Capsule reviews for Nov. 20

Born to Be

“I make a mean penis,” jokes Dr. Jess Ting, the subject of this eye-opening if uneven documentary about sex reassignment surgery. The former New York plastic surgeon has become a pioneer in the field almost by default, helping transgender patients fulfill their wishes and feel at home in their own skin. In sometimes graphic detail, the film delves into the doctor’s consultations and experimental procedures, enabling viewers to experience the anticipation and trepidation of his patients in the process. The film — while smartly avoiding politics —could have benefited from broader context into the insurance ramifications of these procedures, although Ting’s compassion and dedication shine through. (Not rated, 92 minutes).

Collective

As infuriating as it is riveting, this timely documentary about widespread corruption in the Romanian healthcare system should find sympathizers in other countries, too. It begins with a 2015 Bucharest nightclub fire that killed dozens, followed by an investigation into practices in the burn unit of the hospital where most of the victims were treated. The film follows both the investigative journalist who broke the story about politically motivated bribery and fraud, and the country’s new health minister who struggles to clean up the mess. It’s a captivating glimpse into government messaging and the power of the free press, plus the helpless pawns in the middle. (Not rated, 109 minutes).

Modern Persuasion

The title suggests this derivative romantic comedy is a reimagining of a Jane Austen novel for the social-media age, but those are lofty standards that exceed its grasp. Its collection of upscale New York singles includes Wren (Alicia Witt), a career-minded marketing executive whose firm tries to secure a major contract with an app developer run by a former flame (Shane McRae). Are there still sparks? The film follows the mechanics of the source material, and even throws in a few playful references for good measure. Yet amid all of the contrived romantic maneuvering, the witty charm and whimsical spirit of the book remain elusive. (Not rated, 87 minutes).

Run

Not quite as nimble as its title suggests, this tightly wound psychological thriller from director Aneesh Chaganty (Searching) delivers some moderate chills while examining the mother-daughter dynamic. Chloe (Kiera Allen) is a homeschooled teenager with a variety of physical afflictions and dreams of going to college. That is, until she suspects her single mother (Sarah Paulson) of sinister motives with regard to her myriad medications. The third act doesn’t withstand much logical scrutiny, but at least the film dispenses with much of the supernatural nonsense and visual gimmickry that tends to pervade genre films these days. Rather, Allen and Paulson keep the twists emotionally grounded. (Rated PG-13, 89 minutes).

Team Marco

The bocce community might love the publicity for their obscure sport, but otherwise this formulaic intergenerational comedy provides only intermittent laughs while tugging too aggressively at the heartstrings. Marco (Owen Vaccaro) is a Staten Island 12-year-old obsessed with video games, something that irritates his cranky grandfather (Anthony Patellis) who moves in with the family after becoming a widower. To lure the recalcitrant youngster outside, he makes a wager involving his senior bocce buddies and Marco’s ragtag classmates. There are some worthwhile lessons about technology and family bonding, although the sweet-natured intentions are compromised by plot contrivances and exaggerations. Unlikable characters further diminish the emotional impact. (Rated PG, 92 minutes).

The Twentieth Century

With influences ranging from Monty Python to Guy Maddin, this self-consciously peculiar biographical satire about an obscure Canadian leader doesn’t have much basis in historical fact. Instead, as the story opens in 1899, Mackenzie King (Dan Beirne) is portrayed as a socially awkward simpleton with the singular aspiration of someday becoming prime minister. He does, just like the real King, but not before a series of misadventures involving sexual fetishes, cross-dressers, and bizarre masculine challenges. If you’re on the same eccentric wavelength, Matthew Rankin’s audacious directorial debut provides consistent low-brow deadpan laughs to accompany its rudimentary throwback visuals. However, it’s definitely an acquired taste. (Not rated, 90 minutes).

Vanguard

At 66, Jackie Chan still handles his fair share of physical stunts in this otherwise lackluster action vehicle, which misses the energy and flair of his previous collaborations with director Stanley Tong (Rumble in the Bronx). Chan plays the head of an international security agency assigned to protect the conservationist daughter of a Chinese businessman who is sought by Middle Eastern mercenaries who indirectly blame him for an associate’s murder. Combining chop-socky silliness with contemporary Hollywood thriller cliches, the film relies too heavily on globetrotting shootouts and visual effects. The lack of quality fight sequences tends to compromise any suspense along with Chan’s affable charisma. (Rated PG-13, 103 minutes).