Capsule reviews for Aug. 5

Five Nights in Maine

We’ve seen plenty of cinematic examinations of the grieving process that turn melodramatic in search of catharsis. This character-driven drama sidesteps those pitfalls, but feels clinical in its avoidance of a conventional emotional payoff. David Oyelowo (Selma) stars as a mild-mannered husband whose wife is killed in a car crash. Overcome with guilt and remorse, he decides to visit his estranged mother-in-law (Dianne Wiest) whose erratic behavior isn’t exactly comforting or conducive to finding common ground. With its intimate setting and deliberate pace, the film feels like an acting workshop that might have worked better on stage. At least both lead performances keep things watchable. (Not rated, 82 minutes).

Gleason

Both profoundly moving and difficult to watch, this documentary tells the story of Steve Gleason, a former New Orleans Saints defensive back who was diagnosed with ALS at age 34, just before finding out his wife is pregnant. Given only a couple of years to live, Gleason decides to start a foundation to help other families battling the nerve disease and to make a video journal for his unborn child before his condition deteriorates. Much of that footage is incorporated into the film by director Clay Tweel (Finders Keepers), who assembles a raw but inspirational tribute to fatherhood and perseverance that overflows with humanity. (Rated R, 110 minutes).

Little Men

It has nothing to do with the Alcott novel of the same name, but this modest drama from director Ira Sachs (Love Is Strange) is a tender and bittersweet coming-of-age story about sexual identity and cultural differences. The premise is simple enough, with a budding friendship between Manhattan middle-schoolers Jake (Theo Taplitz) and Tony (Michael Barbieri) threatened by a rent dispute between Jake’s grieving father (Greg Kinnear) and Tony’s stubborn mother (Paulina Garcia). The rewards are plentiful, as the film offers a perceptive glimpse into socioeconomic challenges, artistic struggles, family bonds and childhood innocence. The strong performances yield character-driven resolutions that feel authentic rather than forced. (Rated PG, 85 minutes).

The Mind’s Eye

An intriguing and mildly provocative science-fiction premise is squandered in this campy low-budget thriller that takes place in 1991, when Zack (Graham Skipper) and Rachel (Lauren Ashley Carter) are victims of a secret experiment involving the powers of psychokinesis. That puts them in the care of a sadistic doctor (John Speredakos) who wants to exploit their abilities for his own personal gain. The ensuing chase turns into a predictable bloodbath, which is a shame considering the retro stylistic approach of director Joe Begos (Almost Human), which evokes the early works of Cronenberg or De Palma but doesn’t have much substance beneath the grainy surface. (Rated R, 87 minutes).