Capsule reviews for April 13

Grace Jones: Bloodlight and Bami

Capturing the essence of its subject more than recapping her life and career, this verite-style documentary from director Sophie Fiennes follows the venerable Jamaican singer for several years, showing that she still has the same feisty spirit and magnetic stage presence well into her 60s. Specifically, the film features Jones interacting with her family, fans, backstage collaborators and industry executives. But it concentrates heavily on performance footage, showcasing her trademark flamboyant style, androgynous persona and sultry voice. The carefully structured film eschews traditional interviews that might have provided context, although Jones fans should appreciate this intimate if overlong portrait that, like Jones, is fiercely independent. (Not rated, 115 minutes).

Krystal

What starts out as a sincere portrait of addiction and recovery is undermined by aggressively broad comedy in this bizarre mashup from director William H. Macy. It follows a teenager (Nick Robinson) with a rare heart condition who falls for a former stripper (Rosario Dawson) twice his age, who’s also a single mother and recovering alcoholic. Somehow, she responds favorably to his overtures, at least in a platonic way. There are lots of other quirky characters thrown in, too, mixed with sitcom-style contrivances that never ring true. The resulting misfire squanders a top-notch ensemble cast that includes Kathy Bates, Jacob Latimore and William Fichtner. (Rated R, 93 minutes).

Marrowbone

Gothic horror and romantic melodrama come together to mediocre effort in this stylish low-budget thriller more noteworthy for effort than execution. It takes place in 1969, when a quartet of Pacific Northwest siblings, led by the oldest (George MacKay), refuse to tell anyone about their mother’s death so they can continue to live together in the family estate. But while that might keep outsiders away, some haunted spirits from inside the house threaten to tear apart the family legacy. Rookie director Sergio Sanchez tosses around some intriguing ideas, but the result feels uneven and emotionally detached, with some implausible third-act twists causing the tension to dwindle. (Rated R, 110 minutes).

An Ordinary Man

Ben Kingsley again demonstrates his versatility, but even his best effort can’t bring much sympathy to this redemption story about a Nazi war criminal always moving to avoid capture. His latest apartment brings him into contact with a young housekeeper (Hera Hilmar) who becomes virtually his only connection to the outside world. As secrets are gradually revealed about both of them, they develop a mutual trust while dreading the next knock at the door. Although the concept is mildly provocative, the screenplay by director Brad Silberling (Moonlight Mile) lacks the broader context to develop consistent suspense. Some intriguing character dynamics don’t lead to sufficient emotional resonance. (Rated R, 90 minutes).

The Rider

This evocative and quietly powerful glimpse into masculinity and Western heritage takes a docudrama approach to the story of Brady Jandreau, a young South Dakota rodeo cowboy playing a lightly fictionalized version of himself. As the film opens, Brady is recovering from a near-fatal head injury and facing an uncertain future. Having grown up with a passion for horses and lacking other skills or experience, he contemplates a risky return to riding. The film encapsulates Brady’s inner turmoil, conveying the ways in which sudden circumstances can alter the course of life. And director Chloe Zhao expertly captures the rhythms of her subject, both visually and emotionally. (Rated R, 104 minutes).

Sgt. Stubby: An American Hero

All of the boxes for wholesome family entertainment are checked with this animated drama that at least provides an engaging history lesson to small children. Adults, however, might find their patience tested by this sincere and heartfelt attempt to spotlight the true-life heroics of a stray terrier adopted by a American soldier (voiced by Logan Lerman) who winds up going overseas to fight alongside French troops in World War I, where the resilient pooch becomes an unlikely canine soldier involved in rescue and reconnaissance missions. The film is charming enough to reach the target demographic, yet the simplistic narrative approach doesn’t really do Stubby justice. (Rated PG, 84 minutes).

Submergence

Considerable talent on both sides of the camera is drowned out by a pretentious script in this ambitious but muddled romance from acclaimed director Wim Wenders (Wings of Desire). It follows the torrid affair between a mathematician (Alicia Vikander) specializing in marine biology and a British secret agent (James McAvoy) who can’t reveal his true identity. Their relationship intensifies as each prepares for a dangerous mission — she’s in an undersea capsule studying life on the ocean floor, while he’s trying to root out a terror cell in Somalia. Such danger is meant to heighten the emotional stakes, although the film’s sociopolitical subtext becomes watered down. (Not rated, 112 minutes).

Where Is Kyra

Michelle Pfeiffer shines through her character’s desperation and some filmmaking gimmickry in the title role of this edgy drama. Kyra is unemployed and struggling to make ends meet after the death of her elderly mother, for whom Kyra was the caretaker. With jobs scarce and money running out, she finds an ally in a neighbor (Keifer Sutherland) who offers emotional, if not financial, support. Pfeiffer’s sympathetic performance is a superb display of subtle facial expressions and body language, given the murky visuals and relative lack of dialogue. While the film occasionally borders on pretentious, it crafts a powerful portrait of socioeconomic despair without turning heavy-handed. (Not rated, 98 minutes).

Wildling

Putting a fresh twist on familiar genre concepts, this coming-of-age thriller follows Anna (Bel Powley), an orphaned teenager who escapes her troubled upbringing at the hands of an abusive caretaker (Brad Dourif) who cements her fear of a child-eating monster known as the Wildling. When she settles with a small-town sheriff (Liv Tyler), Anna finds difficulty adjusting to the real world because of secrets from her past. Even as it detours into generic horror tropes in the final act, the film is bolstered by a complex portrayal from Powley and a screenplay that smartly sidesteps fish-out-of-water clichés and instead focuses on Anna’s psychological demons. (Rated R, 92 minutes).