Capsule reviews for Aug. 28

The Binge

Heavy drinking might be required to fully appreciate the labored gags in this raunchy teen comedy that seems spun off from the Purge franchise. The one-joke premise imagines a return to Prohibition, with just one day each year reserved for unchecked narcotic and alcohol consumption. The film focuses on a trio of nerdy suburban high school seniors who, against the advice of their principal (Vince Vaughn), aspire to make their first Binge an epic night of drugged-out debauchery. The mischievous boys generate some scattered low-brow laughs before the film basically jettisons its concept in favor of assembly-line party mishaps, with moviegoers left off the guest list. (Rated R, 98 minutes).

Centigrade

Unthinkably harsh elements. A claustrophobic safe space. A desperate shortage of resources. Little hope for rescue. The boxes are checked, yet this two-handed survival thriller rarely maximizes the tension of those harrowing elements. In 2002, a pregnant American author (Genesis Rodriguez) and her husband (Vincent Piazza) are in rural Norway on a book tour when they become stranded in their rental car beneath a massive snowbank during a blizzard. Within its tight narrative constraints, the immersive film — apparently inspired by a true story — captures the psychological distress of their circumstances. But all the bickering and panic elicits more pity than sympathy, leaving viewers emotionally cold. (Not rated, 89 minutes).

Epicentro

Good documentaries often immerse us in someplace we’ve never been, such as this latest travelogue from director Herbert Sauper (Darwin’s Nightmare) that uses a portrait of modern Cuba as a way to revisit the country’s unique place in world history. Focusing primarily on the working-class people who’ve lived there for decades, Sauper is both observational and calculated in his approach, wanting to share their stories while also offering broader perspective during a time of intense transition in Cuba. From its visual beauty to its cultural and artistic distinctions to its sociopolitical challenges, the uneven film takes an affectionate approach toward its subjects, mostly to its benefit. (Not rated, 109 minutes).

Fatima

We’re not asking for a miracle, but simply a more compelling script from this faith-based historical drama, which lacks the same conviction as its main characters. It follows Lucia (Sonia Braga), a Portuguese nun who recounts to a skeptic (Harvey Keitel) a story from decades earlier — against the volatile backdrop of World War I — when 10-year-old Lucia (Stephanie Gil) and two shepherd friends in the titular village claim to have been visited and blessed by the Virgin Mary. As their credibility is questioned, the film’s probe of emotional layers within belief systems is half-hearted, missing an opportunity to bring new perspective to the true-life source material. (Rated PG-13, 113 minutes).

Get Duked

When you leave three juvenile delinquents and a nerdy classmate alone in the Scottish Highlands for a misguided orienteering competition, what could possibly go wrong? That’s the jumping-off point for this freewheeling British comedy, which generates consistent low-brow laughs with energy and attitude to spare. The bumbling quartet gets lost in the wilderness, has some unfortunate run-ins with eccentric locals including a hunter (Eddie Izzard), and trips out on hallucinogens to pass the time. Even when the adventure turns darker and more predictable, the tone-juggling screenplay by rookie director Ninian Doff devises some clever mischief while his characters convey an endearing offbeat camaraderie. (Rated R, 86 minutes).

House of Cardin

Fashion aficionados should appreciate this documentary about legendary Italian designer Pierre Cardin, which provides a thorough career retrospective even if it sacrifices depth in exploring his personal life. Still, there’s much to explore regarding Cardin’s work and his legacy, from the, um, audacity of his experimental women’s lines during the 1950s to his influential ideas on business and branding within the industry and beyond. The film’s 98-year-old subject, who remains active, provides some insight as other interviewees praise his talent and longevity. Mixing in abundant archival footage, the result becomes a compelling deep-dive into decades of couture history through someone who’s seen it all. (Not rated, 95 minutes).

Still Here

Given current headlines, this pedestrian thriller depicting racial bias during a true-life missing-persons case squanders an opportunity to be more impactful. It’s set in blue-collar Brooklyn, where a father (Michael McRae) is devastated by the disappearance of his young daughter, and frustrated by the lack of urgency in the police investigation, which he suspects is racially motivated. Enter a journalist (Johnny Whitworth) whose attempt to pursue a juicy story compromises his objectivity. The film is simply mediocre as a police procedural or as a character study. But it stumbles badly on a broader scale, with any topical ambitions compromised by a lack of subtlety and nuance. (Not rated, 99 minutes).