Capsule reviews for July 1

Amy

Fans will appreciate this immersive documentary into the life and career of British musician Amy Winehouse, who found international stardom and became a tabloid staple before personal demons contributed to her tragic death in 2011 at age 27. But this tribute from director Asif Kapadia (Senna) also exposes outsiders to her passion and unique jazzy sound through interviews, unreleased tracks, and an impressive array of archival footage. The sometimes exhausting result provides a cautionary tale about the dangers of fame in the social-media age and how the devotees that lift a celebrity to stardom can be the same people who unwittingly cause their demise. (Rated R, 128 minutes).

Cartel Land

Add this gritty documentary to the list of recent cinematic probes of the proliferation of dangerous Mexican drug cartels, this time with director Matthew Heineman (Escape Fire) chronicling the efforts of two vigilante groups to fight back amid perceived government indifference — one is a grassroots collection of militarized locals in Mexico and the other consists of American gun advocates trying to protect the Arizona border. The film digs behind the headlines, and its first-person access to some dangerous circumstances is impressive even if the film could use a tighter focus. Still, the overall impact is harrowing and, considering the subject matter, appropriately hopeless. (Rated R, 98 minutes).

In Stereo

Stereotypical characters and technical gimmicks are the emphasis of this latest indie romantic comedy that follows two Manhattan artist types – David (Micah Hauptman) and Brenda (Beau Garrett) – as they break up, date other people, pursue their careers, and later realize they might have feelings for one another after all. The script by rookie director Mel Rodriguez, based on his short film, strains to offer insight into contemporary relationships, yet the leads are self-absorbed and obnoxious, leaving moviegoers with little rooting interest in whether they wind up together or apart. When the film recovers marginally after a disastrous opening act, the damage already is done. (Not rated, 95 minutes).

Jackie and Ryan

There’s a familiar tune to this modest low-budget romance about musicians who fall in love, yet it’s given a fresh spin by a set of charming performances and a screenplay that generally sidesteps cliches. Ryan (Ben Barnes) is a train-hopping street musician with dreams of making it big. He winds up in snowy Utah, where his bluegrass sound finds a fan in Jackie (Katherine Heigl), a single mother struggling through a child-custody case. The script by director Amy Canaan Mann (Texas Killing Fields) maintains a low-key, character-based approach, and the film is appropriately propelled by an evocative soundtrack that enhances rather than detracts from the story. (Rated PG-13, 91 minutes).

Jimmy’s Hall

This Depression-era drama from venerable British director Ken Loach (The Wind That Shakes the Barley) is an odd combination of his focus on working-class sociopolitical issues with a crowd-pleasing vibe in the vein of Footloose. It takes place in 1932 in rural Ireland, where Jimmy (Barry Ward) returns home to reopen a popular dance hall. That’s not a problem until small-town Catholic leaders discover Jimmy’s socialist political activism, then try to shut him down. The script by frequent Loach collaborator Paul Laverty is modest and unassuming by the duo’s standards, yet it quietly manages to persuade without ruining a party filled with artistry and vitality. (Rated PG-13, 109 minutes).