Capsule reviews for June 21

Burn Your Maps

By trying to bury a more serious examination of grief beneath a barrage of playful quirks, this uneven family drama diminishes its emotional impact. It chronicles a suburban couple (Marton Csokas and Vera Farmiga) struggling to keep their marriage together after a family tragedy. That’s before they must deal with the bizarre coping mechanism of their precocious 8-year-old son (Jacob Tremblay), who becomes convinced he’s a Mongolian goat herder. While mom embraces the kid’s imagination, dad becomes angry and withdrawn. The screenplay by director Jordan Roberts (Around the Bend) has difficulty juggling disparate tones amid the narrative gimmicks, although the performances lend some conviction. (Rated PG-13, 102 minutes).

Holy Lands

Eccentricities and melodramatic contrivances overwhelm any emotional depth in this disjointed drama about a severely dysfunctional family. Harry (James Caan) is a pig farmer in Israel who has drawn the ire of a local rabbi (Tom Hollander) over kosher dietary laws. But he’s also abandoned his ex-wife (Rosanna Arquette), who has been diagnosed with terminal cancer, and his two adult children, including a gay playwright son (Jonathan Rhys Meyers) yearning for acceptance. The messy script by director Amanda Sthers (Madame), based on her novel, tries to cram in subplots about religion, aging, artistic integrity, and fractured families, although the result lacks focus and turns woefully sentimental. (Not rated, 99 minutes).

The Quiet One

It sounds like a great idea, combing through the bountiful archives of former Rolling Stones bassist Bill Wyman for a peek into his life and career. Yet the resulting documentary feels underwhelming in terms of its depth and insight, considering the extensive collection of photos, archival footage, and first-person accounts at its disposal. Wyman guides us through some surface-level highlights of the band’s rise to prominence, both musically and behind the scenes. There are some cool anecdotes along the way, but not as much substance as you might hope. Rolling Stones completists probably won’t mind, although the title isn’t meant to be taken so literally. (Not rated, 98 minutes).

Swinging Safari

Moviegoers of a certain age might recall with fondness the mischief that drives this comedic memoir from Australian director Stephan Elliott (Priscilla, Queen of the Desert). It revels in its tacky 1970s setting in a sun-drenched seaside suburb, where a teenager (Atticus Robb) makes campy horror movies with his rambunctious young neighbors while their parents are busy surfing, swinging, and swilling wine. Plus, the town must figure out how to dispose of a beached whale. The modestly amusing film doesn’t offer many gut-busting laughs, but Elliott’s screenplay is sweetly nostalgic even when its mayhem feels forced. The cast includes Guy Pearce, Kylie Minogue, and Julian McMahon. (Rated R, 96 minutes).

Toni Morrison: The Pieces I Am

Perhaps it shouldn’t be surprising that the legendary novelist behind such cultural touchstones as Beloved and Song of Solomon is just as eloquent and engaging in person as she is on the printed page. This documentary allows Morrison, now 88, to essentially tell her own life story, although Oprah Winfrey, Fran Lebowitz, and others issue their praise, too. The film smartly opts against a straightforward biographical approach, instead focusing on the influences and philosophies that define the Nobel Prize winner’s ability to gracefully yet persuasively tell stories from a uniquely black perspective. The stylish result is a worthwhile tribute to Morrison’s exemplary character and enduring legacy. (Rated PG-13, 119 minutes).

Wild Rose

For all of its formulaic flaws, a show-stopping performance by Jessie Buckley redeems this crowd-pleasing Scottish saga about an aspiring country singer who dreams of overcoming obstacles and making it big in Nashville. Buckley’s character, Rose-Lynn, has just been released from prison and struggles to reconnect with her two young children and disapproving mother (Julie Walters). But the allure of the stage beckons, causing her to reconsider her priorities, for better or worse. While clichés overwhelm at first, the film gains a charming foothold thanks to Buckley (Beast), who gives Rose-Lynn a voice, both as a soulful singer and as an insecure single mother seeking redemption. (Rated R, 101 minutes).