Capsule reviews for May 3

Ask Dr. Ruth

Even for those who recall her heyday as a staple of late-night television and a pioneer of radio call-in shows, this crowd-pleasing documentary offers plenty of insight. It recaps the career of diminutive and chipper celebrity sex therapist Dr. Ruth Westheimer, who maintains a whirlwind schedule of public appearances at age 90, while delving extensively into her private life as a Holocaust survivor who remains deeply connected to her Jewish heritage. Along the way, director Ryan White (Good Ol’ Freda) assembles an impressive array of archival footage to show that while not as controversial as she once was, Dr. Ruth is just as relevant as ever. (Not rated, 99 minutes).

Clara

For a movie about making vast new discoveries, this science-fiction drama explores a pretty familiar path. It centers on a disgraced astronomy professor (Patrick Adams) whose troubled personal life causes him to retreat into his research involving new planets in other galaxies. When he hires a new live-in research assistant (Troian Bellisario), however, he learns that by keeping his head in the stars, he’s not embracing life on Earth. From there, it’s a predictable redemption story with some intergalactic mumbo-jumbo thrown in, the scientific legitimacy of which seems dubious. At any rate, the screenplay by director Akash Sherman is cerebral enough to suggest future promise. (Not rated, 105 minutes).

The Intruder

The most important factor in real estate might not be location, after all, according to this ludicrous thriller about an advertising executive (Michael Ealy) and his wife (Meagan Good) whose nightmare begins after they purchase their dream home in Napa. The previous owner (Dennis Quaid) has an attachment to the property that spirals into obsession and eventually violent derangement over surrendering it to newcomers. Utterly predictable from start to finish, the film suffers from a total lack of self-awareness in its likelihood to inspire chuckles over chills. At least Quaid chews the scenery in amusing fashion as the only one refusing to take this mess seriously. (Rated R, 102 minutes).

Non-Fiction

Just when you think this story has been written before, a sharp cast and a clever script bolster this bittersweet comedy about French publishing circles from veteran director Olivier Assayas (Personal Shopper). It follows a successful editor (Guillaume Canet) whose personal turmoil — including his marriage to a fledgling actress (Juliette Binoche) — begin to cross over into his professional life, especially after he rejects the work of an author while enticed by his younger wife (Nora Hamzawi). More than just an exploration of midlife crises and infidelity, the film uses its richly textured characters to convey more provocative ideas about technology and relationships beneath the surface. (Not rated, 107 minutes).

Shadow

Acclaimed Chinese filmmaker Zhang Yimou (Hero) returns to form with this visually resplendent combination of martial-arts epic, intimate character study, and compelling historical drama. It’s set during third century political upheaval in China, following the efforts of a military officer (Deng Chao) and the leader of the Pei Kingdom (Zheng Kai) to navigate their people through an impending war with invading rival forces. That sets the stage, after some detailed exposition, for some elaborately choreographed wuxia fight sequences that should thrill genre fans. But the background story remains intriguing enough after a sluggish start, and the meticulously detailed visual approach is stylish and evocative. (Not rated, 116 minutes).

Tell It to the Bees

A reliance on familiar period trappings should limit the buzz for this earnest melodrama with only mild resonance in the #MeToo era. In a small Scottish town, Lydia (Holliday Granger) becomes a single mother after her husband leaves her for another woman. When she takes her preteen son (Gregor Selkirk) to see the village’s beekeeping female doctor (Anna Paquin), they connect over their desire to break free from oppressive customs. Further complications ensue when their relationship turns romantic, and eventually becomes public. The performances outshine the screenplay, adapted from a Fiona Shaw novel, which is somewhat contrived yet too restrained to generate the desired sparks. (Not rated, 106 minutes).