Capsule reviews for Oct. 9

Dating Amber

Nostalgic and heartfelt, this semiautobiographical romantic comedy from Irish director David Freyne (The Cured) generates some big laughs, yet stumbles when it tries to deal more seriously with self-esteem and intolerance. In mid-1990s Dublin, closeted gay teenagers and social outsiders Eddie (Fionn O’Shea) and Amber (Lola Petticrew) pretend to be in a romantic relationship with one another to ward off suspicion from their parents and homophobic classmates. But the plan carries unintended emotional consequences for both, while preventing them from exhibiting their true feelings. The winning performances and refreshing message of acceptance are compromised by an uneven screenplay that turns heavy-handed in the final act. (Not rated, 92 minutes).

The Doorman

Far-fetched and uninspired, this action-thriller squanders its setting inside the claustrophobic confines of a New York high-rise apartment building. That’s where female combat veteran Ali (Ruby Rose) tries to start over by working as a doorman, only to become caught up in the nefarious efforts of an art dealer (Jean Reno) to locate a fortune in hidden Nazi-era German paintings. The families living inside become collateral damage, with Ali as their only hope amid the mayhem. Rose (TV’s “Batwoman”) showcases her tough-girl credentials in the capably staged fight scenes. However, as the screenplay strains logic to a woeful degree, any level of emotional investment becomes futile. (Rated R, 97 minutes).

Henchmen

In attempting to shine a spotlight on sidekicks who never get proper credit for doing the dirty work, this lackluster animated comedy doesn’t offer much incentive to share its sentiment. Covering similar territory as the Minions franchise, this story follows a teenage orphan who dreams of supervillainy, so he starts as a lackey and tries to work his way up, before an accident gives him special powers that alter those plans. While young children might appreciate the low-brow gags and snappy pacing, the script lacks a rooting interest and the computer-generated visuals are below par. The voice cast includes Thomas Middleditch, Nathan Fillion, and Rosario Dawson. (Rated PG, 89 minutes).

An Imperfect Murder

More of a psychoanalytic acting workshop than a fleshed-out drama, this intimate character study follows a fledgling actress (Sienna Miller) who seems to be enduring a breakdown after a vivid nightmare about killing her abusive ex-boyfriend and covering up the crime. As a detective (Alec Baldwin) begins nosing around, she takes comfort in a visit from her mother (Colleen Camp) and her grandfather (Charles Grodin), who has dementia and was once classmates with Carl Icahn. As unfocused as it sounds, the rambling screenplay by veteran director James Toback (Black and White) is more pretentious than profound. However, the extended sequence with Grodin is terrific. (Rated R, 71 minutes).

Major Arcana

Slight yet sharply observed, this evocative redemption story is more emotionally impactful than its easygoing vibe would suggest. It takes place in rural Vermont, where a troubled carpenter (Ujon Tokarski) returns home to collect his inheritance and settle his father’s estate. Recently sober and looking to rebuild his life, he tries to find closure by building a cabin on his family’s land. But he’s drawn into his past, such as reconnecting with an ex-girlfriend (Tara Summers). It’s a poignantly understated tale of reconciling with your past to forge your future, and the screenplay by rookie director Josh Melrod brings depth and complexity to familiar themes. (Not rated, 82 minutes).

Time

Even if it asks more procedural questions than it answers, this powerful documentary about a family torn apart by a father’s imprisonment brings a fresh perspective to the mass incarceration epidemic. It follows a Louisiana couple who helped to rob a bank in the 1990s. While her husband remains behind bars as part of a 60-year sentence, Sibil is left to raise their six boys on her own and fight for his release behind the scenes. It’s a sobering examination of actions and consequences that intimately chronicles the effect of parental misdeeds on children. Sibil’s tenacity generates sympathy, although the film itself smartly avoids passing judgment. (Rated PG-13, 81 minutes).

The War with Grandpa

Destined to be a forgettable footnote in Robert De Niro’s esteemed filmography, this uninspired low-brow comedy finds him playing the title role, as a cantankerous widower forced to move in with his overbearing daughter (Uma Thurman) and her suburban family. That includes precocious 12-year-old Pete (Oakes Fegley), who’s coerced into giving up his bedroom and moving into the attic — prompting a private turf war, for which the old man is up to the challenge. Despite some scattered laughs, most of the slapstick gags are labored and repetitive, shoving aside any family-friendly lessons about intergenerational bonding. The cast includes Christopher Walken, Cheech Marin, and Rob Riggle. (Rated PG, 94 minutes). 

The Wolf of Snow Hollow

Trying to emulate Fargo is a tall task, but this low-budget comedy from director Jim Cummings (Thunder Road) finds an appealing mix of wintry small-town quirks and murder-mystery intrigue. Cummings also stars as an sheriff’s deputy and recovering alcoholic investigating a string of murders meant to appear as though they were committed by a werewolf. Amid pressure from the uneasy locals to solve the crimes, the resulting stress triggers a downward spiral that affects his relationships with his aging father (Robert Forster) and teenage daughter (Chloe East). Cummings modulates the tonal shifts reasonably well in a story that succeeds best in its quieter character-driven moments. (Rated R, 83 minutes).

Yellow Rose

A sparkling big-screen debut for Broadway actress Eva Noblezada boosts this heartfelt if uneven drama that’s sweet-natured on the surface while sending a worthwhile message, too. Noblezada plays Rose, a Filipino teenager and aspiring country-music singer in a small Texas town. However, she’s also an undocumented immigrant, which leaves her homeless when immigration officials arrest her mother. Rose is forced to chase her dreams on her own in a culture where she wouldn’t ordinarily feel welcome. Even if the screenplay by rookie director Diane Paragas tends to oversimplify its broad sociopolitical subtext, it finds an appealing narrative rhythm with richly detailed characters and cross-cultural charm. (Rated PG-13, 94 minutes).