Capsule reviews for May 21

Blast Beat

With style and attitude to spare, this heartfelt coming-of-age drama uses nostalgic evocation to compensate for some of its narrative shortcomings. It’s set on the brink of Y2K, when aspiring NASA scientist Carlotta (Mateo Arias) and his rebellious younger brother, Mateo (Moises Arias), flee political unrest in their native Colombia to reunite with their estranged father (Wilmer Valderrama) in Atlanta. As they struggle to adjust, the family searches for common ground. The real-life Arias siblings convey a natural chemistry as the film establishes some intriguing character dynamics. Yet as a broader examination of the immigrant experience, it lacks the depth and nuance to make an impact. (Not rated, 105 minutes).

Drunk Bus

As it navigates a familiar coming-of-age path, this quirky dark comedy has enough heart beneath its mischievous surface to make it a worthwhile ride. It centers on Michael (Charlie Tahan), who drives a late-night bus route around campus, picking up a nightly collection of oddballs. When things get too rowdy, a Samoan security guard (Pineapple Tangaroa) shows up to sort through the riff-raff, and winds up encouraging Michael to come out of his shell — for better and worse. The film’s endearing characters and offbeat charm help modulate some uneven stretches. The odd-couple chemistry of the leading duo provides an emotional anchor amid the chaos around them. (Not rated, 101 minutes).

The Dry

Although elements of this Australian mystery feel weathered and dusty, a sturdy performance by Eric Bana elevates this evocative character-driven saga from director Robert Connolly (Paper Planes). Bana plays Aaron, a federal agent who returns from Melbourne to his drought-stricken outback hometown for the funeral of a childhood friend. When he’s lured into an investigation after the deceased’s parents suspect foul play, the extended visit also forces Aaron to reconcile with some tragic circumstances from his past. Immersing us in prairie landscapes and rural quirks, the film maintains enough intrigue to overcome the disjointed nature of its persistent flashbacks and familiarity of its narrative arc. (Rated R, 117 minutes).

Final Account

More noteworthy for its intentions than its cumulative emotional impact, this documentary featuring interviews with elderly ex-Nazis makes for a worthwhile historical document. More than a decade in the making, the film finds late British director Luke Holland tracking down several Germans and Austrians now in their 80s and 90s who comprise the last generation of Hitler’s Third Reich. Their recollections of their involvement in human-rights atrocities, and rationalizations all these years later, are intriguing if not all that surprising. Some of their stories are more engrossing than others. Yet perhaps more urgently, the documentary resonates with its intimate examination of authority, conformity, and complicity. (Rated PG-13, 90 minutes).

Into the Darkness

Bolstered by strong performances and intriguing character dynamics, this World War II melodrama from veteran Danish director Anders Refn overcomes some stuffy period trappings. It centers on Karl (Jesper Christensen), a Copenhagen businessman whose family is torn apart by sociopolitical conflict. While his struggling financial prospects lure him into an ethically dubious partnership with the Nazis. Meanwhile, his children’s loyalties are torn, especially his oldest son (Mads Reuther) who becomes a resistance fighter. Despite some melodramatic detours among its myriad subplots, the film remains compelling as a broader examination of moral complicity during times of war, and of subtle implications away from the front lines. (Not rated, 152 minutes).

New Order

Stylish and provocative, this unsettling thriller from Mexican director Michel Franco (After Lucia) explores socioeconomic inequalities by emphasizing shock value over emotional depth. It begins with an upper-class wedding in Mexico City being infiltrated by rebels who have stormed the city in a violent wave of looting and murder. When the bride-to-be (Naian Gonzalez Norvind) is abducted and held for ransom, she fights for survival as rescue hopes dwindle. The film’s visually striking depiction of rampant anarchy and nonchalant brutality is appropriately disturbing, although the film’s lack of context combined with Franco’s moral ambivalence muddle the intended urgency amid the widespread destruction and despair. (Rated R, 86 minutes).

Pink: All I Know So Far

While it provides a treat for her legions of fans, this intimate behind-the-scenes documentary from director Michael Gracey (The Greatest Showman) hardly breaks any new ground. The film follows Pink on the European leg of her 2019 tour, culminating in a show at London’s Wembley Stadium. Through interviews and fly-on-the-wall footage, the pop superstar tries to balance parenting on the road — it’s impossible to tire of her two adorable kiddos — with fan expectations, her outrageous stage persona, and perfectionist tendencies while planning her elaborate concerts. However, amid abundant snippets of her greatest hits, this surface-level portrait feels too guarded to allow for much genuine insight. (Rated R, 99 minutes).

Rare Beasts

The two lead characters might be drawn to one another in this British romantic comedy, but moviegoers might not share in their affection. Mandy (Billie Piper) is a single mother whose myriad insecurities manifest themselves in her relationships. She falls in love with, or maybe settles for, an outspoken misogynist (Leo Bill) while also dealing with a rambunctious young son, an ailing mother (Kerry Fox), and a selfish father (David Thewlis). Piper shows promise behind the camera in her directorial debut, but her screenplay only occasionally capitalizes on its unique feminist perspective. Instead it relies on quirks rather than generating much sympathy or charm. (Not rated, 87 minutes).

Sound of Violence

Despite the sensory twist suggested by the title, this ultraviolent thriller establishes some moderate tension before ultimately settling for genre conventions. It follows Alexis (Jasmin Savoy Brown), who was deaf as a child but recovered her hearing while witnessing a brutal family tragedy. Years later, she’s a music teacher and freelance audio engineer who finds herself drawn to the sounds of violent acts. However, her collection of recordings triggers a vengeful rampage for her troubled past. Brown’s deeply felt performance balances Alexis’ strength and vulnerability. Yet the screenplay by rookie director Alex Noyer becomes contrived and far-fetched in the final act, diminishing its visceral chills. (Not rated, 94 minutes).