Capsule reviews for May 10

The Biggest Little Farm

Crowd-pleasing charm shines through the self-congratulatory tendencies in this autobiographical documentary in which director John Chester chronicles the effort of he and his wife, Molly, to ditch city life in favor of launching a sustainable farm just an hour outside of Hollywood. The film charts their progress over seven years, as they raise animals and grow crops while persevering through myriad setbacks including harsh climate, bad soil, financial issues, predators, wildfires, wind and floods, and drought. More than just gratuitous shots of cute critters, Chester’s film inspires by painting a favorable portrait of contemporary farmers while also detailing the intricate balance in the ecosystem. (Rated PG, 91 minutes).

Charlie Says

Fifty years later, a movie should be able to provide deeper insight into the Manson Family murders than this mildly provocative yet emotionally hollow drama from director Mary Harron (American Psycho). It’s told from the perspective of three women who were the primary brainwashed cult followers of Manson (Matt Smith), as he transitioned from a failed folk singer to a sociopathic white supremacist who orchestrated notoriously random killings in the summer of 1969. Although it captures the fragility of their relationships with Charlie, thanks in part to strong performances, the film stumbles as a portrait of how abuse blurs the line between guilt and victimhood. (Rated R, 110 minutes).

My Son

The familiarity of the concept tends to lower the emotional stakes of this mildly intriguing but ultimately muddled French thriller from director Christian Carion (Joyeux Noel). It’s bolstered by an intense portrayal by Guillaume Canet (Cezanne et Moi) as Julien, a geologist who returns to Paris upon hearing that his young son (Lino Papa) has been abducted. That forces a makeshift reconnection with his estranged wife (Melanie Laurent) for the sake of the family, while Julien’s desperation causes him to seek out vigilante justice. As he ventures into Liam Neeson territory, the film turns more predictable than provocative despite some gritty yet stylish visual flourishes. (Rated PG-13, 84 minutes).