Capsule reviews for April 10

Clouds of Sils Maria

Juliette Binoche shines in this otherwise uneven drama about an actress enduring a mid-life crisis. She plays Maria, an actress who accepts a role in a stage revival of the play that made her famous. But it’s an older character this time, and during a rehearsal session in the Alps countryside, she finds herself somehow intimidated by the young starlet (Chloe Grace Moretz) playing her former part, causing her to contemplate aging and mortality. French filmmaker Olivier Assayas (Summer Hours) crafts some intriguing characters, and even if the talky result can be frustrating with its deliberate pace, at least it makes for a gorgeous European travelogue. (Rated R, 124 minutes).

Desert Dancer

More admirable for its effort than its execution, this heavy-handed drama is based on a true story of Afshin Ghaffarian (Reece Ritchie), an aspiring dancer in Iran who rebels against his country’s suppression of artists by forming a secret troupe with his college classmates, including the troubled but talented Elaheh (Freida Pinto), while becoming an activist during the 2009 presidential election. The film offers a fresh perspective on the recent political volatility in Iran, although some of the more intimate dance scenes are most impactful. Still, it’s too earnest and cliched — with awkward English dialogue, considering the setting — and tends to oversimplify Afshin’s true-life struggles. (Rated PG-13, 104 minutes).

Dior and I

Fashion aficionados will best appreciate this latest insider documentary that goes behind the scenes of the famed Christian Dior line in 2012, as new Belgian artistic director Raf Simons faces a tight deadline before the debut show of his new couture line. Simons must not only prove himself as a designer, but learn to collaborate with his colleagues with pressure bearing down. All of that is mildly intriguing but awfully familiar after a recent spate of similar cinematic glimpses into the high-fashion world. Still, Simons is a fascinating central figure, even if director Frederic Tcheng’s straightforward approach seems determined not to ruffle any feathers. (Not rated, 89 minutes).

Kill Me Three Times

This fast-paced noir comedy from Australia doesn’t have a sufficient outlet for all of its frenetic energy, as it follows a fledgling hitman (Simon Pegg) through a series of betrayals and double-crosses in a seaside village where a failed operation puts him in the middle of separate acts of blackmail, revenge and murder. The title reveals the fate of its protagonist, and Pegg manages to bring some flair to an antihero who never earns audience sympathy. The overwrought script strains to be hip and clever and instead winds up smug and exhausting. It squanders a cast that also includes Teresa Palmer, Luke Hemsworth and Sullivan Stapleton. (Rated R, 91 minutes).

Lost River

Ryan Gosling’s stylish and evocative directorial debut shows some potential even if his script is a muddled and incoherent mess. It tells a story of socioeconomic despair in a decaying American town, where those clinging to desperate hope include a single mother (Christina Hendricks) who performs at a macabre nightclub run by a slimy loan shark (Ben Mendelsohn), and a teenage drifter (Saoirse Ronan) trying to find stability and someone she can trust. Gosling certainly is ambitious, and the film’s unsettling visuals give it a surreal vibe reminiscent of David Lynch, yet any broader attempts at social commentary fall flat as the characters maintain an emotional distance. (Rated R, 95 minutes).