Capsule reviews for July 17

Dirt Music

Nicholas Sparks fans might gravitate to this sappy Australian romance from director Gregor Jordan (Ned Kelly) about troubled lovers chasing destiny amid a sun-drenched seaside backdrop. Georgie (Kelly Macdonald) is drifting apart from her fisherman husband (David Wenham), so she begins a passionate affair with a former musician (Garrett Hedlund) trying to escape his past by becoming a wandering loner. As secrets are revealed, Georgie’s lover goes missing at sea, which forces her to chart a path for her future. The film might be best appreciated with the sound off, where the breathtaking scenery wouldn’t be so persistently interrupted by the emotional calculations and melodramatic contrivances. (Not rated, 104 minutes).

Ghosts of War

Taking the horrors of battle a bit too literally, this lackluster thriller from director Eric Bress (The Butterfly Effect) awkwardly combines a haunted-house story with a World War II saga. It follows five American soldiers assigned to keep a rural French chateau out of enemy control when they start experiencing hallucinations, Are they suffering the psychological effects of combat, or fighting more than just the Nazis? This genre mashup might have worked if the characters were more compelling or if Bress explored his PTSD themes with more depth. Instead, the film emphasizes jump scares, anachronistic dialogue, and a videogame mentality that drowns out any suspense. (Rated R, 94 minutes).

A Nice Girl Like You

Like its protagonist, this uninspired sex farce thinks it’s being edgy and risqué when in fact it’s hopelessly tame and restrained. Lucy (Lucy Hale) is a violinist whose romantic inhibitions annoy her boyfriend (Stephen Friedrich). So after they break up, she begins experimenting outside her comfort zone — watching porn, going to a strip club, playing with sex toys — when she meets a British guy (Leonidas Gulaptis) who might be a better match. Supposedly based on a true story, the film’s parade of contrivances couldn’t be more clichéd or predictable. Hale (Truth or Dare) is charming enough, although her character’s journey to self-discovery never resonates emotionally. (Rated R, 94 minutes).

The Painted Bird

As exhausting as it is eye-opening, this gut-wrenching adaptation of Jerzy Kosinski’s coming-of-age novel is not for all tastes. However, it rewards open-minded viewers with a provocative exploration of brutality and oppression through the story of an orphaned Jewish boy (Petr Kotlar) who experiences one horrific act after another, set against the backdrop of the Holocaust. As he wanders and seeks comfort from villagers, most only contribute to his spiral of terror. Amid the haunting black-and-white imagery, the screenplay by Czech director Vaclav Marhoul infuses some humanity and sensitivity — even when it’s difficult to stomach. The supporting cast includes Udo Kier, Stellan Skarsgard, and Harvey Keitel. (Not rated, 169 minutes).

The Sunlit Night

The picturesque landscapes are much more endearing than the people who inhabit them in this misguided romantic comedy about self-discovery and artistic expression. Such themes are explored through a New York painter (Jenny Slate) who desperately flees her dysfunctional family for a menial job assisting an artist in rural Norway, where the sun never sets. That’s where she bonds with a fellow American (Alex Sharp) who’s visiting for his father’s funeral, and rediscovers her passion for her craft. Aside from all of the forced Scandinavian quirks — courtesy of an awkward Zach Galifianakis cameo — and calculated emotional uplift, the choppy film generally lacks coherence and charm. (Rated R, 82 minutes).

We Are Freestyle Love Supreme

Before he became a Broadway megastar with In the Heights and Hamilton, Lin-Manuel Miranda was a founding member of the titular improvisational hip-hop group. In chronicling the troupe’s history and rapport, this documentary also captures the creative inspiration — with many of the same collaborators — behind his later successes on stage. The film generally follows Freestyle Love Supreme during its 2019 reunion tour, allowing its members to reminisce and share their admiration of one another. Although there’s not much depth beyond that, it’s modestly amusing and insightful, as well as a worthwhile showcase for a unique comedic art form. But fandom isn’t required to appreciate the film. (Not rated, 85 minutes).