Capsule reviews for Feb. 4

Book of Love

Mildly amusing but mostly predictable, this bilingual romantic comedy explores the relationship between artistic integrity and commercial popularity with minimal subtlety or surprise. Henry (Sam Claflin) is a British author whose latest highbrow novel is a failure at home, yet apparently has become an unlikely bestseller in Mexico. So he begins a book tour with the single mother (Veronica Echegui) who translated the text, only to realize it’s been turned into a tawdry telenovela-style romance. As they debate their respective contributions, their bickering leads to eventual sparks, of course. The film manages some scattered laughs while offering a shallow exploration of potentially intriguing literary themes. (Not rated, 106 minutes).

Last Looks

A talented cast plays around with accents but can’t rescue this throwback crime thriller that proudly showcases its genre influences yet winds up revealing its own inferiority in the process. Waldo (Charlie Hunnam) is a retired detective living off the grid when he’s recruited for a murder investigation involving an alcoholic television star (Mel Gibson) whose wife is found dead. Waldo confronts his own past while navigating a maze of Hollywood executives and low-level gangsters to find the truth. British director Tim Kirkby (Action Point) keeps the pace lively with an eccentric batch of characters yet can’t heighten the suspense amid a series of formulaic twists. (Rated R, 110 minutes).

Last Survivors

Some intriguing ideas are compromised by clumsy execution in this muddled post-apocalyptic thriller that struggles to generate consistent suspense or emotional resonance. It focuses on Jake (Drew Van Acker), who has been living off the grid with his father (Stephen Moyer), avoiding any contact with outsiders as a response to an apparent worldwide calamity. But when Jake encounters a homeowner (Alicia Silverstone) who might represent a threat, their confrontation sparks conflict for everyone involved, especially as secrets are revealed. While the intimate character-driven approach to such material feels fresh, the wooden dialogue and predictable twists hamper any meaningful narrative momentum or potentially provocative thematic depth. (Not rated, 98 minutes).

Poly Styrene: I Am a Cliché

Whether or not you’re a fan of the late singer best known for fronting the 1970s British punk band X-Ray Spex, this retrospective of her life and career has more depth and insight than the average documentary tribute. Poly’s story is told posthumously through her daughter, Celeste Bell, and narrated by actress Ruth Negga, spotlighting her musical influences and rebellious nonconformity, which stems from a distaste for industry commercialism and superficiality. The film doesn’t shy away from her erratic behavior and mental instability, exacerbated by rigid expectations and persistent focus on her biracial heritage. It’s a compelling portrait of an artist who deserves to be remembered. (Not rated, 96 minutes).

The Wolf and the Lion

What could have been a cute nature documentary turns into a sappy animal rescue tale in which the characters on four feet are much more compelling than their two-footed counterparts. It follows a young Canadian woman (Molly Kunz) who retreats into the wilderness, where she bonds with the two titular cubs. However, when a forest ranger intervenes and they become separated, it tests the resilience of all three in hopes of a reunion. French director Gilles de Maistre (Mia and the White Lion) maximizes the heartwarming potential of the cuddly critters, although whenever they’re not on screen, the predictable human drama can’t plug the narrative gaps. (Rated PG, 99 minutes).

The Worst Person in the World

Given the pervasive glut of mediocrity in the genre, it’s refreshing to discover such an amusing yet relatable romantic comedy about millennials like this effort from Norwegian filmmaker Joachim Trier (Louder Than Bombs). He again takes an acerbic approach to chronicling contemporary Oslo, where Julie (Renate Reinsve) approaches her 30th birthday still trying to figure out what she wants both professionally and romantically, most notably in her relationship with a graphic novelist (Anders Danielsen Lie). Taking cues from its protagonist, the film subverts conventions, dividing its story into chapters without turning disjointed or thematically heavy-handed. By balancing strength and vulnerability, Reinsve’s portrayal engenders hard-earned sympathy. (Rated R, 128 minutes).