Capsule reviews for Nov. 25

The Croods: A New Age

It might be set in prehistoric times, but this lackluster sequel to the 2013 animated comedy suffers from the hyperactive sensory overload that too often plagues contemporary family films. There are some scattered laughs in the latest adventure of caveman Grug (voiced by Nicolas Cage) and his family as they search for a new home. Except when they settle down and meet their new neighbors, the Croods realize they’re a bit evolutionarily challenged. The crisp animation and spirited voice performances (the cast includes Emma Stone, Ryan Reynolds, and Peter Dinklage) can’t enliven a derivative adventure filled with anachronistic mayhem that’s hit-or-miss for kids and adults alike. (Rated PG, 95 minutes).

Girl

Such a generic title feels appropriate for this formulaic thriller that boils down to a resilient heroine trying to outwit small-town creeps with hidden agendas. It follows the unnamed title character (Bella Thorne) who journeys back to her hometown to get revenge on her abusive father. As she interacts with the locals, including a slimy sheriff (Mickey Rourke), she finds clues that suggest her father is not the real target of her mission. The versatile Thorne (Infamous) earns our sympathy with a tough-minded yet soft-spoken performance as the traumatized protagonist, despite a cliched screenplay by rookie director Chad Faust — who also plays a supporting role. (Not rated, 92 minutes).

The Happiest Season

The latest dysfunctional family holiday comedy is distinguishable primarily because its lead couple is gay. While that’s a nicely progressive twist, it would have been better to stray from formula. Harper (Mackenzie Davis) wants to introduce her girlfriend, Abby (Kristen Stewart) to her quirky family over Christmas dinner. Abby wants to use the occasion to propose, until she discovers that Harper hasn’t come out to her relatives yet, and complications ensue. While shifting between broad farce and more heartfelt drama, the film manages a few big laughs alongside the usual seasonal messages of acceptance and reconciling our differences. Some charming performances are squandered amid the predictability. (Rated PG-13, 102 minutes).

Last Call

Almost 70 years after he went gentle into that good night, Dylan Thomas’ final hours are the focus of this uneven biopic. Through interconnected vignettes, it chronicles the turbulent relationship between Dylan (Rhys Ifans) and his wife (Romola Garai), appointments with his doctor (John Malkovich) over his declining health and alcoholism, and his 1953 American tour that included a fatal night of binge drinking at a hotel bar. Ifans offers a haunting portrayal of a tortured soul consumed by addiction, but romanticizing his legacy doesn’t yield a sympathetic figure. Thomas aficionados might appreciate this gimmicky portrait, although outsiders might not want to wallow in his misery. (Not rated, 110 minutes).

Life in a Year

Two committed performances can’t save this thematically familiar teenage tearjerker from its formulaic trappings. Daryn (Jaden Smith) is a high school track star whose overbearing father (Cuba Gooding Jr.) has Ivy League aspirations for him. Those plans are derailed after he meets Isabelle (Cara Delevingne), a music fan from a broken family who happens to be dying of cancer. Daryn tries to schedule a life’s worth of happy memories over the ensuing months, but those intentions could cost him his future. Its intentions might be pure, but heavy-handed contrivances prevent the film from gaining much of an authentic emotional foothold before the predictably bittersweet finale. (Rated PG-13, 107 minutes).

Mosul

It seems refreshing to chronicle the military conflict in Iraq from the perspective of local fighters whose stakes are heightened. Yet the ambitious directorial debut of screenwriter Matthew Michael Carnahan (World War Z) too often squanders the personal nature of its story in favor of routine Hollywood shootouts. Set in 2017, it depicts a guerrilla SWAT team in the war-ravaged titular city whose mission is to combat ISIS insurgents ready to ambush them at any moment. Smartly avoiding politics, Carnahan’s intimate and appropriately bloody action sequences carry a vivid urgency, although the film sacrifices the level of character depth that would elevate it above genre conventions. (Not rated, 101 minutes).

Princess of the Row

Tayler Buck’s powerful performance drives this gritty drama that crafts an eye-opening glimpse into homelessness without turning sentimental or heavy-handed. Buck (Annabelle: Creation) plays Alicia, a 12-year-old aspiring writer in Los Angeles committed to caring for her mentally ill father (Edi Gathegi) living on Skid Row. The precocious youngster puts her own dreams on hold and stubbornly rejects outside help from the foster system while learning the difficulties of letting go. Even when it detours into familiar narrative territory, the screenplay by rookie director Max Carlson resonates with authenticity — putting a human face on a pervasive issue — and conveys a heartfelt resilience, just like Alicia. (Not rated, 84 minutes).

Uncle Frank

A top-notch ensemble cast powers this deeply felt if overly earnest period drama from director Alan Ball (screenwriter of American Beauty). Set in 1973, it follows an open-minded teenager (Sophia Lillis) from a deeply conservative Southern family who attends the same big-city college where her uncle Frank (Paul Bettany) is a professor. She learns Frank is a closeted gay man whose fear of revealing his longtime secret also is tied to lingering childhood trauma. Exploring familiar themes from a fresh perspective, Ball’s heartfelt script generates some intriguing character dynamics while carefully modulating its comedic and tragic elements. It’s a moving story of compassion through catharsis. (Rated R, 95 minutes).

Zappa

Perhaps the greatest compliment you can pay this documentary about the titular musician is that it feels like it was made by Frank Zappa himself. That’s not an easy task for director Alex Winter (Downloaded), who chronicles the free-spirited iconoclast’s life and career, leading up to his 1993 death from prostate cancer. Digging through his extensive archives and showcasing an impressive roster of interviewees, Winter presents an uneven but thorough look at Zappa’s highlights, while also offering insight into his diverse influences and multifaceted legacy. Although his music certainly was an acquired taste, you don’t have to be a fan to appreciate this affectionate tribute. (Not rated, 129 minutes).