Capsule reviews for July 2
Danielle Deadwyler stars in 40 ACRES. (Photo: Magnolia Pictures)
40 Acres
More thoughtful and sophisticated than it first appears, this slow-burning Canadian thriller crafts a vivid post-apocalyptic landscape while providing a fresh look at a family trying to protect and preserve its legacy at all costs. With the global food supply decimated by cataclysmic events, Hailey (Danielle Deadwyler) and Galen (Michael Greyeyes) must defend their farmland against intruders, including scavengers and even cannibals. But when Hailey’s teenage son (Kataem O’Connor) decides to trust a neighbor girl (Milcania Diaz-Rojas), it exposes a potential vulnerability. Even as it transitions into more of a straightforward genre piece in the final act, the film builds steady tension alongside its clever twists. (Rated R, 113 minutes).
Kill the Jockey
Some captivating visual flourishes and inspired gags enable this otherwise slight Argentinian screwball comedy to remain in the saddle to the finish line. It follows Remo (Nahuel Perez Biscayart), a washed-up jockey who is indebted to mobsters and battling addictions. His chance at redemption is spoiled when his latest ride leaves him with a concussion. When he awakens, he assumes a new identity in a desperate and surreal attempt to win back his girlfriend (Ursula Corbero) and elude those on his tail. Even when the ambition exceeds the grasp of this genre hybrid from director Luis Ortega (El Angel), its freewheeling style keeps it galloping. (Not rated, 96 minutes).
Pretty Thing
Strong performances and complex sexual dynamics add some mild intrigue to this otherwise tame erotic thriller from director Justin Kelly (King Cobra) that offers a shallow exploration of wealth, control, and obsession. Sophie (Alicia Silverstone) is a powerful marketing executive who begins a torrid affair with Elliot (Karl Glusman), a lonely caterer she flirts with at a bar. When she becomes bored with him outside of the bedroom, however, Sophie tries to end things but Elliot has other ideas. As with the similar Babygirl, the setup outweighs the payoff as the film eventually relies on more conventional and contrived twists to escalate the stakes. (Not rated, 98 minutes).