Capsule reviews for Oct. 6
Barracuda
Considering its backdrop in the world of country music, this low-key thriller appropriately finds an appealing rhythm. Of course, its tune is potentially more sinister when considering the relationship between Merle (Alison Tolman) and her half-sister, Sinaloa (Sophie Reid), both daughters of a deceased musician. Sinaloa visits Merle’s home in Austin with intentions that seem innocent enough at first, but soon are revealed to be darker with regard to her stake in the family legacy. Some intriguing character dynamics and strong performances bolster a screenplay by Jason Cortlund — who also co-directed — that gradually ratchets up the tension and offers a fresh take on familiar material. (Not rated, 98 minutes).
Brawl in Cell Block 99
Any doubts about Vince Vaughn’s underused versatility can be quieted by this ultraviolent thriller from director Craig Zahler (Bone Tomahawk) that vividly depicts the chaos suggested by its title. Vaughn plays a drug-dealing brute who rarely shows his softer side, except when it comes to defending his pregnant wife (Jennifer Carpenter). Jailed after a drug bust, he’s blackmailed into targeting a fellow inmate by a crime boss on the outside while dealing with a corrupt warden (Don Johnson). This leads to plenty of testosterone-fueled brutality within a textured if self-indulgent revenge saga that employs an effectively gritty throwback visual style amid its narrative meandering. (Not rated, 132 minutes).
Dina
Dina Buno might not be a conventional movie star, but this documentary shows that a working-class 49-year-old woman from the Philadelphia suburbs is worthy of the spotlight. She’s eccentric but charming as the film chronicles her attempt at cohabitation with her fiancé, Scott, a Walmart greeter who — like Dina — is on the autism spectrum. From there, directors Antonio Santini and Dan Sickles (Mala Mala) chronicle their struggles to achieve intimacy and fulfill each other’s unique needs as their wedding approaches. By using a verite approach, the result manages to balance sympathy for their situation without resorting to cheap sentiment, even if the approach lacks true objectivity. (Not rated, 103 minutes).
The Florida Project
Both charming and unsettling, the latest gritty drama from director Sean Baker (Tangerine) again spotlights socioeconomic despair on the fringes of fame and affluence. It follows an unemployed single mom (Bria Vinaite) and her mischievous 6-year-old daughter (Brooklynn Prince), who grift and scheme every day just to get to make weekly rent with their landlord and de facto surrogate father (Willem Dafoe). The film vividly emphasizes atmosphere over plot, and captures an authentic texture to its characters and setting. Prince offers a wonderfully expressive performance that helps bring a hard-earned sympathy to the disenfranchised mother-daughter outsiders. The uneven result is humorous, humane, and quietly provocative. (Rated R, 111 minutes).
My Little Pony: The Movie
Most in the target demographic for this egregiously wholesome animated adventure aren’t old enough to read this. It’s a big-screen incarnation of the brightly colored equine dolls (and their eponymous television series) that finds the perky inhabitants of Equestria invaded by an evil force attempting to steal their magic, which causes them to flee and tests the limits of their friendship. While it might charm small kiddos enough to spark toy sales, the film resembles a throwback to Saturday morning cartoons, with rudimentary animation and dialogue like, “Come on, every-pony!” It would be more tolerable without the forgettable songs that needlessly pad the running time. (Rated PG, 99 minutes).
The Osiris Child
It might take place in another galaxy, but the clichés in this incoherent science-fiction thriller come straight from Earth. The futuristic story follows the rogue efforts of a soldier (Daniel MacPherson) trying to save his young daughter (Teagan Croft) from a deadly virus unleashed by evil forces on a colonized planet. He reluctantly teams with a prison escapee (Kellan Lutz) to battle intergalactic thugs and lowlifes, in addition to some menacing creatures. Australian director Shane Abbess (Infini) employs some ambitious low-budget visuals that lend some style to a convoluted and chronologically jumbled script. Yet amid the violent chaos, the film never achieves its desired emotional payoff. (Not rated, 99 minutes).
So B. It
An exploration of childhood curiosity is undermined by contrived sentimentality in this well-intentioned coming-of-age story from director Stephen Gyllenhaal (Losing Isaiah) that consistently strains credibility. Heidi (Talitha Bateman) is a precocious girl living with her mentally disabled mother (Jessica Collins) and agoraphobic caretaker (Alfre Woodard) in a Reno apartment. Carrying only a gift for good luck at the slot machines, the youngster embarks on a cross-country bus trip seeking answers to questions about her fractured family. The scattered episodes of character-driven charm become lost amid the accumulating afflictions and strained attempts to yank at the heartstrings. There’s not much subtlety or surprise along the way. (Rated PG-13, 98 minutes).
Una
Two powerhouse performances skillfully elevate some difficult subject matter in this intimate drama about a vulnerable young woman (Rooney Mara) who tracks down a factory boss (Ben Mendelsohn), then confronts him about a sexual encounter from 15 years ago, when she was only 13. Their respective psychological wounds have evolved in various ways since, as their feelings for one another are rekindled in unexpected ways. The film isn’t interested in contrived revenge, but rather an honest portrayal of the residual damage inflicted by sexual predators. Although the direction sometimes is overwrought, the result has a raw intensity in its character-driven moments that’s both powerful and unsettling. (Rated R, 94 minutes.).
Walking Out
The vivid wintry landscapes in this low-key drama provide a harrowing backdrop for a suspenseful tale of survival that’s much more than just father-son bonding in the great outdoors. It follows a rebellious big-city teenager (Josh Wiggins) who agrees to join his estranged father (Matt Bomer) on a hunting trip in the Montana wilderness. As they struggle to connect, violent circumstances bring them closer out of desperation. The film is much heavier on dialogue than action, yet although it sometimes feels too bleak, it’s well acted and evocatively captures its remote setting to the extent that you can almost feel the chill in the air. (Rated PG-13, 95 minutes).