Capsule reviews for June 14

American Woman

A committed performance by Sienna Miller generates hard-earned sympathy for the self-destructive protagonist in this generically titled drama from director Jake Scott (Welcome to the Rileys). She plays Deb, who becomes a grandmother in her mid-30s when her teenage daughter goes missing. Deb’s anger and fear gives way to the realization that she must raise the child on her own, with a rotating cast of deadbeat boyfriends and limited socioeconomic resources, while holding out hope that authorities can solve the case. As years go by, the film’s gritty blue-collar authenticity is undermined by plot devices. The strong cast includes Christina Hendricks, Aaron Paul, and Amy Madigan. (Rated R, 111 minutes).

Being Frank

An intriguing comic premise is squandered by the uneven pacing and moral ambiguity in the feature directorial debut of producer Miranda Bailey (The Pathological Optimist). The amusing Jim Gaffigan is a bright spot in the title role, as an overbearing father whose teenage son, Philip (Logan Miller), rebels by taking a spring break trip with his buddy. When Frank shows up, Philip learns that his dad has a second family. When he confronts Frank about his secret, the awkwardness changes their dynamic. Instead of exploring the dramatic complexities of such a scenario, however, the film opts for a broad treatment overloaded with quirks and contrivances. (Rated R, 110 minutes).

Daughter of the Wolf

While this low-budget Canadian thriller starts as a mildly suspenseful diversion, it turns ridiculous in the final act. The story takes place in rural Rocky Mountains, under harsh wintry conditions in forests filled with predatory wolves. That’s where a military-trained widow (Gina Carano) challenges the hoodlums who have kidnapped her son (Anton Gillis-Adelman) as part of a revenge scheme against her family, setting up an inevitable showdown. Richard Dreyfuss chews the scenery as the cranky criminal mastermind, and director David Hackl (Saw V) stages a few action sequences with visceral urgency. Yet they can’t rescue a formulaic script that gets stranded in the snow. (Rated R, 88 minutes).

5B

The title refers to the ward at San Francisco General Hospital that housed the country’s first AIDS unit in 1983. This historical documentary co-directed by Paul Haggis (Crash) pays tribute to the nurses and volunteers who saved lives there, essentially serving on the front lines during the harrowing rise of the health epidemic. Through interviews and archival footage, the film vividly gives us an intimate glimpse into the daily routine inside that ward. Plus, by keeping the focus on the patients and their heroic caretakers rather than bogging down in sociopolitical context, it offers a poignant — if marginally heavy-handed — perspective on courage and compassion. (Rated PG-13, 93 minutes).

Hampstead

Despite some charming if unlikely chemistry between its two stars, this pleasant and fluffy British romantic comedy misses an opportunity to become something bigger. It’s loosely based on the true story of an irascible hermit (Brendan Gleeson) who lives in a shack adjacent to an upscale London suburb, on land coveted by developers. As he defiantly ignores eviction notices, an American widow (Diane Keaton) develops a soft spot for the man and his cause, encouraging him to claim squatter’s rights. Such intrigue is squandered by a film that doesn’t offer sufficient depth in any regard — characters, courtroom drama, or social issues — and lacks its protagonist’s temerity. (Rated PG-13, 103 minutes).

Head Count

In a generic horror flick such as this, when a party-seeking collection of college students escape to a desert house in Joshua Tree for the weekend, you pretty much know what’s going to happen. Evan (Isaac Jay) is the newcomer, and quickly develops an attraction to a photographer (Ashleigh Morghan) and the only unattached girl in the close-knit group. When the guests exchange ghost stories along with their drinks and drugs of choice, one of them unleashes a chameleonic presence with sinister intentions. The film builds modest suspense but never develops its characters with any urgency, nor does it bother explaining much about the enigmatic intruder. (Not rated, 89 minutes).

In the Aisles

It’s set entirely within a supermarket warehouse, but lingering sociopolitical tension outside the doors in contemporary eastern Germany also informs this tender and heartfelt romance. Christian (Franz Rogowski) is an awkward loner whose stocking job came about because of legal troubles. His outlook brightens when he meets an older co-worker (Sandra Huller) looking to stray from a rocky marriage. Their relationship deepens as a way to escape the mundanity of the daily grind. The deliberately paced film rewards patience with sharp performances by both Rogowski (Transit) and Huller (Toni Erdmann), sprinkled moments of lighthearted charm, and an intimate glimpse into how these opposites attract. (Not rated, 125 minutes).

Plus One

Millennial angst clouds romantic judgment for two privileged wedding crashers in this predictable romantic comedy about single friends Ben (Jack Quaid) and Alice (Maya Erskine), who agree to provide each other’s company during a barrage of nuptial commitments. While Alice is recovering from a recent break-up, Ben is afraid of commitment. Before long, however, with love always in the air around them, they both develop an attraction that complicates their arrangement. The two leads performances lend a modest charm to characters who are generally self-absorbed. But the biggest laughs come from awkward reception speeches that are spliced in throughout, providing a spontaneity that’s otherwise lacking. (Not rated, 98 minutes).

Vault

Some intriguing true-life source material and a gritty retro visual style are brushed aside in favor of genre clichés in this uneven heist thriller. It spotlights an obscure 1975 robbery of Mafia money stored in a Rhode Island bonded vault, by a pair of small-time crooks (Theo Rossi and Clive Standen) whose abilities lure them into the inner circles of two competing New England mob bosses (Chazz Palminteri and Don Johnson). The film captures the period details in its appearance and features some energetic performances. Yet the screenplay by director Tom DeNucci lacks depth and originality, which robs the film of any modest excitement. (Rated R, 99 minutes).