Capsule reviews for Aug. 10

Elizabeth Harvest

A stylish attempt to recombine horror and science-fiction tropes, this thriller from Venezuelan filmmaker Sebastian Gutierrez (Women in Trouble) can’t match its visual splendor with much dramatic substance. Elizabeth (Abbey Lee) is a newlywed whose doting older husband (Ciaran Hinds) welcomes her to his estate with the caveat that she can’t enter one locked room. She does anyway, of course, and learns some dark secrets that she might not be able to escape. Gutierrez jumbles the chronology to minimal effect, unable to inject sufficient tension into his familiar premise. Outside of some unsettling imagery and a few scattered jolts, the result is more tedious than provocative. (Rated R, 108 minutes).

Hope Springs Eternal

False notes abound in this low-budget Fault in Our Stars knockoff that lacks the tonal dexterity to achieve its desired emotional resonance. It follows Hope (Mia Rose Frampton), a suburban teenager whose terminal cancer diagnosis years ago has boosted her popularity at school mostly out of pity. Then a checkup reveals she’s in remission, which turns out to be a mixed blessing as she adjusts her outlook and her priorities. Frampton, daughter of the rock star, manages to elevate the sappy execution of a mildly intriguing premise. The film awkwardly transitions between lighthearted comedy and more serious drama, relying on contrivances along the way. (Rated PG, 78 minutes).

Madeline’s Madeline

More concerned with atmosphere and mood than linear narrative, this eccentric backstage theater drama from director Josephine Decker (Thou Wast Mild and Lovely) proves that expressive newcomer Helena Howard is worthy of being double-billed in the title role. Madeline is an aspiring teenage actress who becomes extremely immersed in her role-playing exercises, causing the lines between fantasy and reality to blur. While her teacher (Molly Parker) encourages her erratic behavior, her mother (Miranda July) fears she might have gone too far. The ensuing power struggle is less compelling than watching Madeline’s bizarre transformation. Decker’s highly impressionistic style can be frustrating, yet it rewards patient viewers. (Not rated, 93 minutes).

A Prayer Before Dawn

It’s impossible to do justice to Billy Moore’s remarkable true story in a big-screen biopic, although this exhausting yet exhilarating drama gives it a fair shot. At least it provides incentive to root for Moore (Joe Cole), an English boxer living in Bangkok whose heroin addiction lands him in a brutal prison. His only viable survival strategy is to compete in underground bare-knuckle fights against fellow inmates. This redemption story with a familiar narrative arc is elevated by the visceral and intimate nature of the unrelenting combat sequences and a committed performance by Cole (Secret in Their Eyes) that generates depth and sympathy amid the chaos. (Rated R, 116 minutes).

Skate Kitchen

With her narrative feature debut, director Crystal Moselle (The Wolfpack) effectively employs her documentary background in this sharply observed coming-of-age story about sisterhood and teenage rebellion. It follows a skateboarder (Rachelle Vinberg) coming out of her shell on the streets of Manhattan. She befriends a tight-knit group of female skaters — many of which essentially play themselves — against the wishes of her overbearing mother, then jeopardizes those relationships when she falls for an aspiring photographer (Jaden Smith). The gritty and evocative film immerses viewers into its multicultural setting, and even as the story meanders, there’s a raw authenticity to the dialogue, the characters, and their endearing rapport. (Rated R, 106 minutes).

Summer of 84

Overflowing with nostalgic visual treats yet falling short in terms of narrative substance, this coming-of-age saga falls apart in the final act. For the first hour, it more successfully blends comedy and suspense in its story centered on a nerdy teenager (Graham Verchere) whose suburban neighborhood is being targeted by a serial killer. He suspects the cop next door (Rich Mackey) is the perpetrator, and turns his ragtag buddies into amateur sleuths at their own peril. Along the way, the film becomes caught between a throwback horror spoof and a more serious thriller, and isn’t compelling enough either way. Just keep watching “Stranger Things” instead. (Not rated, 105 minutes).