Capsule reviews for March 13

Big Time Adolescence

Pete Davidson might be polarizing, but the comedian’s screen presence carries this mischievous contemporary coming-of-age comedy. Monroe (Griffin Gluck) would be an average suburban teenager if it wasn’t for his best friend — 23-year-old slacker Zeke (Davidson), a go-nowhere stoner who took Monroe under his wing several years ago and kept him around as an enthusiastic sidekick ever since. Only Zeke doesn’t care about the consequences of their misadventures. The amusing character dynamics, bolstered by appropriately awkward chemistry between the two leads, put a fresh twist on familiar themes. Along the way, the bittersweet screenplay by rookie director Jason Orley capably balances big laughs with relatable sentiment. (Rated R, 91 minutes).

Lost Transmissions

Despite a committed performance by Simon Pegg, the challenges of portraying mental illness on screen prove troublesome for this otherwise earnest drama. Pegg plays a washed-up musician whose paranoid schizophrenia apparently stems from drug abuse years earlier. He tends not to take his meds, however, which causes delusional outbursts and erratic behavior, forcing friends including an aspiring songwriter (Juno Temple) to become his caretakers. The heartfelt screenplay by rookie director Katharine O’Brien explores some obstacles within the American health care system with sincerity and conviction. Yet rather than providing sufficient depth and insight, the film winds up trivializing its protagonist’s affliction through plot contrivances. (Not rated, 103 minutes).

The Postcard Killings

Serial-killer clichés abound in this lurid thriller, adapted from a James Patterson novel by Bosnian filmmaker Danis Tanovic (No Man’s Land). It centers on a New York detective (Jeffrey Dean Morgan) trying to investigate his daughter’s murder while on a European honeymoon. However, his determined efforts are hampered by local authorities who don’t appreciate him snooping around. That forces him to recruit a Swedish journalist (Naomi Battrick) who can provide some clues. Morgan brings a melancholic intensity to his performance, and his character deserves a better movie. Instead, the incoherent twists, cloudy motives, and far-fetched contrivances hardly make the crimes worth solving at all. (Not rated, 104 minutes).

Ride Like a Girl

As horse racing movies go, this corny Australian biopic about the first female jockey to win the prestigious Melbourne Cup finishes back in the pack. Michelle Payne (Teresa Palmer) grew up in the thoroughbred industry, yet still had to battle many obstacles to succeed as a jockey, such as family tragedies, severe injuries, skepticism from her own father (Sam Neill) and sexism in a male-dominated industry. Her perseverance eventually landed her a historic ride on a longshot in the 2015 race. The directorial debut for actress Rachel Griffiths is stirring when it’s on track. Yet the wholesome screenplay lacks depth in probing Michelle’s hurdles and accomplishments. (Rated PG, 98 minutes).

The Roads Not Taken

Moviegoers might unintentionally share the protagonist’s pain in this muddled and pretentious character study from British director Sally Potter (The Tango Lesson). It follows Leo (Javier Bardem), a novelist and Mexican immigrant suffering from a mysterious affliction that leaves him in a perpetual lethargic daze. As his caretaker, his compassionate daughter (Elle Fanning) is remarkably patient with Leo’s unpredictable behavior, which apparently stems from past tragedies and failed relationships involving his ex-wives (Laura Linney and Salma Hayek). Bardem and Fanning boost this otherwise tedious examination of grief and regret, which intimately explores Leo’s headspace without allowing the audience inside. Any resulting emotional connection feels stifled. (Rated R, 85 minutes).

Tuscaloosa

Condensing a multilayered novel into a more linear screenplay proves too ambitious for this mildly provocative low-budget drama. It’s set mostly in 1970s Alabama, when childhood friends Billy (Devon Bostick) and Nigel (Marchant Davis) find themselves on opposite sides of racial and sociopolitical tension. Billy works as a gardener at a mental hospital where he falls for a patient (Natalia Dyer), while Nigel becomes disillusioned and gravitates toward a militant group. Although the performances are solid and the period atmosphere is richly textured, the well-intentioned screenplay by rookie director Phil Harder — a music-video veteran — feels disjointed and muddled in weaving together its overlapping narrative segments. (Not rated, 101 minutes).