Capsule reviews for Nov. 27

Almost Home

Heartfelt intentions alone can’t elevate this portrait of homeless teenagers on the streets of Los Angeles above its formulaic execution. It follows 13-year-old Elly (Rachel Zimmermann), who flees an abusive household with the help of a streetwise junkie (Hannah Marks), then forms a surrogate family of sorts with fellow teens on Skid Row, just trying to get by. The earnest screenplay by co-directors Erik Jensen and Jessica Blank, upon whose novel the film is based, effectively conveys the fleeting nature of co-dependent relationships and poverty on the streets. However, the story feels sanitized and calculated, diminishing the emotional resonance of the characters and their plight. (Not rated, 92 minutes).

Melody Makers

Music history buffs will appreciate this zippy documentary glimpse into the British rock scene in the late 1960s and early 1970s, as seen through staffers at Melody Maker, a London-based periodical whose heyday coincided with the rise of Pink Floyd, David Bowie, the Rolling Stones, and others. The film functions primarily as a tribute to the magazine — and specifically the work of photographer Barrie Wentzell — which perhaps won’t resonate across the pond. Likewise, a segment on the changing nature of music journalism seems choppy, but generous behind-the-scenes anecdotes fill in the gaps nicely. While it’s technically dry and straightforward, the film finds an agreeably nostalgic rhythm. (Not rated, 79 minutes).

63 Up

One of the most remarkable documentary achievements in history chugs along with its ninth installment, which again finds director Michael Apted (The World Is Not Enough) interviewing the same handful of London natives the series has chronicled every seven years of their lives. Apted has been at the helm since 1970, and by this time, the film very much resembles a conversation among old friends. Fans can appreciate revisiting the same folks who once talked about growing up, now ranting about growing old. As they near retirement age, there are few major revelations or surprises, although it remains a vital extension of this cinematic social experiment. (Not rated, 139 minutes).