Capsule reviews for Dec. 3

Benedetta

Shock value seems to be the primary incentive behind this story of forbidden romance among 17th century nuns from provocateur Paul Verhoeven (Robocop). It provides some campy high-brow titillation yet misses an opportunity at a more sincere or insightful probe of spiritual boundaries and sexual freedom. At a convent in Tuscany riddled with scandal, pious Benedetta (Virginie Efira) becomes haunted by nightmares, then finds her faith tested further by the arrival of an alluring newcomer (Daphne Pakatia), unleashing a power struggle. In French for some reason, Verhoeven’s wildly uneven middle finger to Catholic traditions features some playful highlights, although its historical perspective runs only skin-deep. (Not rated, 131 minutes).

Betrayed

It’s not the generic title but the formulaic execution that betrays a harrowing true-life story of World War II resilience in this well-intentioned Norwegian drama. That’s not meant to minimize the importance of this saga of an up-and-coming Jewish boxer (Jakob Oftebro) living in Oslo, where his family is abducted by the Nazis and loaded on to a crowded boat, then taken to the internment camp in Auschwitz. Their fight for survival illustrates the geographic scope of the Holocaust in supposedly neutral countries such as Norway, and no doubt encapsulates the struggles of countless others. Unfortunately, that emotional impact is more muted on screen. (Not rated, 126 minutes).

Citizen Ashe

Providing a timely glimpse into the life and legacy of trailblazing tennis star Arthur Ashe, this straightforward documentary should connect with more than just sports fans. Through archival footage and interviews, directors Rex Miller and Sam Pollard (MLK/FBI) it chronicles Ashe’s rise in the sport from humble beginnings in Virginia, how his soft-spoken nature sometimes masked an internal conflict during the height of the civil rights movement, his career pinnacle during the early 1970s, and his activism prior to his death from AIDS in 1992. Mostly matching the unassuming nature of its subject, the film spotlights Ashe’s role in converging athletics and politics without turning heavy-handed. (Not rated, 94 minutes).

Death of a Telemarketer

Lamorne Morris (Game Night) brings charisma and comic timing to the antihero role in this undercooked satire that runs out of steam well before the climax. Morris plays Kasey, an ace salesman being challenged by a young rival (Woody McClain) at a fiercely competitive call center. But his biggest danger comes from a man (Jackie Earle Haley) on the do-not-call list who seeks revenge on Kasey and the whole unscrupulous industry. The screenplay by rookie director Khaled Ridgeway swings at a broad target that deserves some wrath and manages some scattered laughs. But it struggles to generate much suspense or rooting interest in the drawn-out standoff. (Rated R, 88 minutes).

Flee

Rarely has animation been used as imaginatively and intuitively as in this harrowing documentary that uses one man’s refugee story to bring intimate context to a worldwide crisis. The subject is Amin, who lives with his boyfriend in Denmark, where he’s a successful academic researcher. But his past is much darker, as his family was uprooted from war-torn Afghanistan, prompting a life of exile and persecution, while protecting a secret about his sexuality that could endanger him for religious reasons. The illustrated re-creations are striking, and the anecdotes are powerful. You certainly sympathize with Amir, even if it’s difficult to find hope amid the heartbreak. (Rated PG-13, 89 minutes).

Home

The directorial debut of actress Franka Potente (Run Lola Run) flashes some visual flair, but from a narrative standpoint, this bittersweet drama of redemption and reconciliation feels more familiar than fresh. It follows Marvin (Jake McLaughlin), an ex-con who returns to his close-knit, working-class hometown to care for his terminally ill mother (Kathy Bates). But his arrival also reignites painful memories of a tragic incident from his past, both for Marvin and those he left behind, including a woman (Aisling Franciosi) whose feelings are torn. As secrets are revealed, it’s a cathartic journey for Marvin that lacks the authenticity to achieve a broader emotional impact. (Not rated, 99 minutes).

Last Shoot Out

The genre cliches almost outnumber the bullets in this uninspired low-budget Western about an evil outlaw, a heroic cowboy, and the damsel in distress caught between them. It’s set on the American frontier, where a newlywed (Skylar Witte) is fleeing her abusive husband (Michael Welch), who will do anything to get her back. So when she’s rescued by a gunslinger (Brock Harris) and shepherded to a safe-haven remote outpost, a showdown becomes inevitable. That threadbare narrative isn’t helped by subpar production values and uneven performances, as the interminable buildup to the titular clash is a predictable ride that’s devoid of tension or thematic complexity. (Rated PG-13, 86 minutes).

The Scary of Sixty-First

More cheesy than, well, scary, this low-budget oddity conjures some disturbing imagery but doesn’t add up to much in the end. Noelle (Madeline Quinn) and Addie (Betsey Brown) are roommates in a strangely configured Manhattan loft who experience disturbing visions after inviting their respective significant others. Soon afterward, their drawn into conspiracy theories about the history of the property involving Jeffrey Epstein, the royal family, and sexual fetishes. Co-star Dasha Nekrasova brings a gritty visual flair and some insider references to her directorial debut, although this muddled attempt to subvert genre tropes doesn’t muster any incentive for emotional investment in its collection of creeps and weirdos. (Not rated, 81 minutes).

Silent Night

A moderately clever concept doesn’t yield an emotionally satisfying payoff in this offbeat British saga with an apocalyptic twist on the dysfunctional holiday gathering. It centers on an affluent couple (Matthew Goode and Keira Knightley) welcoming friends and family for a Christmas party at their rural estate, except that the mood darkens when it becomes apparent that none of them will live until morning. Without much context behind its unfestive conceit, the screenplay by rookie director Camille Griffin tries to juggle tones while straining to feel edgy and provocative. The solid ensemble cast includes Annabelle Wallis, Lily-Rose Depp, and Roman Griffin Davis (Jojo Rabbit). (Not rated, 90 minutes).

Torn

In 1999, famed mountaineering buddies Conrad Anker and Alex Lowe encountered an avalanche during a climb in the Himalayas, and only Anker came out alive. This deeply personal documentary directed by Lowe’s son, Max, uses archival footage and remarkably candid interviews with friends and family members to reflect on his adrenaline junkie father’s legacy, and the coping mechanisms that fueled Max’s return to the site of the accident almost two decades later. The filmmaker clearly finds catharsis in telling his own story, but moviegoers will discover value, too, in this poignant glimpse into the allure of danger, and the grief that can be left behind. (Not rated, 92 minutes).