Capsule reviews for July 20

Custody

Rarely have child custody battles been depicted with such raw authenticity on screen as in this hard-hitting and well-acted French drama from rookie director Xavier Legrand. It centers on Julien (Thomas Gioria), a 12-year-old boy being used as a pawn in a power struggle between his divorced, working-class parents. Miriam (Lea Drucker) tries to keep the youngster from seeing his father (Denis Menochet), citing his violent tendencies. A judge disagrees, leading Julien to show his dismay through increasingly erratic behavior. The ambiguity in Legrand’s otherwise perceptive script can be frustrating, but the film powerfully captures the complex character dynamics inherent in such fractured families. (Not rated, 93 minutes).

Damascus Cover

This generic espionage thriller is content to recycle clichés from its genre and its Middle East setting. It takes place amid sociopolitical volatility in 1989, when an emotionally troubled Israeli spy (Jonathan Rhys Meyers) is living in Berlin as part of an extended undercover mission that ends badly. So his boss (John Hurt) proposes a perilous new assignment in Syria that involves rescuing a scientist from behind enemy lines, where he falls for an alluring photographer (Olivia Thirlby) whose motives are cloudy. The film registers as a James Bond or Jason Bourne wannabe that lacks suspense and becomes more tedious with each eye-rolling twist. (Rated R, 93 minutes).

Far From the Tree

The challenge of paring down Andrew Solomon’s nonfiction book about celebrating differences for cinematic consumption is handled reasonably well by documentary filmmaker Rachel Dretzin. Her film weaves together stories of children and parents learning to adapt to a variety of physical and psychological differences — specifically in this case, families living with Down syndrome, autism, dwarfism, and another dealing with a teenager serving a life sentence for murder. Even if the film tugs too aggressively at the heartstrings, the underlying message of compassion and tolerance certainly is worthwhile. It could have used a tighter focus in spots, yet manages some powerful sequences that run the emotional gamut. (Not rated, 93 minutes).

Generation Wealth

Documentary filmmaker Lauren Greenfield (The Queen of Versailles) turns the camera on herself with mixed results in her latest examination of how rampant global wealth influences superficial excess and materialism. This uneven project is in large part a career retrospective, tying in her own story to those of her subjects over the years while checking in on those she’s profiled. And it makes some new observations that generally feel more strained than provocative — her ambition is only mildly persuasive as she ties the proliferation of greed to contemporary American politics. The result is slick and entertaining, even infuriating at times, yet never comes together as intended. (Rated R, 106 minutes).

McQueen

Fashion aficionados should appreciate this documentary glimpse into the life and work of iconoclastic British designer Alexander McQueen, although even non-fans can admire its exploration of the artistic process and the perils of fame. The film chronicles McQueen’s working-class London roots, his rise to prominence in couture circles at a young age, his subsequent struggles with the spotlight, his image as a bad-boy provocateur, and his eventual tragic downfall. Although fashion documentaries are too commonplace these days, this entry — while mostly highlighting McQueen’s accomplishments — uses interviews and archival footage to capture the tortured if supremely talented spirit of its eccentric subject with sufficient vibrancy and poignancy. (Rated R, 111 minutes).

Occupation

Just to show that outer-space aliens don’t play geographic favorites, this formulaic Australian thriller — another kind-of variation on Red Dawn — is more likely to induce giggles than genuine tension. Our heroes are the disparate citizens in a small town attacked by a giant spaceship, causing them to flee in bunches. Those who escape the clutches of the enemy invaders must put aside personal differences and band together to save humanity. Such resilience should be rewarded with more emotional investment than is earned by this regurgitation of science-fiction clichés with one-dimensional characters and unconvincing, if somewhat charming, special effects. The silly result is more tedious than exciting. (Rated R, 119 minutes).

Pin Cushion

Two committed performances elevate this British coming-of-age drama that ultimately feels too familiar. It follows Iona (Lily Newmark), a socially awkward teenager who moves to a new town with her hunchbacked mother (Joanna Scanlan), whose insecurities have rendered her an eccentric outsider. However, their close relationship is threatened by Iona’s obsession with becoming popular at her new school, and fitting in with an unscrupulous crowd. The screenplay by rookie director Deborah Haywood offers a heartfelt look at bullying, depression, and fractured families. However, it overdoses on quirks and relies on thin supporting characters, then adds a shocking twist at the end that’s never fully earned. (Not rated, 82 minutes).

Unfriended: Dark Web

More evil than good lurks on the internet — a cynical stance that’s probably true yet not especially insightful. So it’s hardly surprising in this gimmicky horror sequel when bad things start happening to a young tech nerd (Colin Woodell) who endures online threats after he realizes his new laptop might be stolen. Like its predecessor, every shot of the film takes place on computer screens. While such a concept might seem like an intriguing exploration of human connections in the digital age, the screenplay by director Stephen Susco (The Grudge) doesn’t generate sufficient suspense from its unseen villain while funneling toward a predictably ominous conclusion. (Rated R, 88 minutes).