Capsule reviews for Oct. 4

The Climbers

While emphasizing spectacle over substance, this true-life adventure about Chinese mountaineers trying to climb Mount Everest is only sporadically stirring. What makes this journey different from others is the effort of Fang Wuzhou (Wu Jing) to scale the mountain’s intimidating North Face. Fang barely survived an avalanche during his first attempt in 1960, prompting him to try again 15 years later by reuniting his crew during a time of political turmoil. That’s the primary focus of this handsomely mounted saga, which doesn’t shortchange the elaborate action sequences. However, its aggressively patriotic intentions tend to stifle much of the character development and consistent tension along the way. (Not rated, 125 minutes).

Dilili in Paris

Take an artistic tour of Paris during the Belle Epoque through the eyes of a precocious girl in this delightful kid-friendly adventure from veteran French animator Michel Ocelot (Kirikou). Proud of her Kanak heritage, Dilili is cheerful and optimistic despite facing hints of sexism and racism from strangers. She’s accompanied around the city by a deliveryman on a scooter, encountering creative luminaries such as Picasso, Rodin, Debussy, and Sarah Bernhardt — while aiming to infiltrate a devious underground organization of chauvinist kidnappers. The English dubbed dialogue is wobbly, but the progressive themes are brought to life by the charming young protagonist and the evocative hand-drawn visuals. (Rated PG, 94 minutes).

Low Tide

Coming-of-age nostalgia meets twisty crime thriller in this sharp if somewhat formulaic low-budget debut for director Kevin McMullin. It takes place during a summer along the New Jersey shore about 30 years ago, following a group of teenage small-time crooks who rob houses in their spare time. One such heist yields a bag of mysterious gold coins, the value of which threatens to tear the youngsters apart over greed and jealousy as the cops close in. Although McMullin’s modest screenplay struggles to maintain consistent suspense, the visually murky film effectively depicts some morally conflicted mischief, bolstered by charismatic young actors who develop a convincing rapport. (Rated R, 84 minutes).

Memory: The Origins of Alien

Forty years later, Alien remains a landmark achievement in science fiction with a legacy that still endures. So this documentary provides a welcome opportunity for the film’s legions of fans to go behind the scenes, not just into the on-set production, but primarily into the influences that shaped the mythology from a variety of angles. This deep-dive from director Alexandre Philippe (78/52) incorporates archival footage plus a range of insightful interviews with actors, crew members, and others with expertise. Such talking heads are a treat for genre geeks and franchise aficionados, although the absence of Ridley Scott and Sigourney Weaver is a glaring omission. (Not rated, 95 minutes).

Midnight Traveler

The wide-reaching scope of the overseas refugee crisis is given a fresh cinematic perspective by this urgent and persuasive first-person documentary. It follows Hassen Fazili, an Afghan filmmaker whose incendiary work makes him a Taliban target, causing him to flee with his family on a frustrating yet courageous journey toward political asylum in Europe and elsewhere. Assembled from fragmented footage shot on Fazili’s phone, the film is disjointed by nature yet achieves a remarkable intimacy in the way it portrays a family’s determination to survive and stay together while facing bureaucratic obstacles at every turn. It’s a powerful glimpse into artistic freedom and cultural acceptance. (Not rated, 87 minutes).

Pain and Glory

Deeply personal yet universally resonant, the latest from Spanish auteur Pedro Almodovar is a bittersweet and audacious portrait of a troubled artist trying to reconcile past and present. Salvador (Antonio Banderas) is an aging filmmaker whose personal demons are tied to his artistic achievements. When one of his early films is chosen for a retrospective tribute, Salvador’s awkward reunion with a former collaborator (Asier Etxeandia) sends him into a drug-induced spiral. Along with his trademark visual flourishes, Almodovar finds dark humor to balance the off-putting nature of Salvador’s behavior. As usual, Banderas and Penelope Cruz (playing his mother in flashbacks) are up for the filmmaker’s challenge. (Rated R, 113 minutes).

The Parts You Lose

Heartfelt messages of tolerance and anti-bullying are muddled by the predictable twists and a tendency to exploit the afflictions of its protagonist as plot devices in this character drama. Wesley (Danny Murphy) is a deaf youngster living with his mother (Mary Elzabeth Winstead) in rural North Dakota, when his intolerant father (Scoot McNairy) moves back in. Wesley becomes withdrawn both at home and school, secretly bonding with a wounded stranger (Aaron Paul) carrying a dark secret. The film captures its harsh wintry setting, while sharp performances — especially newcomer Murphy — elevate the otherwise mediocre material, which struggles to build consistent suspense to match its intriguing concept. (Not rated, 93 minutes).

Pretenders

Inviting a comparison to classic French New Wave films is the first of many problems with this pretentious coming-of-age romance from director James Franco. Set in the 1980s, it chronicles several years in a co-dependent love triangle between an aspiring filmmaker (Jack Kilmer), an alluring young actress (Jane Levy), and a rising photographer (Shameik Moore) who’s always coming between them. On the surface, the film shows some affection for young artists and the specific period it depicts, yet the screenplay by Josh Boone (director of The Fault in Our Stars) ultimately feels as shallow as its characters, who aren’t worthy of our emotional investment. (Not rated, 95 minutes).

Semper Fi

Attempts to explore brotherhood, social injustice, and the psychological wounds of war are overshadowed by contrived plotting in this uneven drama from director Henry-Alex Rubin (Murderball). It follows Cal (Jai Courtney), a police officer and Marine reservist whose younger brother, Oyster (Nat Wolff), accidentally kills a man in a bar fight. Later, Cal returns from a tour of duty in Iraq to find Oyster has been abused in prison, so Cal and his Marine buddies try and break him out. Despite the committed performances, the film’s disparate ideas never quite come together as either a straightforward action movie or a more thoughtful character-driven drama. (Rated R, 99 minutes).

Wrinkles the Clown

Either clever or manipulative, depending on your point of view, this modest documentary about the titular urban legend ultimately lacks sufficient insight to justify a feature-length treatment of its subject. The film traces the controversial work of Wrinkles, a creepy masked character supposedly devised by a Florida retiree, who’s hired by beleaguered parents to scare their naughty children for money. While exploring his motives and viral popularity, director Michael Beach Nichols (Welcome to Leith) uses his story in a broader examination of fear and paranoia in the social-media age, as well as clown culture. However, a jarring twist halfway through proves more gimmicky than compelling. (Not rated, 78 minutes).