Capsule reviews for March 19

After the Murder of Albert Lima

The obsessive need for closure in the face of injustice fuels this gripping documentary about Paul Lima, son of a Florida lawyer who was killed in 2000 while trying to settle a legal dispute on an island off the coast of Honduras. After 13 years of frustration with local police and bureaucratic red tape orchestrated to protect organized crime, Paul hires two bounty hunters for a perilous vigilante quest for revenge. As the five-day ordeal unfolds, endangering everyone including the film crew, the movie builds suspense like a thriller. But its broader examination of legal and judicial corruption in Latin America raises the emotional stakes. (Not rated, 97 minutes).

Enforcement

With a topical premise that resonates across geographic boundaries, this ambitious Danish police thriller only hints at a deeper social impact. It follows officers Jens (Simon Sears) and Mike (Jacob Lohmann), whose routine evening patrol in a Copenhagen ghetto coincides with news about the death of a Muslim teenager in police custody. That riles up the neighborhood, which targets the two cops for its collective anger, and leads to a night of violence. The film smartly avoids taking sides, preferring that moviegoers make up their own minds. However, beneath the well-crafted scenes of unrest on its surface, the screenplay struggles to get the blood boiling. (Not rated, 108 minutes).

Food Club

More of an appetizer than an entrée, this breezy Danish comedy is a mild recipe from a familiar menu. It centers on Marie (Kirsten Olesen), a doting grandmother whose husband of 44 years leaves her on Christmas Eve. So she calls her lifelong gal pals (Kirsten Lehfeldt and Stina Ekblad) dealing with personal issues of their own. The trio heads to Italy for a weeklong cooking class. While immersing themselves in gourmet cuisine, they try to confront their personal issues and start over. It’s a touching tribute to sisterhood that features empowered women and a worthwhile message. Yet there’s not much meat on the narrative bones. (Not rated, 99 minutes).

Happily

Can a married couple be too happy? That question is playfully posed by this amusing dark comedy with style and attitude to spare, which centers on suburbanites Tom (Joel McHale) and Janet (Kerry Bishe). After 14 years, they’re always affectionate, they never argue, and they drive their envious friends crazy. Yet their devotion is tested by a mysterious stranger (Stephen Root), followed by a murder investigation, then an existential crisis during a weekend getaway. Although it stumbles down the stretch, and isn’t as edgy or clever as desired, the screenplay by rookie director Bendavid Grabinski probes suspicion and paranoia with a fresh take on modern relationships. (Rated R, 96 minutes).

Last Call

The blue-collar setting is uniquely specific, although the path to redemption in this uneven saga feels otherwise familiar. Mick (Jeremy Piven) is a real-estate developer who returns to the Philadelphia neighborhood where he grew up, following a family tragedy. After reconnecting with old buddies at his father’s bar, as well as an old flame (Taryn Manning), Mick reveals another reason for his visit — to garner support for a prospective casino that could spur the local economy. But at what cost? It’s difficult to muster much sympathy for this collection of drunken slackers, while any quirky charm is wiped away by a reliance on narrative cliches. (Rated R, 102 minutes).

Wojnarowicz

Guerrilla artist David Wojnarowicz probably wouldn’t have wanted all the attention, but this compelling documentary shines a spotlight on his life and work almost 30 years after his death. As a cynic and social outcast, he channeled frustration from his troubled upbringing into paintings and multimedia works — frequently controversial and politically charged — that gained recognition during the 1980s. Wojnarowicz became a queer trailblazer during the rise of the East Village gallery scene and the height of the AIDS epidemic. In addition to providing a valuable recent history lesson, director Chris McKim (Freedia Got a Gun) offers an intriguing exploration of his subject’s inspiration, process, and legacy. (Not rated, 105 minutes).