Capsule reviews for Aug. 16

Aquarela

As perhaps the world’s most precious and prevalent natural resource, water is also the most vulnerable to the effects of climate change, which is where this breathtaking documentary comes in. The film quietly observes the delicate ecological impact of water on humans and vice versa, through immersive vignettes around the globe, from a Siberian ice rescue team to the middle of a Florida hurricane and various stops in between. The visually dazzling imagery of cascading waves and waterfalls become somewhat monotonous, and the heavy-metal soundtrack is a curious choice. Yet cumulatively it’s a visceral feast for the senses and a treat for the brain. (Rated PG, 89 minutes).

Awake

“This whole damn thing is starting to spiral out of control,” says an exasperated sheriff investigating the central murder in this low-budget thriller. He might as well be describing the film itself, a woefully contrived mess about a crash survivor (Jonathan Rhys Meyers) who wakes up in a small-town hospital with amnesia, and as a suspected serial killer. As his memories slowly return, he maintains his innocence while a nurse (Francesca Eastwood) helps his search for the truth. The film doesn’t generate consistent suspense, and squanders a potentially intriguing concept with a series of far-fetched twists that fail to withstand the slightest logical scrutiny. (Not rated, 88 minutes).

Cold Case Hammarskjold

Amid some structural awkwardness, this fascinating documentary ultimately raises more questions than it answers. However, that adds intrigue to this journalistic deep-dive by Danish filmmaker Mads Brugger (The Ambassador) into the mysterious death of former United Nations Secretary-General Dag Hammarskjold in a 1961 African plane crash. Tracking down some of those who recall the incident, the film turns up disturbing ties to government conspiracies and ruthless mercenaries. Brugger’s satirical style sometimes clashes with the unsettling nature of the material, although as he uncovers layers of secrets and alleged corruption, the film works both as a historical expose (despite its sketchy conclusions) and a provocative geopolitical thriller. (Not rated, 128 minutes).

Driven

Famed auto mogul John DeLorean is a more fascinating subject than Jim Hoffman, and by focusing mostly on the latter, this formulaic biopic remains stuck in first gear. Hoffman (Jason Sudeikis) was a pilot and DeLorean’s neighbor in the late 1970s, when the sports car designer was preparing to launch his own company and eponymous brand. But the slick-talking DeLorean (Lee Pace) was desperately short on cash, prompting him to become caught up with some of Hoffman’s drug-running associates — and the FBI. The flashback-laden film captures some of the glamour and the sleaze inherent in its story, yet rarely dives deeper to provide fresh insight. (Rated R, 108 minutes).

Gwen

Creepy atmosphere overshadows narrative momentum in this mildly unsettling thriller based on a Welsh folk tale. It’s set on a rural 19th century goat farm, where Gwen (Eleanor Worthington-Cox) is a precocious teenager struggling to keep her family together ostensibly until her father returns from war. Meanwhile, her emotionally troubled mother (Maxine Peake) is suffering from a mysterious illness and a cutthroat mining company is trying to take their land. The remote landscapes give the film a stark beauty, although the story is so consistently bleak that it’s difficult to find an emotional entry point. Worthington-Cox makes the title character more compelling than her surroundings. (Not rated, 84 minutes).

The Nightingale

The brutal violence is gut-wrenching, but this haunting Australian revenge thriller from director Jennifer Kent (The Babadook) is more exhilarating than exhausting. Set in 1825, it follows Clare (Aisling Franciosi), an Irish convict performing forced labor in Tasmania for a sadistic army lieutenant (Sam Claflin). After she’s raped while her husband and baby are murdered, Clare seeks vengeance at any cost, enlisting the help of an Indigenous guide (Baykali Ganambarr) who’s also a victim of institutional prejudice. While her script is uneven, Kent’s visual approach is stylish. And Franciosi’s audacious portrayal generates sympathy and contemporary resonance to help offset the emotionally punishing nature of the material. (Rated R, 136 minutes).