Short reviews:'Night Catches Us,''Bhutto,''Queen of the Lot'

Night Catches Us***
Racial tensions surround two activists. At Cinema Village,Magic JohnsonHarlem(1:30). R: Language, violence.

An undeniably admirable effort,Tanya Hamilton's debut offers a fine showcase for leadsKerry WashingtonandAnthony Mackie.

But the unusual structure of her screenplay presents an ultimately insurmountable obstacle.

The film is set in 1976, when Marcus (Mackie) returns home toPhiladelphiato find his reputation tattered. The rumor is that he collaborated with police years earlier, to set up a fellow Black Panther. His only remaining friend is the victim's wife (Washington), who has her own secrets to protect.

Hamilton and her cast treat the material with respectful intelligence. But since the primary events occurred before the movie even begins,"Night"never quite coalesces into the forceful drama it hopes to be.Elizabeth Weitzman

Bhutto ***
Chronicle ofPakistan's political history. At Cinema Village (1:51). Not rated: Mature themes.

Just as it would be impossible to fully relay the tangled history of the Kennedy family in two hours, the same is true for Pakistan's most complex political dynasty. Still,Duane BaughmanandJohnny O'Harado make a commendable attempt to document the intricacies of the Bhutto legacy.

Their primary focus is onBenazir Bhutto, who served two terms as Pakistan's prime minister before her assassination in 2007. Her rise to power is directly linked to her father and brothers, while their combined experiences continue to reverberate worldwide. It's a fascinating story, and too epic to be contained here. But the directors certainly capture our interest, even as they leave us wanting to know more. E.W.

Queen of the Lot **
An actress embraces scandal. At the Quad (1:54). R: Language, sexuality.

IfHenry Jaglomis determined to push museTanna Frederickon us, he really ought to give her more than the self-congratulatory vanity projects they keep churning out together.

This superfluous sequel to Frederick's first Jaglom film,"Hollywood Dreams,"once again finds her overplaying her role as an insecure actress obsessed with fame. The only grace notes come fromNoah WyleandPeter Bogdanovichas the two characters who refuse, in different ways, to buy the industry line. There are a few mildly funny moments, but Jaglom's satire ofL.A.narcissism would make a greater impact if the movie didn't reflect that quality quite so well itself. E.W.

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