Capsule reviews for June 1

Breath

Specific in its setting but universal in its themes, this tender and evocative Australian coming-of-age drama marks a successful transition to the director’s chair for actor Simon Baker (TV’s “The Mentalist”). It centers on small-town teenage friends Pikelet (Samson Coulter) and Loonie (Ben Spence), whose impulsive summer adventure involves biking to the coast and becoming immersed in a surfing subculture that provides both an adrenaline rush and a path to maturity and self-discovery. Expressive performances by the two youngsters bolster the deliberately paced screenplay, adapted from a novel by Tim Winton, which makes a modest splash by offering a fresh exploration of familiar ideas. (Not rated, 115 minutes).

Nossa Chape

The poignancy in this documentary comes from seeing the faces and hearing the voices of those affected by a tragedy that made worldwide headlines. Specifically, it explores the grief and recovery of Chapeco, a town in southern Brazil whose beloved soccer team was involved in a 2016 plane crash on its way to a game, killing almost everyone aboard. Moving from shock to sadness to eventual determination, directors Jeff and Michael Zimbalist (Favela Rising) track how the locals rally around the squad’s efforts to rebuild while honoring the fallen. Interviews with the few survivors are especially powerful, even if the film doesn’t yield many surprises. (Not rated, 101 minutes).

Rodin

The works of famed French sculptor Auguste Rodin feel more alive than this dull and tedious biopic from director Jacques Doillon (Ponette). It chronicles Rodin (Vincent Lindon) during his middle-aged years in the late 1800s, providing modest insight into the artistic process behind some of his most famous clay sculptures that prompted a rise to prominence, and his often volatile romance with his muse Camille Claudel (Izia Higelin)—who’s already been the subject of multiple biopics in her own right. By contrast, Rodin’s work and legacy seem to contain more intrigue than his personal life, despite the effort of Doillon’s reverential screenplay to prove otherwise. (Not rated, 119 minutes).

Social Animals

While it strains to be edgy and quirky, this predictably angst-ridden romantic comedy offers few laughs and even less genuine relationship insight. Set in Austin, it follows Zoe (Noel Wells), who’s been struggling with intimacy and commitment issues long before meeting Paul (Josh Radnor), a vintage video-store owner and married father of three looking for other options. The screenplay by rookie director Theresa Bennett also examines other characters along the way, yet doesn’t provide much meaningful character depth or incentive for emotional investment. Plus, the two leads don’t generate sufficient chemistry. As Paul explains: “We’re good people. We’re just failing at it right now.” (Rated R, 83 minutes).

Upgrade

The latest cautionary tale about technology run amok features some intriguing science-fiction concepts, except it lacks a compelling narrative framework and relies on generic violence and gore. Set in the near future, the story centers on a technophobic auto mechanic (Logan Marshall-Green) who becomes a quadriplegic after an accident involving an out-of-control self-driving car that killed his girlfriend. His only hope for normalcy involves implanting an experimental chip inside his body, which turns him into a Terminator-style fighting machine against his will. Australian director Leigh Whannell (Insidious 3) crafts an impressive low-budget futuristic landscape. Yet despite some cool confrontations, it becomes tedious when bodies aren’t flying. (Rated R, 95 minutes).