Capsule reviews for Nov. 14

Bull Run

Indulging in many of the same stereotypes it seeks to subvert, this uninspired corporate comedy apparently wants you to think its portrayal of Wall Street through the eyes of an ambitious young trader is somehow insightful or surprising. Bobby (Tom Blyth) is a low-level investment banker at a Wall Street firm, where he’s forced to navigate soul-sucking annoyances ranging from cutthroat executives to greedy colleagues looking to get ahead at all costs. We root for Bobby almost by default, but the formulaic script is more noteworthy for its inspirations (like The Big Short) than its innovations. It talks a lot yet has nothing new to say. (Not rated, 97 minutes).

The Carpenter’s Son

Audacity alone cannot salvage this tedious horror-infused reimagining of the childhood of Jesus Christ, which takes itself too seriously instead of gleefully reveling in its blasphemy. Evidently inspired by apocryphal gospel texts, the story chronicles a reckoning of sorts for a rebellious unnamed teenager (Noah Jupe) — living in Egypt with his carpenter father (Nicolas Cage) and despondent mother (FKA Twigs) — as he reconciles his identity and destiny while facing temptation from evil supernatural forces. Despite some stylish visual flourishes, the screenplay by director Lotfy Nathan (12 O’Clock Boys) might intrigue religious scholars with its button-pushing premise and goofy sincerity, but it isn’t especially frightening or provocative. (Rated R, 94 minutes).

Come See Me in the Good Light

Given its focus on inevitable death, this powerful documentary from director Ryan White (Good Night Oppy) is vibrant and full of life. The credit for that goes to its subjects, Colorado spoken-word artist Andrea Gibson and poet Megan Falley, whose commitment to one another endures and even strengthens as the former’s terminal cancer diagnosis takes root. As it follows them to medical appointments, captures their sadness, and chronicles Andrea’s downward slide, the film confronts their reality without wallowing in their pain. Both intimate and candid, the result tackles a familiar subject in a way that’s refreshingly honest and surprisingly funny. Their love shines through their grief. (Not rated, 104 minutes).

King Ivory

While its ambition sometimes exceeds its grasp, this sprawling crime thriller from director John Swab (Ida Red) is gripping as it confronts the fentanyl crisis with relentlessly bleak conviction, refusing to offer easy explanations or false hope. The multilayered narrative in Oklahoma intertwines several subplots detailing the impact and proliferation of opioids on cartel-affiliated criminals, police officers, desperate middle men, the healthcare system, and Middle American families. Despite some heavy-handed tendencies, Swab’s topical if uneven screenplay is a sobering indictment, showing that while the good guys might win some battles, they’ll never win the war. The cast includes James Badge Dale, Ben Foster, and Melissa Leo. (Rated R, 130 minutes).

Playdate

Employing constant mayhem to mask its narrative incoherence, this frenetic comedy from director Luke Greenfield (Let’s Be Cops) scores laughs with some of its broad gags but lacks the grounding in reality to sustain its comic momentum at feature length. It follows an out-of-work accountant (Kevin James) eager to help his nerdy son become cooler and more athletic. He latches on to a hyper-masculine dad (Alan Ritchson) and his kid, hoping to bond, only to become entangled in a massive conspiracy of mistaken identity when secrets are revealed. The actors commit themselves to the slapstick physicality, although the labored and cliched material does them no favors. (Rated PG-13, 93 minutes).

Rebuilding

With a meandering rhythm befitting its rural setting, this evocative story of reconciliation and pivoting rewards patience with a quietly powerful look at humanity and community. After his ranch is obliterated by a wildfire, Dusty (Josh O’Connor) suddenly finds himself without a home and an income. While securing a trailer at a FEMA encampment, he’s able to spend valuable time with his young daughter (Lily LaTorre) who lives with his ex-wife (Meghann Fahy), while pondering an uncertain long-term future. The bittersweet screenplay by director Max Walker-Silverman (A Love Song) is a quietly powerful tale of resilience in the face of tragedy, anchored by O’Connor’s thoughtful performance. (Rated PG, 95 minutes).

Sirat

Relentlessly bleak yet consistently gut-wrenching, this captivating Spanish drama about humanity and fate is layered with relevant subtext that crosses cultural and geographical boundaries. It follows a single father (Sergi Lopez) who takes his young son to a massive rave in the Moroccan desert to desperately search for his missing daughter. They become embedded with a small group of partying misfits trying to cross the treacherous terrain, and face inevitable tragedy, in hopes of starting a new life. Despite lacking broader context, the evocative film generates sympathy for its outsiders as they build a fragile community, while audaciously escalating its tension in the final act. (Not rated, 115 minutes).

Trap House

Only slightly less generic than its title, this crime thriller from Canadian director Michael Dowse (Stuber) tries to put a human face on the battle between DEA officers and Mexican cartels, but doesn’t offer substantial new insight. Ray (Dave Bautista) is an undercover agent in El Paso working with his partner (Bobby Cannavale) to try and take down a kingpin. But his dangerous work has unintended consequences at home, particularly when Ray tries to protect his rebellious teenage son (Jack Champion). The film’s intentions might be worthwhile, but given the thin characters and tonal imbalances, it relies on cliches and contrivances to escalate the stakes. (Rated R, 101 minutes).

Trifole

Uneven but evocative, this tender and warm-hearted Italian fable conveys a modestly poignant story of family legacies and intergenerational bonds. It follows Dalia (Ydalie Turk), a young woman summoned from London to western Italy to care for her grandfather (Umberto Orsini), an aging truffle hunter in declining health. He’s also on the verge of losing his rural home, which might be saved if Dalia can unearth a legendary truffle. Of course, the real value in her visit is less tangible. Despite some erratic storytelling down the stretch, the bittersweet film is a mostly engaging portrait of traditions and a uniquely sustainable way of life. (Not rated, 100 minutes).