Capsule reviews for Aug. 2

Coup

It hardly matters that both of the lead characters are such charlatans and reprobates in this clever period satire. Just watching them engage in witty gamesmanship provides plenty of droll amusement. It’s set during the 1918 flu epidemic, when Monk (Peter Sarsgaard), arrives as a new chef at the remote estate of a journalist (Billy Magnussen) who claims to be a blue-collar crusader scorching capitalists and corrupt politicians — from his office in his secluded mansion. As Monk exposes his hypocrisy, his dark past remains a mystery. Drawing contemporary parallels with its playful jabs at socioeconomic class inequalities, the film is slightly underseasoned yet deliciously offbeat. (Not rated, 98 minutes).

Detained

Amid all of the cloudy motives and shifting loyalties, this pedestrian thriller about betrayal, deception, and dishonor among thieves never yields consistent suspense. It’s set entirely inside a makeshift police station where a confused woman (Abbie Cornish) wakes up facing serious accusations by a detective (Laz Alonso) stemming from a night she doesn’t remember. However, the more she gains her wits, dark secrets are revealed that prompt her to question the intentions — and identities — of everyone around her. The mildly clever concept is hampered by ill-timed twists and shallow characters, never mustering sufficient incentive for emotional investment in who lives, dies, or gets paid. (Rated R, 97 minutes).

Four Souls of Coyote

Conveying a universal message through a culturally specific lens, this Hungarian animated adventure uses striking visuals to complement a relevant tale of environmental preservation. The story beings with present-day Native American teenagers concerned about an oil pipeline project adjacent to sacred land. That leads to a tribal elder (voiced by Lorne Cardinal) relaying a version of the indigenous Creation myth — through an ancient tale of a clash between the Old Man and a coyote (Diontae Black) — placing humans alongside other living creatures in sharing the Earth’s resources. Thoughtfully illustrating our relationship with nature using multiple animation styles, the deliberately paced film resonates without turning heavy-handed. (Not rated, 103 minutes).

Great Absence

Although the deliberate pace can be frustrating, this visually striking drama about memories and relationships from Japanese director Kei Chikaura (Complicity) builds a cumulatively gut-wrenching emotional impact. The story is tinged with elegiac mystery as Tokyo actor Takashi (Mirai Moriyama) whose journey to reconciliation with his estranged father, Yohji (Tatsuya Fuji), begins with a call from police. Yohji has dementia, which complicates Takashi’s attempt to figure out what is happening in the present, but also piecing together fragments of their shared past. A deeply felt performance by Fuji (In the Realm of the Senses) infuses the inherent melancholy with empathetic grace, quiet dignity, and relatable humanity. (Not rated, 133 minutes).

Kneecap

Defying convention and categorization, this hilariously rambunctious provocation of cultural identity and artistic expression provides quite a showcase for the titular Belfast hip-hip trio. The band members star in this lightly fictionalized story of fledgling rappers who justify performing in their native Irish language as a method of preserving their heritage and freeing themselves from British imperialism. It’s part anarchic crime thriller, part misfit rebellion comedy, and part underdog saga about seeking a big break. Plus, Michael Fassbender pops in as an activist living undercover after faking his own death. The highly uneven result overflows with audacity and scrappy spirit, especially in the inspired musical sequences. (Rated R, 105 minutes).

Sebastian

An incisive exploration of sexual obsession, creative inspiration, and personal authenticity, this character-driven erotic drama provides emotional weight alongside its abundant bedroom shenanigans. Max (Ruaridh Mollica) is a promising young writer living in London, where his first novel intimately follows a male sex worker. What his friends and publishers don’t know is that the story is actually an autobiographical account of his double life under an assumed name. But his intense secrecy takes a toll. As it chronicles Max’s inevitable downfall and hopes for redemption, the uneven screenplay by Finnish filmmaker Mikko Makela mostly avoids shallow cliches, offering a compelling portrait of identity and acceptance. (Not rated, 110 minutes).