Capsule reviews for Sept. 21

Assassination Nation

A handful of potentially provocative ideas are thrown together haphazardly in this subversive satirical thriller that’s basically Mean Girls set amid a contemporary backdrop of cyberbullying and sociopolitical volatility. It takes place at a suburban high school whose students and administrators are being targeted by a sadistic hacker exposing their online secrets. It’s up to a group of shallow and superficial friends to get revenge. The screenplay by director Sam Levinson (Another Happy Day), son of Barry, is perhaps justified in its cynicism regarding online privacy. Yet any ambition is undercut by pretentious visual gimmicks and nihilistic, ultraviolent twists that are sanctimonious instead of shocking. (Rated R, 108 minutes).

Bel Canto

A talented multicultural ensemble is squandered by this uneven hostage drama inspired by a true story. It centers on a posh gathering in South America, where a renowned opera singer (Julianne Moore) is performing when armed terrorists burst through the doors, aiming to take down a high-ranking diplomat in exchange for freeing political prisoners. The film tracks both hostages and perpetrators during the ensuing standoff, which lasts for weeks. Fortunately, director Paul Weitz (Little Fockers) injects moments of dark humor to keep things lively, although the lack of tonal consistency and narrative context prevents a deeper emotional connection. The cast includes Ken Watanabe and Sebastian Koch. (Not rated, 101 minutes).

Colette

Capturing its period while conveying a powerful contemporary resonance, this biopic of the titular French author finds inspiration in more than its true-life protagonist’s literary prowess. In the late 19th century, Colette (Keira Knightley) moved to Paris from the French countryside to live with her older husband, author Henry Gauthier-Villars (Dominic West). She becomes his muse and eventually his ghostwriter before he breaks through with a series of coming-of-age novels loosely based on her life. Benefiting from Knightley’s committed portrayal and evocative visuals from director Wash Westmoreland (Still Alice), the film salutes Colette as a pioneer feminist writer without reducing her to a historical emblem. (Rated R, 111 minutes).

A Happening of Monumental Proportions

The title oversells the impact of this lackluster ensemble comedy, in which Judy Greer apparently cashed in several favors for her directorial debut. How else to explain the involvement of Common, Allison Janney, Katie Holmes, Kumail Nanjiani, Jennifer Garner, and more in this exercise in absurdist misanthropy that resembles a failed sitcom pilot. There are some scattered low-brow laughs, but none of the intended redemptive uplift in these interconnected stories set in an office trying to solve the mystery behind some break-room vandalism, and an elementary school seeking answers about its suddenly dead gardener — during Career Day, no less. Such happenings are of inconsequential proportions. (Rated R, 81 minutes).

I Think We’re Alone Now

Perhaps this low-budget post-apocalyptic trifle from director Reed Morano (“The Handmaid’s Tale”) deserves credit for experimentation. However, any character-driven intrigue is overwhelmed by melodramatic absurdities. That’s a shame given the solid work by Peter Dinklage as a reclusive survivor of some sort of global plague who’s perfectly happy alone. From his New York home, he’s able to keep things quiet and organized until a gregarious young woman (Elle Fanning) arrives with companionship in mind. Their friction provides some modest amusement, although the film doesn’t find compelling ways to explore their relationship or establish an emotional connection before a late twist sends the story down the tubes. (Rated R, 93 minutes).

Little Italy

You’d need considerably more spice to inject any flavor into this flat romantic comedy from director Donald Petrie (Grumpy Old Men) that brings nothing new to the genre menu. Rather than New York, it’s set in the titular neighborhood in Toronto, where Leo (Hayden Christensen) works at his family’s pizzeria. His ex-girlfriend (Emma Roberts) left for London years ago, but when she returns for a visit, sparks are rekindled. The problem lies with their respective families, who once co-owned a beloved eatery but now are bitter foodie rivals. It’s predictable from there, reheating lazy stereotypes while combining narrative ingredients that are more stale than fresh. (Rated R, 102 minutes).

Love, Gilda

This affectionate tribute to the life and career of groundbreaking comedienne Gilda Radner benefits from a wealth of archival footage and a deep roster of interviewees who gush about her abilities and legacy. Along the way, this crowd-pleasing documentary recaps Radner’s early start in comedy, her breakthrough as a cast member on the early seasons of “Saturday Night Live,” her marriage to actor Gene Wilder, her mental health issues, and her 1989 death from ovarian cancer. Although the film lacks depth in spots, rookie director Lisa D’Apolito effectively assembles a bittersweet yet insightful reminder of an immense talent who ultimately left us too soon. (Not rated, 88 minutes).

The Song of Sway Lake

Wistful nostalgia gives way to contrived melodrama in this offbeat examination of the changing nature of family bonds through the generations. A young slacker (Rory Culkin) breaks into his family’s lakeside cabin — once the centerpiece to a sprawling upstate New York resort — with assistance from his impulsive friend (Robert Sheehan) to steal a rare and potentially lucrative record. Then his grandmother (Mary Beth Peil) shows up unannounced, with plenty of emotional baggage to unpack. The bittersweet film benefits from strong performances and manages some genuine moments of evocative charm, yet some potentially intriguing character dynamics feel unrealized because of uneven narrative momentum and inauthentic twists. (Not rated, 94 minutes).

Tea With the Dames

Who knew that four legendary British actresses and longtime friends also were such delightful raconteurs? This delightful documentary from director Roger Michell (Notting Hill) allows us to share in the pleasure of their company, as Judi Dench, Maggie Smith, Eileen Brennan, and Joan Plowright trade jokes and gossip while reminiscing about their lives and careers during one of their regular gatherings for tea. The breezy result might lack depth and structure in spots, yet provides a fitting tribute to each member of the quartet, with a few surprising insights and witticisms about aging, relationships, and damehood along the way. Their natural rapport is infectious. (Not rated, 80 minutes).