Capsule reviews for July 12

Armstrong

Another worthy component to the collection of cinematic nostalgia honoring the 50th anniversary of the Apollo 11 moon landing, this documentary likewise makes an intriguing companion piece to the recent Neil Armstrong biopic First Man. Narrated by Harrison Ford, it recalls Armstrong’s upbringing as an Ohio farm boy fascinated with aviation, to his rise to prominence at NASA prior to the Apollo flight, to dealing with fame afterward. Amid the fawning interviews and familiar archival footage, the film offers a compelling window into his personal life and workaholic nature through revealing interviews with his ex-wife and children. They help the movie take flight while also remaining grounded. (Not rated, 99 minutes).

The Art of Self-Defense

With its combination of quirky satire and self-discovery drama, you’ll likely get a kick out of this offbeat comedy from director Riley Stearns (Faults). It follows a timid accountant (Jesse Eisenberg) who’s brutally mugged one night by a biker gang. That galvanizes him toward learning self-defense, eventually leading him to a karate dojo operated by a self-serious sensei (Alessandro Nivola) who calmly exudes authority over students including a black-belt hopeful (Imogen Poots) who’s feisty yet sensitive. Eisenberg brings an everyman appeal, while the screenplay effectively juggles disparate tones while satirizing modern masculinity in a fresh and amusing way. Martial-arts students will especially appreciate the eccentricities. (Rated R, 104 minutes).

Bethany Hamilton: Unstoppable

Anyone who has seen Soul Surfer is already familiar with many of the key details presented in this uplifting if overly glossy documentary, which spotlights a prime example of overcoming adversity and following your dreams. For those unaware, Hamilton lost her arm during a shark attack in Hawaii at age 13, but still forged a successful career in professional surfing, and subsequently added motherhood and motivational speaking to her list of accomplishments. The sequences on the water are visually striking. However, the film lacks depth in its presentation, relying on the sort of hagiography you might expect from a project that’s fully authorized by its subject. (Rated PG, 98 minutes).

The Farewell

Rarely has a film about death been as life-affirming as this powerfully heartfelt drama that finds the right balance of humor and heartbreak. When a contemporary Chinese-American family plans a makeshift wedding, it’s really an excuse to gather one last time with their matriarch (Shuzhen Zhao) while concealing her terminal cancer diagnosis. Meanwhile, her granddaughter (Awkwafina) contemplates the ethical ramifications of the scheme. The well-acted film avoids clichés about mildly dysfunctional family gatherings and the impending death of loved ones. With emotionally rich characters both specific and universal, the semiautobiographical screenplay by director Lulu Wang uses a fresh perspective to give familiar themes vibrant cultural relevance. (Rated PG, 98 minutes).

Firecrackers

Richly textured characters elevate this evocative coming-of-age drama from Canada, where Lou (Michaela Kurimsky) and Chantal (Karena Evans) are mischievous teenage best friends trying to escape their lakeside town. Saddled with socioeconomic challenges, they engage in a night of recklessness designed to bring them closer together, but winds up almost tearing them apart. The sharply observed screenplay by rookie director Jasmin Mozaffari examines familiar themes of adolescent rebellion and self-discovery, especially for those who saw the recent Never Goin Back. Yet the film achieves a universal resonance thanks to stellar performances, gritty visual flourishes, subtleties weaved into its multilayered narrative, and an overall feisty audacity. (Not rated, 93 minutes).

Lying and Stealing

Its title might be low-hanging fruit for critics, but this heist comedy from director Matt Aselton (Gigantic) manages some breezy and enjoyable episodes amid its inevitable familiarity. Ivan (Theo James) is a cunning art thief gearing up for one last job before he goes straight. His plans change when he meets Elyse (Emily Ratajkowski), a fledgling actress who needs a shortcut to clean up her massive debts. The film paints some inspired moments along the way, plus demonstrates an impressive working knowledge of art history. Yet the film struggles to modulate disparate tones as it transitions into a darker and more violent crime thriller. (Rated R, 100 minutes).

Saving Zoe

While it taps into contemporary teenage angst, this low-budget thriller lacks the narrative dexterity to make its weighty ideas feel more provocative. It follows Echo (Laura Marano), a grieving teenager who returns to school after her older sister, Zoe (Vanessa Marano), was murdered. As classmates and family members try to cope, Echo reads Zoe’s diary for possible clues involving her best friend (Giorgia Whigham), her troubled boyfriend (Chris Tavarez), or even drugs and depression. A compelling cautionary tale on the surface, the film becomes so intent on solving its central mystery that it forgets to make us care, especially through a series of lurid final-act twists. (Rated R, 95 minutes).

Sea of Shadows

As important as it is compelling, this gut-wrenching documentary shines a spotlight on the vaquita porpoise, which happens to be the most endangered sea mammal on Earth. As it turns out, poachers tied to Mexican drug trafficking rings are decimating the vaquita population with their overfishing efforts to net the rare totoaba fish — which are lucrative on the Chinese black market — off the coast of Baja California. The film gains remarkable access not only to the perpetrators of this ecological crime but also the conservationists trying to stop it, and explores the delicate balance required on both sides. The result is harrowing and emotionally powerful. (Rated PG-13, 104 minutes).

Summer Night

The legacy of classic coming-of-age films won’t be affected one way or the other by this innocuous entry that captures a certain small-town vibe, but doesn’t populate it with compelling characters. During the titular evening, a group of folk-rock musicians encounter personal conflicts on the night of a show at the local nightclub. With relationships and their futures potentially hanging in the balance, must the show go on? It’s doubtful many moviegoers will ultimately care, although the film hits the mark with some scattered amusement and intrigue. Still, the familiarity overwhelms a solid cast including Ellar Contrane, Annaleigh Tipton, Bill Milner, and Victoria Justice. (Rated R, 94 minutes).

Sword of Trust

A strong ensemble cast galvanizes this amusing caper comedy from director Lynn Shelton (Your Sister’s Sister). It centers on an Alabama pawn-shop owner (Marc Maron) whose latest attempt to lowball a customer backfires. A woman (Jillian Bell) brings in a Civil War sword she inherited from her grandfather, claiming to have documentation to prove the Confederacy won the war. Trying to make a quick buck, both of them become involved in a mess with quick-tempered conspiracy theorists. Perhaps missing an opportunity for social satire, the film nevertheless works as a breezy lark that generates some big laughs through its improvisational dialogue and character-driven comedic scenarios. (Rated R, 88 minutes).