Capsule reviews for April 27

Backstabbing for Beginners

Even if it oversimplifies the sociopolitical volatility in its true-life backdrop, this moderately suspenseful thriller provides an intriguing glimpse into corruption within the United Nations Oil-for-Food program during the early years of the Iraq War. Specifically, it follows Michael (Theo James), an idealistic aide to a powerful U.N. undersecretary (Ben Kingsley). As Michael gets a crash course in the slippery ethics of international diplomacy, his loyalties shift between his boss and an alluring translator (Belcim Bilgin) whose motives likewise are cloudy. Although the narrative momentum lags in spots, the film takes advantage of strong performances and captures its inherent moral complexity without turning didactic or heavy-handed. (Rated R, 108 minutes).

Duck Butter

There’s a heartfelt authenticity that overcomes structural familiarity in this tender lesbian romance from director Miguel Arteta (Beatriz at Dinner). It examines the connection between a fledgling actress (Alia Shawkat) and a free-spirited nightclub singer (Laia Costa) who are drawn to one another by their mutual frustration with traditional relationships. So they agree to spend 24 intimate hours with one another to test their attraction. Shawkat (Push It), who co-wrote the script with Arteta, is the real standout here, conveying a raw balance of strength and vulnerability that feels personal. The portrayals rise above the film’s mild tendency to settle for contrivances and cheap emotional payoffs. (Not rated, 93 minutes).

The Escape of Prisoner 614

Despite some spirited scene-stealing by Ron Perlman as an irascible sheriff, and some picturesque mountain scenery, this contemporary Western hybrid of broad buddy comedy and wrongful-imprisonment drama fails to produce enough laughs or sympathy. The story tracks two dimwitted small-town deputies (Jake McDorman and Martin Starr) assigned to locate and transport a prison escapee (George Sample III) in the woods of upstate New York, where they’re persuaded by accounts of his possible innocence. The Keystone Cops routine in the screenplay by rookie director Zach Golden wears thin pretty quickly, and the film doesn’t have the satirical dexterity to generate any substance beyond its slapstick shenanigans. (Rated PG-13, 95 minutes).

The House of Tomorrow

The message about shaping your own future becomes muddled by contrivances in this modest crowd-pleaser. It centers on a home-schooled Minnesota teenager (Asa Butterfield) who lives with his overbearing grandmother (Ellen Burstyn) in a geodesic dome that doubles as a washed-up tourist attraction. When he befriends a rebellious musician with a heart condition (Alex Wolff) from a church youth group, his interest is piqued in the outside world. Some winning performances — including Nick Offerman as a youth pastor — bolster a heartfelt coming-of-age screenplay that generates a genuine mix of laughs and poignancy. But it could have been more impactful if these folks felt like real people. (Not rated, 90 minutes).

Let the Sunshine In

A radiant performance by Juliette Binoche brings depth and complexity to this otherwise slight romantic trifle from venerable French director Claire Denis (Trouble Every Day). Binoche plays a divorced artist struggling — in part due to her own commitment issues — to find a meaningful connection through a series of frequently amusing and sometimes unsettling flings that never seem to work out. The resulting character study is talky and deliberately paced, too often straying into narrative tangents that don’t advance the thin central narrative. Still, the director and star offer some genuine insight beneath the surface, into contemporary relationships through the perspective of a vibrant if flaky protagonist. (Not rated, 94 minutes).

Modern Life Is Rubbish

And so is this lackluster romance set in the music world, which never finds the right rhythm. It’s meant to be a nostalgic trip through the recent history of British pop music — the title comes from a Blur album — that winds up more annoying than endearing. It chronicles Liam (Josh Whitehouse), a pretentious rock-star wannabe who somehow charms Natalie (Freya Mavor) after they meet in a vintage record store. Then they spend the ensuing years breaking up and reuniting over shared musical tastes. Yet for moviegoers, despite the obligatory eclectic soundtrack, there aren’t many surprises nor reasons to care about why these two should be together. (Not rated, 103 minutes).