Capsule reviews for Dec. 25

Dear Comrades

Almost 60 years later and half a world away, the circumstances surrounding the Novocherkassk massacre carries a haunting resonance. Octogenarian filmmaker Andrei Konchalovsky (Tango and Cash) revisits the historical details through a satirical lens in this stylish black-and-white drama. It covers the buildup and aftermath of the incident, which involved Soviet government forces shooting into a crowd of small-town proletariat protesters upset over rising grocery prices and falling factory wages. Although some of the more character-driven sequences aren’t as impactful, the visceral depiction of the uprising itself broadly enables viewers to view the damaging effects of the Communist regime from a fresh perspective. (Not rated, 121 minutes).

The Dissident

The conclusion that the Saudi government was responsible for the 2018 killing of journalist Jamal Khashoggi inside a Turkish embassy isn’t exactly revelatory. Yet this well-researched documentary carries an urgency with its audacity and insight. The film persuasively chronicles the tragic Khashoggi case from all angles, breaking down investigations into the murder itself, the circumstances before and after, the subsequent global fallout, and the incident’s effect on sociopolitical stability in the Middle East. Although the narrative thriller structure feels forced, suggesting one big twist that never really comes, director Bryan Fogel (Icarus) skillfully weaves together interviews and evidence into a compelling and ultimately harrowing package. (Rated PG-13, 118 minutes).

Gunda

It’s the best black-and-white documentary about a one-legged chicken you’ll see all year. But really, a sow and her piglets are the primary focus of this latest slow-paced immersion into nature from Russian filmmaker Victor Kossakovsky (Aquarela). There are cows, too, in this barnyard tour set in parts unknown, presented without context or narrative embellishment. Perhaps it’s meant as a guilt-inducing, soft-sell promotion of veganism. Who knows? The film maintains a certain soothing meditative appeal with its captivating visuals and occasionally amusing critter antics. However, impatient viewers might become frustrated with the endless close-ups and deliberately swirling cameras, preferring to order a cheeseburger with extra bacon. (Rated G, 93 minutes).

Herself

Graceful yet forceful, this powerful Irish drama about starting over after an abusive relationship is anchored by a breakthrough performance by Clare Dunne. She stars as Sandra, a Dublin mother who flees home after being beaten. With few resources at her disposal, Sandra wants desperately to retain custody of her two young daughters, so she finds temporary employment and housing. Yet in her honest attempt to build a self-build a small house with a ragtag army of volunteers, she almost loses everything. Steered with compassion by director Phyllida Lloyd (Mamma Mia), this heartfelt empowerment story overcomes some contrivances with grit and tenacity, just like Sandra. (Rated R, 97 minutes).

Night of the Kings

It might be rough around the edges, but this gritty Ivorian prison drama is a searing immersion into the power of myth in shaping reality. It follows a young pickpocket (Bakary Kone) who becomes caught up in a power struggle among inmates at the anarchic complex known as “La Maca.” When suddenly appointed to a prestigious post as storyteller, he must reconcile with his past to ensure his future. The screenplay by director Philippe Lacote provides an even-handed examination of West African violent rituals and mystical traditions. Kone’s expressive portrayal generates sympathy, and the sweltering, claustrophobic setting adds a suspenseful undercurrent amid the testosterone-fueled mayhem. (Not rated, 93 minutes).

Pinocchio

Visual splendor offsets some of the narrative missteps in this latest cinematic adaptation of the venerable children’s novel. After directing and starring in the title role in a 2002 version, Roberto Benigni returns this time as Geppetto, the Italian woodcarver whose puppet magically comes to life with dreams of becoming a real boy. He embarks on a mischievous adventure marked by his inability to tell a lie, lest his nose grow like a branch from his wooden head. As directed by Matteo Garrone (Gomorrah), it boasts picturesque landscapes but some curiously detached storytelling while attempting to capture the darker aspects of the familiar source material. (Rated PG-13, 125 minutes).

Sylvie’s Love

You’re so immersed in the setting of this period romance that you hardly notice how plodding and predictable the story tends to be. Nevertheless, richly textured performances drive this story of fate and empowerment concerning Sylvie (Tessa Thompson), who works in her father’s record store in 1950s Harlem but dreams of becoming a television producer — a significant challenge for a Black woman at the time. When she falls for a charming saxophonist (Nnamdi Asomugha), she must balance those ambitions with her romantic desires. The old-fashioned story is layered with cultural and gender relevance, and director Eugene Ashe injects some stylish throwback visuals and an exquisite soundtrack. (Rated PG-13, 114 minutes).

Two Ways Home

Despite its sincere intentions, this compassionate low-budget drama about reconciliation is undercut by aggressive sentimentality and stilted performances. Kathy (Tanna Frederick) struggles to restart her life after serving time in prison for armed robbery and in a clinic for her bipolar disorder. While trying to reconnect with her estranged preteen daughter (Rylie Behr), Kathy finds purpose in helping her grandfather (Tom Bower) live out his final days on the family farm. The compassionate attempt to break down stigmas about mental illness yields some powerful moments. However, the film too often feels forced, and its lack of subtlety and surprise prevents a deeper emotional resonance. (Not rated, 92 minutes).