Capsule reviews for April 15

The Adderall Diaries

A muddled look at addiction and family dysfunction, this adaptation of Stephen Elliott’s memoir stars James Franco as a fledgling author whose writer’s block is fueled by substance abuse and childhood trauma stemming from an abusive father (Ed Harris). As he tries to revive his career with a true-life crime novel, his downward spiral threatens his relationships with his other family members and with a supportive journalist (Amber Heard). The script by director Pamela Romanowsky (The Color of Time) hints at an intriguing character study, but its powerful moments are compromised by pretentious clichés and the inability to generate sympathy for its self-destructive lead character. (Rated R, 87 minutes).

Colonia

The true-life backdrop is more intriguing than the manufactured drama in this story about the notorious Colonia Dignidad, a torturous Chilean cult masquerading as a religious retreat during the rise of the Pinochet regime in the 1970s. That’s where a German photographer (Daniel Bruhl) is imprisoned, and where his flight-attendant girlfriend (Emma Watson) arrives to engineer an escape before the sadistic cult leader (Michael Nyqvist) and the corrupt Chilean government can prevent it. Of course, there are plenty of liberties taken with the historical facts, yet director Florian Gallenberger (John Rabe) and his capable actors manage to build to some genuine tension amid the heavy-handed contrivances. (Rated R, 110 minutes).

The First Monday in May

Fashion aficionados will recognize the titular day as the start of the annual star-studded couture fashion show at the prestigious Metropolitan Museum of Art. That’s the focus of this documentary from director Andrew Rossi (Ivory Tower) that examines the evolution of fashion into an art form, and how the Costume Institute at The Met has carved out recognition in a world traditionally devoted to paintings and sculptures. It also tracks the museum’s preparations for a controversial 2014 exhibition of Chinese costumes. The film features abundant behind-the-scenes footage and insider interviews to satisfy fashion buffs, although it needs a tighter and more persuasive focus for outsiders. (Rated PG-13, 91 minutes).

Green Room

The color red, as in blood, is most common in this ultraviolent thriller from director Jeremy Saulnier (Blue Ruin) that traps its characters in a torture chamber of sorts, and also strands its script there. It follows a fledgling punk band trying to make ends meet, leading to a gig at a white-supremacist compound in rural Oregon. When the musicians accidentally witness a murder, they suddenly become the hostages of a sadistic club owner (Patrick Stewart). Stylish but insubstantial, the slow-burning film generates some creepy tension from its claustrophobic setting, yet a lack of character depth and narrative surprise renders it a well-acted genre exercise. (Rated R, 94 minutes).

Sing Street

A treat for both the eyes and ears, the latest musical odyssey from director John Carney (Once) is set in 1980s Dublin, where Conor (newcomer Ferdia Walsh-Peelo) is an awkward teen from a blue-collar family who decides to start a band to impress an older girl (Lucy Boynton). He eventually assembles some ragtag bandmates and a stage presence, modeling the group after whatever pop band is trendy at the time. Carney’s film is heartfelt and personal, and although he narrative doesn’t offer much in terms of surprise or character depth, the pervasive songs are endearing and catchy, and it overflows with appealing performances and nostalgic charm. (Rated PG-13, 105 minutes).