Capsule reviews for Nov. 18
Colson Baker stars in TAURUS. (Photo: RLJE Films)
Bad Axe
A deeply personal yet universally relevant documentary, this story of an immigrant family thrown into disarray by 2020 upheaval conveys a powerful message of compassion and community. Originally from Cambodia, the Siev family had been operating a successful eatery in the titular Michigan town for almost two decades by the time the COVID-19 pandemic hit, putting a strain on their livelihood. However, a potential pivot and recovery is endangered by a rise in anti-Asian sentiment and politically driven racist rhetoric. The subjects are compelling regardless of the circumstances, with rookie director David Siev crafting a frank and transparent slice-of-life portrait that’s more humane than heavy-handed. (Not rated, 101 minutes).
Disenchanted
Any magic that was left over from the 2007 fantasy Enchanted didn’t translate to this belated sequel from director Adam Shankman (Hairspray), which feels more perfunctory than inspired. In this installment, Giselle (Amy Adams) and Robert (Patrick Dempsey) move from the city to an affluent suburban enclave with their now-teenage daughter, Morgan (Gabriella Baldacchino). But when their fairy-tale lives are upended, Giselle casts a spell that backfires, threatening their world as well as their home kingdom of Andalasia. The visuals are stylish and the songs are peppy, but the result suffers from forced cuteness and charm. The cast includes James Marsden, Maya Rudolph, and Idina Menzel. (Rated PG, 121 minutes).
The Inspection
Examining familiar themes of acceptance and belonging from a fresh perspective, this autobiographical debut drama from director Elegance Bratton resonates with resilience and bittersweet authenticity. Ellis (Jeremy Pope) is a Black gay man living on the streets because he’s been rejected by his mother (Gabrielle Union). So he enlists for the Marines to prove his worth, to her and to himself, only to endure relentless boot-camp hazing — amid an environment of intolerance and macho masculinity — that escalates once his secret is discovered. Pope (One Night in Miami) offers a powerfully understated portrayal to drive a film that avoids heavy-handed preaching in favor of tough-minded compassion. (Rated R, 95 minutes).
Lamborghini: The Man Behind the Legend
Stuck in neutral, this lackluster biopic of the creator of the iconic luxury sportscar brand is too flat and unfocused to get revved up about. It follows Ferruccio Lamborghini (Frank Grillo) through his upbringing in postwar Italy, his transitioning the family business from tractors to high-end cars, his troubled relationship with his wife (Mira Sorvino), his ego-driven thirst for competition, and his rivalry with the more established Enzo Ferrari (Gabriel Byrne). Framing its subject as an underdog entrepreneur with big dreams who overcomes obstacles, the screenplay by director Bobby Moresco feels shallow and superficial, with familiar narrative beats overshadowing any meaningful attempt to salute Lamborghini’s legacy. (Rated R, 96 minutes).
The Last Manhunt
Heartfelt intentions alone cannot carry this atmospheric drama — a remake of the 1969 western Tell Them Willie Boy Is Here — that downplays its sociocultural specificity in favor of frontier cliches. Based on a true story, it’s set around 1909 on a California reservation, where Willie Boy (Martin Sensmeier) is ostracized for wanting to marry the daughter (Mainei Kinimaka) of a tribal leader. An accidental shooting causes the couple to flee from lawmen, journalists, and elders with differing plans for justice. Despite some visual flourishes, the heavy-handed film provides only surface-level insight into indigenous customs and traditions, suffering from stock periphery characters and a lumbering pace. (Rated R, 103 minutes).
Love, Charlie
As the title suggests, the latest entry into to the overstuffed foodie documentary subgenre is less about the cuisine than the creator. Instead of mouth-watering dishes, however, it serves up a compelling glimpse into the rise and fall of revolutionary restaurateur Charlie Trotter, the Chicago icon whose professional success masked personal turmoil. Trotter’s eponymous restaurant was the city’s most revered fine-dining establishment for more than a decade. But the spotlight and pressure to stay on top turned the visionary Trotter into a bitter, ego-driven tyrant. Although it lacks depth in spots, the film is an even-handed look at passion and perfectionism, along with a checkered legacy. (Not rated, 96 minutes).
The People We Hate at the Wedding
A dysfunctional family gathering predictably spurs some ill-timed mayhem in this raunchy comedy in which spirited performances can’t overcome a formulaic script. The story follows siblings Paul (Ben Platt) and Alice (Kristen Bell), who reluctantly agree to attend the wedding of their wealthy, estranged half-sister (Cynthia Addai-Robinson) in England, at the insistence of their mother (Allison Janney). The attempted reconnection turns sour when insecurities lead to jealousy, relationships are threatened, and lingering hostilities are confronted. Can they resolve their differences prior to the ceremony? Despite some scattered laughs, the film plays out like a sitcom pilot, with shallow characters and narrative contrivances inhibiting any heartwarming catharsis. (Rated R, 99 minutes).
Poker Face
Combining an introspective character study and a crime thriller with a nostalgic vibe, this uneven Australian drama directed by Russell Crowe never musters a winning hand. Crowe stars as a tech billionaire and professional gambler who rounds up his estranged childhood buddies for a high-stakes poker game at a remote mansion to reconnect. But as dark secrets are revealed, ruthless art thieves put them in survival mode. With its awkward tonal shifts and lack of character depth, the film struggles to sustain any meaningful suspense or generate much rooting interest amid its brooding and macho posturing. The ensemble cast includes Liam Hemsworth, RZA, and Jack Thompson. (Not rated, 94 minutes).
Taurus
Even if it’s difficult to sympathize with such an abrasive and self-absorbed musician, this cautionary tale about fame and addiction finds a fresh outlook on familiar themes. In a role with possible semiautobiographical undercurrents, Colson Baker shines as Cole, whose rise to stardom as a rap-rock hybrid triggers a downward spiral of drugs, women, depression, internal and external pressures, and creative struggles. He responds by lashing out at his young manager and chief enabler (Maddie Hasson) and frustrating a record executive (Scoot McNairy). As it grows bleaker, the screenplay by director Tim Sutton (Donnybrook) incisively explores how industry pressures compromise the artistic process and stifle talent. (Rated, 98 minutes).
There There
Featuring plenty of dialogue yet without much to say about faith and human connection, this experimental ensemble piece from director Andrew Bujalski (Support the Girls) winds up being constrained by its visual gimmicks. It’s a series of loosely connected segments, each with two characters sharing a scene without ever being shown together. None of them are especially sympathetic as they deal with various issues and insecurities. Exploring relationships and intimacy, some vignettes are potent enough to break through the monotony, but mostly it feels like an acting workshop that winds up more tedious than profound. The cast includes Lili Taylor, Jason Schwartzman, and Lennie James. (Not rated, 93 minutes).