Capsule reviews for May 8

Clementine

Unlike the titular fruit, when you peel away the layers of this contemplative psychosexual melodrama, it’s more sour than sweet. Karen (Otmara Marrero) is an artist who retreats to a secluded lake house after a bad breakup. Her solitude is interrupted by an impetuous teenage neighbor (Sydney Sweeney), with dark secrets of her own, and a handyman (Will Brittain) with suspicious motives. It’s nice to see empowered women who also aren’t afraid to show vulnerability, but the screenplay keeps stalling its own narrative momentum. By the time it unleashes some mild twists in the final act, the film has already tested moviegoers’ patience and emotional investment. (Not rated, 94 minutes).

Il Mio Corpo

A vivid portrait of brotherhood and childhood innocence, this Italian verite documentary tracks the parallel stories of two teenagers struggling with unstable socioeconomic circumstances in Sicily. Oscar collects scrap metal with his older brother while trying to earn acceptance from his domineering father. Stanley is a Nigerian refugee working as a farmhand while trying to secure an immigration visa for his friend. Both are soft-spoken, yet speak volumes about psychological pain through body language and facial expressions. Although a late twist feels forced, the film’s observational approach shares their specific stories while resonating as a powerful glimpse into contemporary adolescence that spans culture and geography. (Not rated, 80 minutes).

Judy and Punch

The reversed order of titular names indicates the general direction of this revisionist Australian saga that lacks sufficient subtlety and surprise. Punch (Damon Herriman) is a misogynistic small-town puppeteer whose alcoholism causes tragic consequences for his wife, Judy (Mia Wasikowska), and baby. Sensing no remorse, Judy vows revenge by banding with a group of suspected witches and forest-dwelling heretics. The whimsical charms and stylish flourishes attempt to lighten the mood of an otherwise dark and violent historical drama. Wasikowska’s committed portrayal helps, too, although the cartoonish villainy and uneven screenplay from rookie director Mirrah Foulkes only magnify the heavy-handed feminist subtext and half-realized satirical ambitions. (Not rated, 104 minutes).

The Legion

Intermittent visual flourishes only accentuate the prevailing amateurism in this wartime saga set in the first century. That’s when a Roman soldier (Lee Partridge), accused of desertion in Syria, is tasked with perilously venturing across the harsh Armenian terrain to deliver a critical message to a trapped legion. The concept recalls 1917, which doesn’t help, but the film — apparently based on true events — generally resembles a group of Gladiator fanboys role-playing in the backyard. Between the anachronistic dialogue, the lack of action or suspense, and a few random scenes with Mickey Rourke sporting an eye patch and talking to a Nero statue, it’s a tedious mess. (Rated R, 96 minutes).

Rewind

It’s intensely personal, yet this gut-wrenching documentary exposing the childhood horrors of director Sasha Neulinger also provides harrowing broader insight into the way child sexual abuse impacts family legacies in general. Hopefully cathartic, Neulinger’s bold and provocative self-portrait benefits from his father’s obsessive home video collection, which provide the springboard for Sasha to describe his trauma by predators including two uncles and a cousin. In tracing the legal and psychological ramifications, he also exposes how wealth and influence affected the case of one of his molesters, a prominent cantor at a distinguished New York synagogue. The riveting result is difficult to watch, yet impossible to ignore. (Not rated, 86 minutes).

Samurai Marathon

While its true-life inspiration is an intriguing historical tidbit, this uneven 19th century Shogun saga from British director Bernard Rose (Immortal Beloved) struggles to reach the finish line. Set in 1855, the story begins with American imperialists visiting Japan to restart relations after two centuries of dormancy between the countries. Japan sees the move as potentially hostile, and devises an endurance race to ensure its warriors are trained in case of battle. The competition turns cutthroat because of shifting loyalties and corrupt politicians. The visually striking film isn’t sure whether to take itself seriously, and finds itself torn between campy comedy, ninja thrills, and strained melodrama. (Not rated, 103 minutes).

Sweetness in the Belly

While it shouldn’t be dismissed as another “white savior” movie set in Africa, this bittersweet story of acceptance and assimilation is too muddled and melodramatic to have much of an impact. Dakota Fanning offers a deeply felt portrayal as Lilly, a white woman raised in Africa by absentee parents. As a devout young Muslim in the 1970s, she settles in Ethiopia, teaches the Quran, and finds romance with a doctor (Yahya Abdul-Mateen) who’s also an outsider. But they’re torn apart by a civil war and she becomes a refugee in England. The nonlinear film is evocative and compassionate, yet struggles to modulate its disparate narrative threads. (Not rated, 110 minutes).

Valley Girl

The 1983 coming-of-age comedy is reimagined as a neon-infused musical with about as much substance as glitter. This peppy karaoke session of 1980s pop hits follows high school senior Julie (Jessica Rothe) and her preppy California classmates as they navigate hookups and parties in the weeks leading up to senior prom. In Jessica’s case, she dumps an obnoxious tennis star (Logan Paul) for an edgy punk rocker (Josh Whitehouse) against her parents’ wishes. The soundtrack, fashions, and pop-culture references provide a nostalgic kick. But it would be more worthwhile to spend an hour digging through an old yearbook than caring about these bland and shallow teenagers. (Rated PG-13, 102 minutes).

Walkaway Joe

David Strathairn’s empathetic performance can’t rescue this earnest and contrived saga of redemption and fractured families. It centers on Dallas (Julian Feder) a teenager desperate to reconcile with his deadbeat dad (Jeffrey Dean Morgan), a pool shark overloaded with gambling debts. When he becomes stranded during an ill-conceived search, Dallas — who’s become a billiards prodigy himself — is helped by a drifter (Strathairn) trying to repair issues from his own past. As it adopts a conventional road-trip framework, the directorial debut of veteran character actor Tom Wright is a well-intentioned glimpse into both the fragility and necessity of father-son relationships that’s ultimately more predictable than profound. (Not rated, 89 minutes).