Capsule reviews for Oct. 8

Ascension

Communism and capitalism clash in this captivating portrait of contemporary China that refreshingly avoids mentioning the pandemic. Instead, this intimate documentary gives us a rare behind-the-scenes glimpse into the work ethic and military-style attitude toward industrial progress that drives the country’s soaring economy. Taking a strictly observational approach, rookie director Jessica Kingdon showcases footage inside factories where productivity and perfectionism are emphasized over worker compensation and welfare, perpetuating a strict class division. The result is not exactly revelatory — and becomes repetitive by nature — although the film crafts some striking imagery while the lack of editorial context empowers moviegoers to judge its subjects for themselves. (Not rated, 97 minutes).

El Planeta

Alongside some offbeat mother-daughter dynamics, this evocative black-and-white Spanish comedy is a quietly perceptive examination of middle-class socioeconomic strife that’s both specific and universal. Leo (Amalia Ulman) pals around with her eccentric mother, Maria (Ale Ulman, her real-life mom), who lives in a cramped coastal apartment awaiting eviction. While Maria indulges in grifting to get by, Leo is more realistic about their future while trying to figure out her love life. The directorial debut of the younger Ulman is rough around the edges, with an improvisational feel that’s both authentic and undisciplined. However, the rich characters add a layer of gravitas to the goofiness. (Not rated, 82 minutes).

Golden Voices

Both a charming tale of reinventing yourself in your twilight years and a bittersweet story of expatriates adjusting to life in a new country, this modest character-driven comedy has something relevant to say. Set around 1990, it follows Victor (Vladimir Friedman) and Raya (Mariya Belkina), who have made a career out of dubbing Hollywood films. But their jobs become obsolete after the breakup of the Soviet Union, so the couple relocates to Israel to embrace their Jewish heritage, only to find starting over is more challenging than expected. The film examines culture and aging through richly textured characters and subtle truths that resonate beyond geographical boundaries. (Not rated, 88 minutes).

Lamb

Cute barnyard critters, bitter custody battles, and creepy genetic mutations collide to haunting effect in this slow-burn Icelandic drama emphasizing atmosphere over plot. Maria (Noomi Rapace) and her husband, Ingvar (Hilmir Snaer Gudnason), live in isolation, tending sheep on their remote farm. They become fixated on a special newborn lamb, which they decide to raise inside their house almost as a child. But eventually they discover that disrupting the laws of nature and nurture has consequences. Beneath the idyllic pastoral imagery, the screenplay by rookie director Valdimar Johannsson builds an unsettling sense of dread, even if the climax feels too detached and, well, rammed. (Rated R, 106 minutes).

The Miseducation of Bindu

A breakout performance by Megan Suri in the title role bolsters this low-budget saga that brings a fresh perspective to familiar coming-of-age and cross-cultural themes. Indian teenager Bindu is struggling to adjust to suburban life while being bullied at her public high school, to the point where she forges her stern mother’s signature for the opportunity to test out. But that costs money that Bindu doesn’t have, so she has to scramble to borrow from her classmates. Despite some contrivances, this confident debut for director Prarthana Mohan supplements its goofy charm on the surface with underlying messages about acceptance and self-esteem that don’t turn heavy-handed. (Not rated, 92 minutes).

The Rescue

Given the media saturation at the time, almost everyone will already know the ending before seeing this documentary about the heroic effort to free a dozen boys trapped in a flooded cave in northern Thailand in 2018. That hurdle, however, doesn’t diminish the emotional impact of this intimate and comprehensive behind-the-scenes chronicle of the miraculous feat by a multinational team led by eccentric British hobbyist cave divers. Through a carefully assembled batch of interviews, archival footage, and re-enactments, directors Jimmy Chin and Elizabeth Chai Vasarhelyi (Free Solo) dig beneath the headlines to present a harrowing yet uplifting tribute to resilience, teamwork, and the human spirit. (Rated PG, 107 minutes).

South of Heaven

While indulging in some of the same genre cliches it tries to subvert, this character-driven thriller evolves into a compelling morality tale that blurs the line between traditional heroes and villains. Jimmy (Jason Sudeikis) is a convicted bank robber allowed to leave prison in Texas to comfort his fiancée (Evangeline Lilly), who’s dying of cancer. His attempt to avoid trouble on the outside is tested when he inadvertently crosses paths with a vengeful crime boss (Mike Colter). Aside from the expected violent confrontations, the deliberately paced screenplay by Israeli director Aharon Keshales (Big Bad Wolves) charts some welcome depth and complexity along Jimmy’s path to redemption. (Rated R, 119 minutes).

Survive the Game

After a creative opening-credit sequence, the inspiration runs dry for the remainder of this hackneyed low-budget thriller with woefully subpar acting, screenwriting, and production values. After his partner (Bruce Willis) is shot during a drug bust, a cop (Swen Temmel) tracks the bad guys to a farm owned by a combat veteran (Chad Michael Murray), who’s willing to risk it all to protect his land. Between all the brooding and macho posturing, loyalties are tested during the ensuing standoff that quickly turns tedious under the weight of ridiculous dialogue and cliched action sequences. Good luck mustering any emotional investment in who lives or dies. (Rated R, 97 minutes).

Who You Think I Am

The dating deceit known as “catfishing” isn’t just for millennials. In this twisty French thriller, it provides the basis for a compelling examination of a midlife crisis. Claire (Juliette Binoche) is a Parisian educator who creates a social-media profile for a woman half her age in order to spy on a philandering lover (Guillaume Gouix). Instead, she winds up flirting with his best friend (Francois Civil) through her fictional character, without him finding out. It sounds like the premise for a romantic comedy, but there’s a darker and more unsettling focus to this saga, which might feel contrived and manipulative if not for Binoche’s captivating performance. (Not rated, 101 minutes).