Capsule reviews for Sept. 14

A Boy, a Girl, a Dream

Its reach ultimately exceeds its grasp, but this low-budget character drama benefits from a pair of solid understated performances and scrappy ambition. It takes place on Election Night 2016 in Los Angeles, where Cass (Omari Hardwick) and Frida (Meagan Good) spend the evening with one another, conversing intellectually and flirting innocently as they move from a nightclub, to a nervous gathering with friends as the polls close, to an all-night diner. The film is shot in real time, ostensibly in a single take. Although it becomes muddled in terms of a larger sociopolitical statement, the thoughtful and intimate project signals promise for director Qasim Basir. (Not rated, 89 minutes).

The Children Act

Emma Thompson’s powerful performance galvanizes this otherwise contrived British drama from director Richard Eyre (Notes on a Scandal), based on an Ian McEwan novel. Thompson plays Fiona, a respected judge who specializes in high-profile juvenile cases. Just as her workaholic nature frustrates her longtime husband (Stanley Tucci), who’s pondering an affair, Fiona draws closer to a mysterious teenager (Fionn Whitehead) involved in one of her rulings. Even if it’s structurally didactic and predictable, the polished film effectively confronts the moral complexity and legal ramifications of the relationships in Fiona’s life. Thompson’s understated portrayal resonates beyond the courtroom, prompting broader universal questions about ethics and justice. (Rated R, 105 minutes).

Don’t Leave Home

The convergence of art and faith comes with unsettling consequences in this atmospheric slow-burning thriller from director Michael Tully (Septien). It follows a fledgling American dioramist (Anna Margaret Hollyman) working on a project about an Irish urban legend that leads her to accept a commission from an exiled priest and painter (Lalor Roddy) and his mysterious companion (Helena Bereen) at a mansion outside Dublin. While there, she begins experiencing nightmares and suspects her hosts of sinister motives. The film gradually and effectively builds suspense without resorting to cheap scares, even when the story lacks a deeper emotional resonance and relies too heavily on unexplained coincidences. (Not rated, 86 minutes).

Final Score

British soccer fans are truly devoted. This ridiculous thriller depicts explosions, shootouts, and even a high-speed motorcycle chase inside a crowded stadium without anyone really knowing or seeming to care. They’re all part of a Die Hard-style terrorism storyline involving a former U.S. Army soldier (Dave Bautista) who must save his niece and the whole world, really, from vengeful Russians. Pierce Brosnan even shows up with a bushy beard and an amusing accent. If taken seriously, this is one of the stupidest movies in recent memory. Fortunately, there’s a healthy dose of unintentional hilarity along the way, at least until it reaches stoppage time. (Rated R, 104 minutes).

Lizzie

The latest big-screen retelling of the notorious Lizzie Borden story speculates on the method behind the madness of the title character (Chloe Sevigny), a repressed social outcast from an aristocratic family who was accused of the brutal hatchet murders of her domineering father and stepmother in Massachusetts in 1892. In particular, the film focuses on her relationship with a housemaid (Kristen Stewart) who might have been complicit. Approached as a dark psychological drama rather than a traditional thriller, the film’s narrative momentum is uneven, yet the two lead performances manage to find sympathy in otherwise despicable characters, especially in the quiet and more intimate moments. (Rated R, 106 minutes).

Mandy

Definitely not based on the Barry Manilow ballad of the same name, this defiantly idiosyncratic horror exercise from director Panos Cosmatos (Beyond the Black Rainbow) gives Nicolas Cage a proper vehicle for both his quietly brooding and violently unhinged sides. On the surface, it’s a rather standard revenge saga in which Cage plays a lumberjack in the 1980s Pacific Northwest whose wife (Andrea Riseborough) is abducted by a sadistic religious cult leader (Linus Roache). Things turn nasty from there in an intense film with style and attitude to spare, and plenty of inevitable bloodshed. It’s not for all tastes, but provides a treat for genre buffs. (Not rated, 121 minutes).

MDMA

You can applaud rookie director Angie Wang for eschewing vanity in frankly telling her true-life story, but this earnest coming-of-age drama turns into a wildly uneven and melodramatic mess. Angie (Annie Q) is a 1980s coed at an elite Northern California college — think Stanford — who forges a bond with her well-to-do roommate (Francesca Eastwood) despite a turbulent childhood and socioeconomic disparity. Desperate for acceptance, Angie turns to partying and eventually drugs, eventually becoming a prominent Ecstasy dealer during the height of its popularity. From there, the redemption arc plays out with minimal subtlety or surprise, leaving the film’s amusing period details as the only saving grace. (Not rated, 98 minutes).

Science Fair

Even the most cynical moviegoers should be inspired by the diverse collection of teenage scientists in this crowd-pleasing documentary, which follows hopefuls from around the world as they converge and compete for top prizes at the annual International Science and Engineering Fair. As we learn about their backgrounds, their projects and career goals, we can appreciate their hard work and dedication. But on a broader scale, the breezy and well-assembled film affectionately salutes students who might be social outcasts and whose accomplishments are frequently overshadowed despite their potential relevance and wide-ranging importance. It’s a heartfelt rallying cry for the importance of STEM funding and opportunities. (Rated PG, 90 minutes).

Where Hands Touch

Despite another committed performance by teenager Amandla Stenberg (The Darkest Minds), a dubious historical perspective dooms this earnest melodrama, which marks a rare misfire for British director Amma Asante (Belle). Stenberg plays a biracial teen living in Germany during World War II, when she falls for a Hitler Youth member (George MacKay) who likewise risks everything to pursue their courtship. Of course, danger lurks at every turn, except that Asante’s screenplay grows more contrived and manipulative rather than achieving the poignancy it desires. The film provides mild insight into an obscure aspect of the war, although its heartfelt intentions ring hollow amid an abundance of sentimentality. (Rated PG-13, 122 minutes).