Capsule reviews for Feb. 19

Body Brokers

While it serves up some justifiable outrage toward a broken system, subtlety and surprise are lacking in this didactic melodrama about the cycle of addiction and recovery on the streets of Los Angeles. That’s where Utah (Jack Kilmer) lands on the advice of his sponsor, Wood (Michael Kenneth Williams), to seek treatment from a psychiatrist (Melissa Leo) determined to get him clean. But while he finds a new outlook, Utah also discovers Wood’s true motives as part of a for-profit predatory system of addict recruitment. The screenplay by director John Swab (Run with the Hunted) knows its gritty territory but struggles to make a deeper impact. (Rated R, 112 minutes).

Burn It All

“Why are you so angry?” That question is asked repeatedly of the resilient heroine in this low-budget revenge thriller. While the answer eventually seems clear, the film itself might leave viewers dismayed for different reasons. Already fed up with the men in her life, Alex (Elizabeth Cotter) returns to her hometown to bury her estranged mother, only to find that her body has been stolen by a gang of organ smugglers. Seeking revenge, Alex is whipped into a violent rage as she confronts her past. More about attitude than subtlety, the film peppers the dialogue with empowerment buzzwords rather than conveying any meaningful emotional depth. (Not rated, 102 minutes).

Days of the Bagnold Summer

The bonds between mother and son are tested during one extremely awkward summer in this slight yet charming British coming-of-age comedy. Daniel (Earl Cave) is a recalcitrant teenage metalhead whose planned trip to Florida was cancelled at the last minute. So he takes out his frustrations on his divorced mother (Monica Dolan), a frumpy librarian who struggles to discipline Daniel despite his obstinance. It’s no secret that they will eventually find common ground by reconciling their feelings about their fractured family. Yet the well-acted film, based on a graphic novel, overcomes such predictable stereotypes with an amusing combination of deadpan observational humor and bittersweet character dynamics. (Not rated, 86 minutes).

Flora and Ulysses

Like the titular duo, this harmless coming-of-age fantasy maintains a spunky charm. Yet it also lacks the nuance and narrative complexity to satisfy those outside of the preteen demographic. Flora (Matilda Lawler) is a cynical comic-book aficionado still reeling from her parents’ separation when she rescues a squirrel that happens to possess superpowers. Their whirlwind adventures together involve plenty of chaos and mischief, much of it directed at a hapless animal control officer (Danny Pudi). Children might enjoy the lively pace and slapstick animal antics, and director Lena Khan (The Tiger Hunter) stages the effects-driven action with visual flair. But overall it’s more exhausting than endearing. (Rated PG, 95 minutes).

17 Blocks

A gripping portrait of the cycle of drugs and violence that plagues too many inner-city communities, this intimate and remarkably candid documentary spans almost two decades. It follows a drug-addicted single mother and her three children — two boys and a girl — battling socioeconomic obstacles, tragic incidents, and residual trauma in their Washington, D.C., home just 17 blocks from the U.S. Capitol. As the kids transition into adults, director Davy Rothbart explores nature and nurture under the most difficult of circumstances. While illustrating the hardships facing low-income families virtually in the shadow of lawmakers, on a personal level the film also finds hope amid the heartbreak. (Not rated, 98 minutes).

Silk Road

Despite some strong performances and intermittent globetrotting intrigue, the embellishments in this true-life crime thriller soften its potentially provocative edges. It tells the story behind the titular online black market for illegal drug sales launched in 2011 by young tech-savvy entrepreneur Ross Ulbricht (Nick Robinson). As he eludes cyber authorities, a conflicted detective (Jason Clarke) with old-school methods tracks him down. The screenplay by director Tiller Russell, inspired by a Rolling Stone article on Ulbricht, opts for a familiar cat-and-mouse framework. While the source material keeps the suspense churning, the characters and their respective redemption arcs aren’t compelling enough to justify a deeper emotional investment. (Rated R, 117 minutes).

Test Pattern

With a deceptively simple concept, this multilayered low-budget drama offers an incisive exploration of fragile relationship dynamics, sexual coercion and violence, and subtle discrimination within the healthcare system. Having just landed a lucrative job, Renesha (Brittany Hall) celebrates at a nightclub with her best friend (Gail Bean). But after she’s drugged and assaulted by a sexual predator, Renesha’s supportive boyfriend (Will Brill) leads the desperate search around nearby hospitals for a rape kit. The sharply observed screenplay by rookie director Shatara Michelle Ford adeptly sidesteps victimhood stereotypes with a balance of compassion and conviction. The performances capture heartfelt intimacy while offsetting the film’s uneven narrative momentum. (Not rated, 82 minutes).

Truth to Power

“Rock is a unique delivery mechanism for rebellion,” explains Serj Tankian, the frontman for Grammy-winning Armenian-American metal band System of a Down, in this compelling documentary that examines his life and career. As the band rose to international fame during the 2000s by layering their songs with political commentary, Tankian became a prominent figure in his family’s homeland by advocating for government reforms and international recognition of the 1915 Armenian Genocide. The film tends to gloss over some of Tankian’s controversies, yet presents an insightful glimpse into the artistic process, as well as the intersection of politics and entertainment, while chronicling his evolution in both arenas. (Not rated, 79 minutes).

The Violent Heart

Deeply felt portrayals outshine the narrative contrivances in this character-driven ensemble drama that is overwrought yet consistently compelling. It follows a small-town mechanic (Jovan Adepo) harboring guilt over multiple tragedies from his past who finds an unlikely companion in a precocious high school senior (Grace Van Patten) trying to escape some family secrets of her own. As their relationship deepens, they must reconcile with their circumstances to start over. A late twist doesn’t pay off, although the film succeeds as a more contemplative examination of family legacies, emotional burdens, and social inequities. The first-rate cast includes Mary J. Blige, Jahi Di’Allo Winston, and Lukas Haas. (Not rated, 102 minutes).