Capsule reviews for June 11

Akilla’s Escape

Playing the title role, the charismatic intensity of slam poet Saul Williams drives this urban crime thriller that subverts genre cliches with a character-driven approach. Akilla is a Jamaican immigrant living in Toronto perpetually trying to escape a cycle of gang violence. When he catches a teenager (Thamela Mpumlwana) trying to rob the dispensary he manages, Akilla eschews violence in favor of mentoring the boy toward a way out of life on the streets. This is familiar thematic territory, of course, and the film sometimes drills home its intentions too bluntly as it shifts frequently between past and present. However, the dynamics feel heartfelt and genuine. (Not rated, 90 minutes).

Censor

Genre aficionados will enjoy the throwback visual flourishes in this low-budget British horror exercise, even if the creepy premise isn’t sufficiently paid off at the end. In the 1980s, Enid (Niamh Algar) is assigned to censor films during a time of intense paranoia and scrutiny by the Thatcher administration linking violent media content and rising crime. Enid also is still haunted by the childhood disappearance of her younger sister, and her discovery of a possible clue in a cheap slasher flick triggers a surreal nightmare. Along the way, the film’s satiric intentions and social criticism are obscured by muddled plot twists and gory tropes. (Not rated, 84 minutes).

The Dose

Although it strains credibility in the final act, this twisty Argentinian thriller skillfully modulates dark comedy with relevant social commentary. It takes place in a hospital ICU ward, where Marcos (Carlos Portaluppi) is a dedicated night nurse who clandestinely performs euthanasia on his dying patients. The arrival of a new nurse (Ignacio Rogers), with secrets of his own, threatens to expose Marcos’ secret while sending him down a spiral of obsession and paranoia. The screenplay by rookie director Martin Kraut doesn’t pass judgment on either of his main characters as they match wits, while the intriguing dynamics ratchet up the tension amid the inherent life-or-death stakes. (Not rated, 92 minutes).

The Misfits

Feeling like a rejected sequel idea for the Ocean’s Eleven franchise, this formulaic heist thriller from director Renny Harlin (Die Hard 2) is a slick and frenetic exercise in style over substance. Richard (Pierce Brosnan) is a debonair criminal recruited by Ringo (Nick Cannon) to join a ragtag group of young Robin Hoods trying to pilfer gold bars from underneath a prison in the Middle East. Despite his doubts, Richard’s greed and his personal connection to the case get him involved. The robbery itself generates some intrigue. Yet while the film avoids bogging down in convoluted plotting and flashy misdirection, it lacks sufficient cleverness or charisma. (Rated R, 93 minutes).

A Perfect Enemy

Captivating performances and intriguing character dynamics drive this uneven psychological thriller from Spanish director Kike Maillo (Eva). It’s set mostly inside an airport in Paris, where an architect (Tomasz Kot) trying to catch a flight is interrupted by a young woman (Athena Strates) who approaches him with a series of strange stories. He finds her chatty nature both annoying and alluring, although she soon reveals ulterior motives to her methods. Through its narrow narrative framework and dialogue-heavy structure, the film fashions some clever twists that cause both characters to reexamine their checkered past. As the tone darkens, Maillo effectively employs misdirection while maintaining low-key suspense. (Not rated, 89 minutes).

Peter Rabbit 2: The Runaway

Straying even further from its Beatrix Potter source material, this lackluster sequel amplifies the snark without boosting the charm of the 2018 original. Again showcasing some seamless CGI character effects, the story tracks the mischievous Peter (voiced by James Corden) stumbling into misadventures in the big city while his newlywed human companions Bea (Rose Byrne) and Thomas (Domhnall Gleeson) try to make deals for Bea’s children’s book. Although the setting has shifted, the frenetic approach of returning director Will Gluck (Friends with Benefits) is familiar, from the garden-variety cuteness of the animal antics to the crass one-liners to the broad slapstick. It’s more obnoxious than endearing. (Rated PG, 93 minutes).

Queen Bees

An esteemed cast cannot rescue this sweet yet contrived golden-years romantic comedy from director Michael Lembeck (Tooth Fairy) that doesn’t exactly age gracefully. Helen (Ellen Burstyn) is a widow reluctantly forced to relocate to a senior-living facility while her house is being renovated. While there, her strong-willed personality clashes with a bossy resident (Jane Curtin), while she falls for a widower (James Caan) with possible secrets. The film manages some broad sitcom-level laughs but stumbles in the transition to a more poignant examination of aging, caregiving, letting go, and starting over. Led by a charming Burstyn, the ensemble includes Ann-Margret, Christopher Lloyd, and Loretta Devine. (Rated PG-13, 102 minutes).

Rogue Hostage

Considering the subject matter, the emotional stakes feel remarkably low in this incoherent assembly-line thriller with an equally generic title. It takes place mostly inside a department store, where armed intruders take more than a dozen hostages, apparently as a vendetta against the congressman (John Malkovich) who owns the business. Among those trapped inside is his stepson (Tyrese Gibson), a single father and ex-Marine suffering guilt-ridden war flashbacks whose vigilante attempt to save his family and others also offers a chance at redemption. Between the woefully contrived screenplay, the lack of character development, and the by-the-numbers visual presentation, the film never generates much tension. (Rated R, 93 minutes).

Sublet

A deeply felt look at bridging cultural differences and generational gaps, this character-driven drama from Israeli director Eytan Fox (Walk on Water) is modest but touching. It centers on Michael (John Benjamin Hickey), an American travel writer spending a week in Tel Aviv, where he sublets an apartment from young filmmaker Tomer (Niv Nissim). Both are gay, which sparks a bond when Tomer helps Michael navigate the city as well as a midlife crisis. Bolstered by strong performances, the film captures its working-class setting through the eyes of its richly textured characters, while the screenplay effectively weaves humor into an exploration of isolation and grief. (Not rated, 89 minutes).