Capsule reviews for Dec. 21

American Renegades

It’s both disheartening and amusing to find Oscar-winner J.K. Simmons barking insults at insubordinate soldiers in this lackluster action saga. You wish he would have directed the condemnation at co-writer Luc Besson and director Steven Quale (Into the Storm), who are more responsible for this absurd mess of gung-ho military clichés than his fellow actors. It takes place in Bosnia circa 2005, when Barnes (Sullivan Stapleton) leads a team of mischievous Navy SEALS who scheme to swipe a collection of Nazi-era gold bars at the bottom of a lake. The film’s throwback vibe might have yielded more laughs or thrills if it wasn’t so aggressively dumb. (Rated PG-13, 106 minutes).

Between Worlds

Nicolas Cage playing a redneck truck driver certainly has potential for campy fun, but that’s not the case with this incoherent psychological thriller that takes itself far too seriously. Cage plays Joe, a widower whose heroic act introduces him to Julie (Franka Potente), a female trucker with apparent spiritual powers. As their relationship deepens, Julie’s comatose daughter (Penelope Mitchell) awakens with clues that her body might be inhabited by Joe’s late wife. There are a few moments of inspired lunacy while true identities are sorted out, with Joe conveniently seducing both women just in case. But for the most part, it’s sluggish and tedious. (Rated R, 90 minutes).

Cold War

Post-World War II sociopolitical volatility throughout Europe provides the backdrop for this bittersweet romance from Polish director Pawel Pawlikowski (Ida), which is richly textured and quietly powerful. It chronicles the tempestuous relationship between musicians Wiktor (Tomasz Kot) and Zula (Joanna Kilig), whose commitment is tested by various circumstances and self-imposed obstacles over more than two decades between stops in Poland, France, Yugoslavia and more. Once again, Pawlikowski effectively employs evocative black-and-white cinematography with a condensed aspect ratio and peculiar framing. The fragmented narrative structure relies on mood and chemistry between the two leads to achieve its emotional depth, and the abundant period music doesn’t hurt, either. (Rated R, 88 minutes).

Second Act

Re-watching Working Girl is preferable to a first viewing of this predictably bland comedy from director Peter Segal (50 First Dates) about Maya (Jennifer Lopez), a hard-working and innovative retail manager who’s passed over for a promotion because she lacks a college degree. So her best friend (Leah Remini) severely fudges Maya’s resume and submits it to a cosmetics firm, where she lands a corporate marketing job. Before she can confess, Maya finds a special connection to the company vice president (Vanessa Hudgens). Beneath the contrived surface, a heartfelt message of gender equality and self-discovery doesn’t resonate because the story so consistently feels detached from reality. (Rated PG-13, 103 minutes).

Tyrel

Jason Mitchell’s powerfully understated performance drives this quietly perceptive low-budget drama from Chilean director Sebastian Silva (Nasty Baby), which effectively tackles contemporary race relations with subtle ambiguity rather than raucous provocation. Mitchell plays Tyler, not Tyrel, who tags along with a buddy (Christopher Abbott) to a weekend of drinking and shenanigans at a remote cabin, where Tyler happens to be the only black man. As the tension builds, we wonder whether he’s not making an effort, or his hosts aren’t welcoming enough. The film doesn’t draw any easy conclusions while allowing moviegoers to judge for themselves, although with such modest ambitions, the overall impact is mild. (Not rated, 86 minutes).