Capsule reviews for Nov. 16

At Eternity’s Gate

Not for all tastes, this impressionistic biopic of 19th century post-Impressionist painter Vincent Van Gogh from director Julian Schnabel (Basquiat) excels in providing genuine insight into the artistic process. The film assembles snippets of Van Gogh (Willem Dafoe) that reveal his painting philosophy, his commercial failures, his struggles with mental illness, and his close relationships to his brother (Rupert Friend) and to fellow artist Paul Gauguin (Oscar Isaac). The result is hardly upbeat, and Schnabel’s pretentious visual gimmickry becomes frustrating. Yet it’s a cumulatively thoughtful and persuasive abstract portrait, thanks in large part to Dafoe’s affecting portrayal of a character about half his age. (Rated PG-13, 110 minutes).

Border

Although it might make you squirm with discomfort, this offbeat Swedish romantic fantasy is tender and poignant beneath the surface. It follows Tina (Eva Melander), a customs agent with a troll-like appearance and an acute sense of smell, whose troubled personal life is given a boost when she meets a traveler (Eero Milonoff) with similar physical characteristics. As their relationship deepens, Tina’s life changes in unexpected ways. So does the deliberately paced film, which promotes a message of acceptance while embracing darker eccentricities and sidestepping clichés. What starts out as a simple tale of outsiders connecting becomes deeper when considered alongside immigration crises worldwide. (Rated R, 110 minutes).

The Clovehitch Killer

Given the strong performances and admirable restraint from genre conventions, it’s a shame this murder mystery comes unraveled as easily as it does. Tyler (Charlie Plummer) is a teenage loner from a devout religious family, living in a town still reeling from a murder spree a decade ago. After befriending a classmate (Madisen Beaty) obsessed with solving the crime, he discovers possible clues in a backyard shed belonging to his father (Dylan McDermott). Despite some subsequent twists and nicely modulated work by Plummer (Lean on Pete), the suspense fizzles from there. The unsettling atmosphere is built up nicely, yet doesn’t pay off in the end. (Not rated, 109 minutes).

55 Steps

Considering the ramifications of its true-life story, this earnest legal melodrama about fighting the system never achieves the necessary urgency or poignancy. In 1980s San Francisco, Eleanor Riese (Helena Bonham Carter) is a patient at a psychiatric hospital who felt who condition worsened because of drugs administered without her consent. So she hires an attorney (Hilary Swank), who also happens to be a former nurse, to advocate for patients’ rights on her behalf. From there, the film’s focus remains mostly outside the courtroom, and on the unexpected friendship between the two women. The performances bolster some mediocre material, although the result is more flat than inspiring. (Rated PG-13, 115 minutes).

Jonathan

A solid science-fiction concept never quite comes together in this intriguing low-budget drama about a uniquely fractured family. That’s despite an effectively understated portrayal by Ansel Elgort as twin brothers who share the same body but never see one another — switching twice a day and keeping each other updated through recorded video messages. But when one of them begins breaking their strict set of rules, their doctor (Patricia Clarkson) realizes that their sibling bond might never be salvaged. By the final act, the execution can’t match the ambition. There are too many unanswered questions, and the characters maintain a frustrating emotional distance, thus limiting investment. (Not rated, 95 minutes).

The Last Race

It’s uncommon to describe a movie about auto racing as poignant, yet that’s the primary emotion generated by this quirky verite-style documentary. It takes place on Long Island, on which dozens of grassroots stock-car tracks have been whittled to just one, Riverhead Raceway, which is scraping by financially as major retail developments circle it on all sides. Will the lucrative land be sold, or will racing continue to thrill more generations of hobbyists? The film doesn’t pass judgment, instead making a powerful statement about the price of progress by following the stories of track owners, drivers, and fans who would miss it if it’s gone. (Not rated, 74 minutes).

Speed Kills

A project starring John Travolta as a champion speedboat racer should not be taken as seriously as this throwback crime drama based on a true story. Travolta plays Ben Aronoff, a Miami millionaire who both sells and races high-priced boats during the 1970s, only to become entangled in various criminal enterprises involving drug smugglers and mobsters that lead to his tragic downfall. The film never finds the right tone, alternating between campy sequences on the water and those involving Travolta romancing women or negotiating his way out of trouble. Plus, Aronoff is an arrogant scoundrel, which limits the potential for emotional investment in his inevitable demise. (Rated R, 102 minutes).

Team Khan

Charismatic boxer Amir Khan is effortlessly appealing both inside and outside the ring, but this documentary about his life and career doesn’t provide much insight that his fans won’t already know. His story is compelling enough, from his Olympic success to becoming one of the youngest world champions in history to his enduring success as a fighter and philanthropist. It also delves lightly into his Muslim upbringing and family life, thanks to the British-born Khan granting impressive access to the filmmakers. The film salutes the legacy and ability of its subject, as validated by interviews with boxing luminaries, yet seems to lack a knockout punch. (Not rated, 97 minutes).

Welcome Home

Home rentals in the AirBNB age seem like natural fodder for the horror genre, although this flimsy psychological thriller from director George Ratliff (Salvation Boulevard) is a lackluster example. It chronicles a young American couple — Bryan (Aaron Paul) and Cassie (Emily Ratajkowski) — who head to Italy for a romantic week in a rural cottage, only to realize that their local guide (Riccardo Scamarcio) isn’t merely the helpful neighbor he claims to be. The exotic locales don’t register amid the more intimate, character-driven moments, but it’s too sluggish at any rate. Nevertheless, the film builds some mild tension until its reveal, after which it falls apart. (Rated R, 97 minutes).