Capsule reviews for Oct. 18

Anora

A ferocious lead performance drives this disturbingly dark comedic odyssey from director Sean Baker (The Florida Project) that pulsates with escalating white-knuckle energy while examining wealth and power among those desperate for either. Ani (Mikey Madison) is a New York exotic dancer lured into a whirlwind romance with party-boy Ivan (Mark Eydelshteyn), the spoiled son of a powerful Russian oligarch. As cultures clash and their relationship deepens, Ani’s attraction to the exotic lifestyle causes her to let her guard down. Another incisive glimpse into characters on the margins, Baker’s audacious screenplay overflows with impulsive rage and propulsive chaos, without an easy path to sympathy or empowerment. (Rated R, 139 minutes).

Bookworm

Lush landscapes and an underlying sweetness don’t quite enable this slight coming-of-age adventure from Kiwi director Ant Timpson (Come to Daddy) to overcome its silly contrivances. The title character is Mildred (Nell Fisher), a cynical and precocious New Zealand preteen who receives a surprise visit from her American father (Elijah Wood), a fledgling illusionist. He agrees to take her camping in hopes of locating a rare and elusive panther in the wilderness. Its throwback vibe seems targeted more toward nostalgic parents than their children, who might roll their eyes at this sort of idealistic wish-fulfillment catharsis. Despite some charming performances, the script lacks magic. (Not rated, 103 minutes).

Classified

Solid portrayals and scenic visual backdrops can’t save this derivative thriller from Dutch director Roel Reine (Fistful of Vengeance), in which some character-driven intrigue is overwhelmed by generic action and nondescript villains. It’s set for some reason in Malta, where Shaw (Aaron Eckhart) is a former CIA agent who decodes undercover assignments from his boss (Tim Roth) via newspapers. Then he meets a mysterious young woman (Abigail Breslin) with clues that perhaps the emotionally troubled Shaw hasn’t been taking orders from who he thought, causing him to question allegiances and motives. Between its quieter moments, the outlandish conspiracy theories and eye-rolling twists undermine any consistent suspense. (Rated R, 105 minutes).

Exhibiting Forgiveness

A sympathetic performance by Andre Holland (Moonlight) anchors this quietly powerful drama about reconciliation and family secrets. He plays Tarrell, a painter on the verge of an artistic and commercial breakthrough when his personal life is thrown into turmoil by a visit from his estranged father (John Earl Jelks), a homeless man and recovering addict. As they navigate their past and future, the dynamic also changes with Tarrell’s wife (Andra Day) and mother (Aunjanue Ellis-Taylor). Rich with cultural relevance, the screenplay by rookie director Titus Kaphar resonates as an honest glimpse into fractured bonds that doesn’t settle for cheap sentimentality along its road to redemption. (Rated R, 117 minutes).

Fanatical: The Catfishing of Tegan and Sara

The horror stories about identity theft and cyberstalking might seem tame by today’s standards, but this fascinating documentary works as both a suspenseful thriller and a harrowing cautionary tale. It traces a catfishing case involving the titular Canadian sibling folk singers whose rise to fame about 15 years ago coincided with the proliferation of social media. Known for their interaction with fans, the band became victims of an impersonator who proceeded to puncture their personal and professional lives and divided their devoted fan base. Shrewdly assembled by director Erin Lee Carr, the film unspools an intriguing glimpse into fanaticism and privacy while investigating the case. (Rated R, 99 minutes).

High Tide

A quietly powerful saga of longing and belonging, this character-driven drama thoughtfully examines the queer immigrant experience with nuanced tenderness. Lourenco (Marco Pigossi) is a Brazilian leaving his homeland for a new life as a gay man in America. After a breakup, he’s adrift on Cape Cod, working odd jobs while seeking a visa. Then he begins a whirlwind romance with Maurice (James Bland), a vacationer who offers a chance at a bright future if Lourenco can shake the demons from his past. The screenplay by rookie director Marco Calvani is both specific and universal, not allowing Lourenco an easy path toward hope amid his heartbreak. (Rated R, 101 minutes).

Kensuke’s Kingdom

Visually striking and emotionally affecting, this animated adventure offers a delightful coming-of-age fable about conservation, courage, and self-discovery that resonates beyond the formulaic narrative trappings. Michael (voiced by Aaron McGregor) is rebelling against his adventurous mother (Sally Hawkins) and father (Cillian Murphy) as their family sails around the world. When he goes overboard during a storm, Michael and his dog eventually wash ashore on a deserted island inhabited by a wise yet mysterious man (Ken Watanabe). Will they be reunited? The deliberately paced film, adapted from a novel by Michael Morpurgo (War Horse), features stylish hand-drawn animation along with a heartwarming message about peaceful coexistence. (Rated PG, 85 minutes).

The Line

Failing to provide fresh insight or perspective regarding toxic masculinity in college fraternities, this intense drama winds up with unsympathetic characters seeking unearned redemption. Tom (Alex Wolff) is navigating an alpha-male power struggle within a private school frat overrun with wealth and privilege, misogyny, xenophobia, bigotry, and moral bankruptcy. An outspoken new pledge (Austin Abrams) is favored by the club president (Lewis Pullman) even as he clashes with Tom’s obnoxious roommate (Bo Mitchell), a nepo baby with an influential dad (John Malkovich). Wolff (Hereditary) provides a compelling protagonist hinting at a conscience, although the film isn’t as provocative as intended while charting an inevitable comeuppance. (Not rated, 100 minutes).

The Universal Theory

Style overwhelms substance in this defiantly offbeat science-fiction noir from German filmmaker Timm Kroger (The Council of Birds) that becomes lost in its convoluted maze of misdirection and narrative gimmicks. The metaphysical fantasy is set in 1962, when a physicist (Jan Bulow) is attending a quantum mechanics conference in the Swiss Alps when he becomes entangled with mysterious figures including a pianist (Olivia Ross) who seems to know a lot of his personal details. Meanwhile, strange occurrences make it difficult to escape. Yes, it’s a lot, and despite sumptuous black-and-white cinematography and ambitious blending of genre influences, the result is more tedious than provocative. (Not rated, 118 minutes).