, offbeat saga of rural socioeconomic strife in the Pacific Northwest. This one is set in 1820s Oregon, where a fur-trapping cook (John Magaro) and a struggling Chinese prospector (Orion Lee) form a partnership to get rich stealing precious milk directly from a rare cow belonging to a wealthy Brit (Toby Jones), then using it to turn a quick profit on baked goods. The deliberately paced film rewards viewer patience with richly textured characters who generate hard-earned sympathy, in addition to a hint of suspense as the scheme unfolds. It’s modest yet quietly powerful. (Rated PG-13, 121 minutes).

Hope Gap

“It’s not easy to explain,” laments Edward (Bill Nighy), a British schoolteacher regarding his decision to leave his wife of almost three decades, which sets this domestic drama into motion. Edward has found another woman, he tells his adult son (Josh O’Connor), who uncomfortably tries to broker peace between his dad and mother (Annette Bening), an author who feels stunned and betrayed by the sudden news. As they sort through the dirty laundry, the performers enliven the deliberately paced screenplay by director William Nicholson (Shadowlands), based on his stage play. The seaside visuals are a treat, although the film lacks sufficient narrative urgency to resonate. (Rated PG-13, 100 minutes).

Only

Two spirited performances are squandered by generic execution in this atmospheric dystopian romance. The post-apocalyptic premise finds Will (Leslie Odom Jr.) desperately trying to protect Eva (Freida Pinto) in a sterilized apartment, after a virus has wiped out almost all of the women on Earth. The few who remain are being rounded up involuntarily to help rebuild the population. The concept is clever — even if it’s similar to the recent Casey Affleck drama Light of My Life — but the screenplay’s jumbled chronology seems like a forced attempt to mask logical gaps. Although the actors develop a convincing chemistry, the third act turns sentimental and contrived. (Not rated, 98 minutes).

Run This Town

Disgraced former Toronto mayor Rob Ford might have faded from the public spotlight, but his presence lingers throughout this muddled Canadian thriller that probes the changing face of contemporary journalism. The film centers on a political scandal, the fallout from which entangles both an opportunistic young reporter (Ben Platt) and a city hall staffer (Mena Massoud), as well as other angst-ridden millennials tasked with either uncovering or spinning the story. The film’s intriguing character dynamics and scrappy performances generate the intended insight or tension only in small bursts. Ultimately, the screenplay by rookie director Ricky Tollman features lots of talking with little to say. (Rated R, 99 minutes).

Swallow

It’s possible to be both disgusted and riveted by this edgy and stylish psycho-thriller about gender politics and female identity, although the overall impact is milder. There’s some shock value in the story of Hunter (Haley Bennett) a pregnant housewife practically out of the 1950s, whose contentment masks a hostility toward her misogynistic husband (Austin Stowell) and overbearing in-laws. Then she develops pica, a rare disorder that causes her to consume dangerous items like batteries or marbles. Its detachment from reality keeps the screenplay by rookie director Carlo Mirabella-Davis from achieving a greater emotional impact. However, Bennett’s audacious portrayal brings a provocative calm amid the chaos. (Rated R, 96 minutes).