Capsule reviews for Aug. 24

Arizona

A fine state deserves better than this lackluster thriller that fails both as a horror-comedy and as a suburban satire. It takes place during the housing crisis of 2009, when a fledgling real-estate agent (Rosemarie DeWitt) witnesses a murder by an infuriated client (Danny McBride), who takes her hostage in a mostly vacant subdivision during his subsequent killing spree, leading her oblivious ex-husband (Luke Wilson) to become involved. The ultraviolent mayhem would be more amusing if most of the gags felt fresher in this debut for director Jonathan Watson, but instead the film squanders its talent amid a mix of unlikable characters and improbable scenarios. (Rated R, 83 minutes).

A.X.L.

With automation infiltrating just about every aspect of our lives, robotic pets aren’t exactly a foreign concept. Neither is this woefully predictable science-fiction saga about a teenage motorcycle prodigy (Alex Neustaedter) who finds a robotic dog in a field. After repairing and befriending it—and using the machine to connect with a girl (Becky G), he learns his new sidekick is actually a top-secret experimental war animal commissioned by the military, who wants it back. The script by rookie director Oliver Daly, based on his short film, is derivative of Short Circuit while generally lacking charm, surprise, or imagination. The film needs a major tune-up. (Rated PG, 98 minutes).

Blue Iguana

Whether it’s meant to pay tribute to early Guy Ritchie crime flicks or simply revisit them, there’s hardly a hint of nostalgia in this oddly titled parade of clichés masquerading as an action comedy. Eddie (Sam Rockwell) and Paul (Ben Schwartz) are ex-cons working at a nondescript diner when they are surprisingly recruited by a British attorney (Phoebe Fox) to steal a rare jewel from a London museum. Attempting to employ a frenetic pace to mask a lack of narrative coherence, the ultraviolent film boils down to a collection of unsympathetic characters doing unrealistic things, which manages a few scattered laughs before quickly growing tiresome. (Not rated, 99 minutes).

The Bookshop

Rather than a cinematic page-turner, this well-meaning drama often feels like the movie equivalent of reading an appliance instruction manual. It takes place in a small English village in 1959, where a widow (Emily Mortimer) wants to open a quaint bookstore. While she’s supported by a local bibliophile (Bill Nighy), she meets resistance from some influential and conservative locals, including a socialite (Patricia Clarkson), especially when she starts putting Bradbury and Nabokov on the shelves. The deliberately paced screenplay by director Isabel Coixet (Learning to Drive) is more dry and stodgy than charming, only occasionally injecting life into its central themes of acceptance and gender politics. (Rated PG, 113 minutes).

Searching

Apparently a movie that takes places entirely on computer screens and live streams isn’t only a gimmick for the horror genre. It’s effectively employed in this thriller about a widowed father (John Cho) whose teenage daughter (Michelle La) suddenly disappears, prompting a frantic search for clues both online and through a detective (Debra Messing) who takes charge on the ground. As the twists unfold, the script eventually piles on too many red herrings and contrivances. However, the structural manipulation enhances the suspense without inhibiting the solid acting, resulting in a compelling mystery but also a provocative cautionary tale about online connectivity, particularly among parents and children. (Rated PG-13, 102 minutes).

Support the Girls

Within the shallow and superficial world of “breastaurant” sports bars comes a humorous and heartfelt comedy about sisterhood and blue-collar workplace camaraderie. It takes place during a particularly rough day at the fictitious Double Whammies, where the manager (Regina Hall) beloved by her employees must deal with the aftermath of an attempted break-in, an impromptu carwash fundraiser, a TV outage on a busy night, interviews with potential new employees, and her aggravated boss (James LeGros) who doesn’t appreciate her. Those in the service industry can relate to the exaggerated yet truthful screenplay by director Andrew Bujalski (Computer Chess), which is elevated by Hall’s tender portrayal. (Rated R, 93 minutes).