Capsule reviews for Feb. 21

And Then We Danced

Committed performances and a unique cultural perspective compensate for the more generic aspects of this romantic drama from Georgia, which carries a powerful sociopolitical subtext. Merab (Levan Gelbakhiani) is a gifted young dancer whose training is interrupted by the arrival of a talented new rival (Bachi Valishvili). When they later develop a mutual attraction, however, they must conceal it to avoid public persecution. Emotionally rich and technically polished, the film marks a step forward for Georgian cinema, even if some of the plot mechanics lack imagination. As in dancing, a few minor missteps can be smoothed over by exuberance and passion, and this film has both. (Not rated, 113 minutes).

The Night Clerk

A strong cast led by Tye Sheridan (Ready Player One) in the title role can’t elevate this character-driven thriller beyond its derivative genre trappings. Sheridan plays Bart, a socially awkward hotel employee with Asperger’s, who watches guests via hidden cameras while obsessing over their conversations. Things start to unravel when he witnesses a murder, leading his mother (Helen Hunt) to defend him while an alluring woman (Ana de Armas) seduces him with ulterior motives. Rather than establishing him as either a creep or a sympathetic figure, the screenplay by director Michael Cristofer (Original Sin) trivializes Bart’s affliction for dramatic effect. And it’s more sluggish than suspenseful. (Rated R, 90 minutes).

Once Were Brothers: Robbie Robertson and the Band

Any worthy music documentary benefits from having great music as its backbone, and this glimpse into the humble beginnings of the legendary Americana group certainly qualifies. It takes us back to the quintet’s heyday a half-century ago, allowing guitarist and songwriter Robbie Robertson to reminisce fondly about influences, camaraderie, his volatile relationship with drummer Levon Helm, drug and alcohol abuse, collaborations with Bob Dylan and Ronnie Hawkins, and the buildup to Martin Scorsese’s iconic concert film The Last Waltz. The film’s narrow perspective sacrifices depth. However, Robertson makes for a charming narrator of sorts, and it finds an appealing rhythm for rock music history buffs. (Rated R, 101 minutes).

Premature

There’s an intimacy and raw authenticity to this low-budget urban romance that elevates it above genre conventions and coming-of-age clichés. It’s set in Harlem, where Ayanna (Zora Howard) is a teenage poet preparing for college when she’s charmed by the soft-spoken Isaiah (Joshua Boone), an aspiring music producer from out of town. Their sudden deepening relationship endures several obstacles, including the idea of a long-term commitment. The character-driven screenplay by Howard and director Rashaad Ernesto Green (Gun Hill Road) offers a tender and evocative examination of contemporary relationships. Like Ayanna, the film is rough around the edges before you realize it’s smarter than it first appears. (Not rated, 86 minutes).

Standing Up, Falling Down

If we’re to believe everything we see in the movies, a large percentage of stand-up comedians are battling personal demons and dysfunctional families. At any rate, this earnest story of redemption and reconciliation for one such lost soul finds some laughs amid familiar territory. After failing on the club circuit, Scott (Ben Schwartz) moves back home with his parents, then finds an unlikely friend in an alcoholic dermatologist (Billy Crystal) suffering from regret and loneliness. The dialogue tends to ramble. Yet as they sort through the dirty laundry together, the film maintains an agreeable balance of humor and pathos — bolstered by Crystal’s affecting performance. (Not rated, 91 minutes).

Young Ahmed

The latest gritty drama from Belgian directors Jean-Pierre and Luc Dardenne (Two Days, One Night) is also among their most provocative. It follows the title character (Idir Ben Addi), a Muslim teenager living in Brussels who becomes socially withdrawn after he embraces extremist ideologies from an imam (Othmane Moumen), causing his family and friends to fear he might be preparing for a small-scale jihad against them. This coming-of-age radicalization story doesn’t supply much new insight, and the ending fizzles out. However, the film builds a chilling undercurrent, combining a non-judgmental approach to Ahmed’s motives and actions with an appropriately restrained portrayal by newcomer Ben Addi. (Not rated, 86 minutes).