Capsule reviews for July 16

Can You Bring It

Regardless of your affinity for modern or interpretive dance, this spirited documentary provides an insightful glimpse into creative inspiration and the artistic process. It traces the history of D-Man and the Waters, created and choreographed by Bill T. Jones during the height of the AIDS epidemic in New York. It reflects a sense of fear, anger, grief, and hope when Jones’ original troupe was deeply affected. In the film, that history is reimagined by a college dance class attempting an ambitious yet equally passionate production. Without offering much external context, the film is an incisive glimpse into Jones’ legacy and the timeless power of art. (Not rated, 94 minutes).

Casanova, Last Love

Given the opportunity to revisit the exploits of the infamous 18th century womanizer through a contemporary lens, this tedious biopic from veteran French filmmaker Benoit Jacquot (Farewell, My Queen) instead settles for the familiar trappings of a stuffy period piece. The story finds a middle-aged Casanova (Vincent Lindon) exiled to London, where he meets a young courtesan (Stacy Martin) who infatuates him to the extent he’s willing to change his adulterous ways. As their relationship deepens, she relishes the challenge of taming him, which tests their mutual commitment. The visually striking film features lavish sets and costumes, although it’s missing the passion to prompt emotional investment. (Not rated, 98 minutes).

Die in a Gunfight

The latest contemporary reimagining of Romeo and Juliet discards all but the bones of Shakespeare’s text in favor of visual gimmicks and narrative cliches. Ben (Diego Boneta) and Mary (Alexandra Daddario) are seen as pariahs by their aristocratic families headed by media-mogul fathers. Parental disapproval is part of what draws them together, although they must navigate a maze of betrayal and corruption destined for a violent resolution. Straining to be hip and clever, the film’s ultraviolent, over-the-top approach is a mixed blessing. Sure, it’s annoying, but at least it occasionally distracts from the off-putting characters. Ben and Mary might deserve each other, but moviegoers deserve better. (Rated R, 92 minutes).

How It Ends

Husband-and-wife directors Daryl Wein and Zoe Lister-Jones (Lola Versus) envision the end of the world as an existential, gently comic opportunity for redemption and self-discovery. Specifically, Lister-Jones stars as a suburban loner who spends the last day prior to an apocalyptic meteor shower encountering eccentrics and old acquaintances on her way to a doomsday party. And a metaphysical version of her younger self (Cailee Spaeny) tags along. Amid some scattered highlights, the excessively quirky concept requires an outrageous suspension of disbelief, yet doesn’t supply an emotionally satisfying payoff. The lengthy list of cameos includes Helen Hunt, Bradley Whitford, Olivia Wilde, Lamorne Morris, and Nick Kroll. (Rated R, 83 minutes).

How to Deter a Robber

Struggling to modulate its laughs with its chills, this low-budget crime saga is an innocuous trifle that only occasionally sparks to life. When a holiday retreat at the family cabin descends into bickering, teenager Madison (Vanessa Marano) flees with her boyfriend (Benjamin Papac) to stay with her uncle (Chris Mulkey) in a snowy small town. However, their arrival coincides with a robbery spree, and when their house is hit, the youngsters find themselves unprepared. The screenplay by rookie director Maria Bissell brings a fresh perspective to hero-villain dynamics, although the scenario becomes labored and predictable in the final act, rarely generating the desired tension. (Not rated, 84 minutes).

Mama Weed

Isabelle Huppert brings her usual transfixing energy to the title role of this dark crime comedy from director Jean-Paul Salome (The Chameleon), which eventually finds a breezy mix of humor and intrigue. Huppert plays Patience, a cash-strapped police translator in Paris who specializes in narcotics cases. That experience comes in handy when a supposed act of kindness instead leaves her with a stash of marijuana, which she decides to parlay into financial stability — if only her bosses don’t find out. Huppert adeptly balances strength and vulnerability while breaking bad, even as the screenplay by becomes uneven and convoluted. Still, don’t let logical scrutiny ruin the vibe. (Not rated, 106 minutes).

Out of Death

The cryptic title is about the only intriguing facet of this formulaic cat-and-mouse thriller that gets lost in the woods, both literally and figuratively. It centers on a hiker (Jaime King) who witnesses an act of corruption by cops in a small mountain town. When the cartoonish hillbilly deputies try to hunt her down as part of a cover-up, a former sheriff (Bruce Willis) becomes her only ally. Willis, of course, has been prolifically cashing in on these lackluster potboilers for the past decade or so. Fun fact: rookie director Mike Burns has been the music supervisor on more than a dozen of those efforts. (Rated R, 93 minutes).

Pig

The potbellied title character is really just a gateway to a very human story of regret and redemption that’s powerfully understated. More subdued than usual, Nicolas Cage plays an Oregon truffle hunter who defiantly lives in a rustic cabin with his beloved foraging pig. But when his bovine companion is stolen, his journey to find it brings him into contact with a world he left behind. He partners with a young customer (Alex Wolff) trying to reconcile with a troubled past. Like truffles themselves, rookie director Michael Sarnoski’s meandering character study is something of an acquired taste, yet it eventually finds its emotional footing. (Rated R, 92 minutes).

Roadrunner: A Film About Anthony Bourdain

The late celebrity chef, bestselling author, and world-traveling television host had a larger-than-life personality befitting the big screen. This insightful and poignant documentary from director Morgan Neville (Won’t You Be My Neighbor) intimately captures Bourdain’s charismatic appeal and his troubled soul in equal measure. Assembling archival footage from around the globe, along with interviews with those who knew him, Neville traces how Bourdain’s rebellious persona often interfered with his private life and relationships, ultimately leading to his death. The film’s well-rounded approach is both a tribute and a cautionary tale exploring fame, love, and fulfillment. It’s captivating even for those who know the tragic ending. (Rated R, 118 minutes).