Capsule reviews for March 4

Asking for It

Squandering a strong cast, this strained vigilante thriller about empowerment feels shallow and insincere by downplaying worthwhile issues in favor of genre tropes. Exploring the convergence of toxic masculinity and the proliferation of online fringe movements, it chronicles a traumatized waitress (Kiersey Clemons) who reluctantly joins an all-female vigilante gang whose latest target is a gun-loving chauvinist (Ezra Miller) who has gained a following on social media. Oversimplifying some complex sociopolitical topics in an effort to feel edgy and provocative, the thinly sketched screenplay by rookie director Eamon O’Rourke seems audacious and progressive on the surface yet lacks the nuance to make a deeper impact. (Rated R, 101 minutes).

Dear Mr. Brody

Mixing bittersweet poignancy with mysterious intrigue, this compelling documentary from director Keith Maitland (Tower) finds contemporary relevance in an obscure news story from a half-century ago. Specifically, the film digs up a philanthropic stunt perpetrated by Michael Brody, a 21-year-old hippie millionaire who rented out a suburban New York mansion in 1970 to give away his inherited fortune piecemeal to whoever needed it. But while he wanted peace, the resulting letters overwhelmed Brody and triggered a downward spiral. Maitland interviews Brody’s widow while also persuading some of those who wrote the letters asking for money to share their stories, which are given a fresh perspective today. (Not rated, 97 minutes).

Fresh

Ordering a thigh or breast takes on sinister new meaning in this deliciously twisted horror comedy that serves up some bloody sexual politics with a side of cannibalism. From the moment Noa (Daisy Edgar-Jones) meets Steve (Sebastian Stan) in the supermarket produce department, something seems off. That’s confirmed after a subsequent date, when she wakes up chained in a basement and discovers Steve’s true motives, forcing her to fight for survival. The committed performances generate an offbeat chemistry to complement rookie director Mimi Cave’s unsettling imagery. Meanwhile, despite some predictable revenge plotting, tension simmers right up until Steve is given his inevitable just desserts. (Rated R, 114 minutes).

Huda’s Salon

While it ultimately lacks the intended level of provocation, this tightly wound thriller from Palestinian director Hany Abu-Assad (Paradise Now) effectively builds tension even when its social commentary is muddled. Amid a backdrop of ongoing political turmoil, the titular setting is where young mother Reem (Maisa Abd Elhadi) arrives for a haircut from Huda (Manal Awad), only to become the victim of a politically motivated blackmail scheme. From there, the film tracks the downward spirals of both women, whose harrowing circumstances test their loyalties and their resilience. Inspired by real events, Abu-Assad’s somewhat didactic screenplay shrewdly finds compassion and empowerment alongside its oppression and heartbreak. (Rated R, 91 minutes).

Lucy and Desi

The talents of its two pioneering television legends — on both sides of the camera — are spotlighted in this affectionate documentary from actor-director Amy Poehler. The result features generous laughs, of course, along with some insight into the behind-the-scenes struggles that shaped the inextricably linked legacies of Lucille Ball and Desi Arnaz. Their breakthrough sitcom “I Love Lucy” led to their emergence as a Hollywood power couple despite battling gender and culture biases. Poehler’s straightforward structure includes soundbites from comedy luminaries such as Carol Burnett and Norman Lear, but even if it lacks depth, the film is a worthwhile tribute to the enduring influence of its stars. (Rated PG, 103 minutes).

Nightride

Once the novelty of its technical gimmick wears off, this propulsive British crime thriller — shot in a single take — turns into a checklist of genre cliches. It’s set in Belfast, where Budge (Moe Dunford) is a drug dealer trying to pull off one last job before going straight. Mostly we see him behind the wheel of a car, arranging a deal over the phone that goes haywire. Before long, he’s on the run from a loan shark (Stephen Rea) while scrambling to unload his stash. Dunford (Rosie) bring energy to a stylish and mildly suspenseful yarn that doesn’t add up to much in the end. (Not rated, 97 minutes).