Capsule reviews for July 26
Izaac Wang and Mahaela Park star in DÌDI. (Photo: Focus Features)
The Beast Within
Juggling a coming-of-age fantasy with the genre expectations of a monster movie, this slow-burning British psychological thriller struggles to build consistent suspense to match its atmospheric visuals. It follows a curious 10-year-old girl (Caoilinn Springall) who lives with relatives on a remote compound, where she learns why her cursed father (Kit Harington) is held in confinement at night. Once the dark secret is exposed, their relationship will never be the same. Aside from its pervasive fog and ominous music cues, the narrative debut of documentary filmmaker Alexander Farrell generates some intriguing family dynamics before bogging down in third-act contrivances that diminish the intended emotional impact. (Rated R, 97 minutes).
Cirque du Soleil: Without a Net
Fans of the venerable performance troupe will appreciate this straightforward yet compelling behind-the-scenes glimpse into the long-running Las Vegas spectacle titled “O,” although its post-pandemic angle feels more familiar than fresh at this point. In particular, director Dawn Porter (John Lewis: Good Trouble) chronicles the company’s return from bankruptcy and a yearlong shutdown in 2021, with just eight weeks to relaunch and retrain for the show. Even if it lacks the same risk-taking flair as its subjects — and feels too congratulatory — the film provides insightful snippets into the passion of the gymnasts, acrobats, divers, and dancers, plus the artistry that spectators often take for granted. (Rated PG-13, 98 minutes).
Didi
Beneath the rambunctious teenage hijinks, this coming-of-age comedy captures adolescent awkwardness through a culturally specific lens with heartfelt authenticity and nostalgic charm. It’s set in 2008, the age of flip phones and Myspace, and Chris (Izaac Wang) is an aspiring filmmaker struggling to find his voice and embrace his Asian heritage. He’s painfully shy around girls, feels like an insecure outsider among his friends, and bickers with his single mother (Joan Chen). Balancing tones when it turns darker in the second half, the bilingual screenplay by rookie director Sean Wang feels deeply personal. It’s also frequently hilarious while putting a fresh twist on familiar angst-ridden anxieties. (Rated R, 93 minutes).
The Girl in the Pool
The intentionality of the camp is the only compelling mystery in this ridiculous thriller about a descent into insanity, one contrivance at a time. His birthday is hardly a cause for celebration for Thomas (Freddie Prinze Jr.), who finishes hiding the body of his deceased mistress just before his wife (Monica Potter) throws him a surprise party with dozens of guests. Clumsily concealing his dirty secret, as well as resolving the circumstances behind the puzzling death, triggers a harrowing downward spiral. Stretching a thin premise to feature length, the film feels too detached from reality — with a morally ambiguous protagonist — to elicit many laughs or chills. (Not rated, 89 minutes).
Made in England: The Films of Powell and Pressburger
Listening to legendary filmmaker Martin Scorsese talk shop is always worthwhile, and this documentary illustrating his appreciation for the partnership of British auteurs Michael Powell and Emeric Pressburger is a treat for film history buffs. Hopefully a side benefit will be introducing a new generation to some of their mid-20th century classics, such as A Matter of Life and Death and The Red Shoes. The film provides an incisive glimpse into artistic inspiration and the creative process, drawing parallels with Scorsese projects including Raging Bull and The Age of Innocence, and inviting repeat viewings. The straightforward result could use a trim, although it accomplishes its goals. (Not rated, 131 minutes).
Starve Acre
Freshening some familiar genre tropes infused with folklore, this understated British thriller is consistently creepy while effectively withholding its most potent chills until the final act. After a violent outburst instigated by their mild-mannered young son (Arthur Shaw), parents Richard (Matt Smith) and Juliette (Morfydd Clark) begin exhibiting some erratic behaviors of their own — involving a buried ancient tree stump and an oversized rabbit — that threaten to tear their family and their rural farmhouse apart. Although it awkwardly builds suspense, the screenplay by director Daniel Kokotajlo (Apostasy) deliberately unspools its twisty secrets, efficiently blending dark humor with an evocative atmosphere of dread and despair. (Not rated, 98 minutes).