Capsule reviews for Dec. 4

Billie

It might not thrill fans of jazz legend Billie Holiday that this documentary spends more time on her notorious behind-the-scenes struggles than her throaty vocal brilliance. However, it compiles a thorough if unfocused portrait of Holiday via recorded audio interviews from the 1970s by biographer Linda Kuehl, who later died. In a sense, director James Erskine is finishing the job, 40 years later, and in a different medium. His film is fractured, yet benefits from candid comments from Count Basie, Tony Bennett, Artie Shaw, and other musicians who worked with Holiday in her heyday, when she overcame racial bias to achieve fame before her untimely death. (Not rated, 98 minutes).

Black Bear

Perhaps destined to polarize moviegoers with its experimental structure, this character-driven thriller is an audacious if mildly smug examination of obsession, jealousy, and the creative process. It’s set entirely at a remote lake house where filmmaker Allison (Aubrey Plaza) rents out a room from fellow artist Gabe (Christopher Abbott) and his pregnant wife, Blair (Sarah Gadon). Their marriage is quite fragile, as revealed by the slightest poking from Allison, whose presence triggers a psychological downward spiral. Plaza’s ferocious portrayal boosts the muddled yet clever screenplay by director Lawrence Michael Levine (Wild Canaries), which has enough twists both hilarious and horrifying to create some fascinating dynamics. (Rated R, 104 minutes).

The Changin’ Times of Ike White

More than just an introduction to an obscure artist and his music, this fascinating documentary evolves into a complex look at a enigmatic man whose personal demons and self-destructive decisions overshadowed his creativity and compromised his chances at fame. White had a minor breakthrough with a 1974 soul album he recorded while in prison on a murder charge. He subsequently was released and vanished from the public eye, only to reemerge with an alter-ego and a host of personal secrets. British director Daniel Vernon makes a capable detective by tracking him down, interviewing those close to him, and unspooling twists worthy of a taut Hollywood thriller. (Not rated, 79 minutes).

Crock of Gold

You don’t need to be familiar with the Celtic punk band The Pogues to appreciate this documentary about its troubled frontman, Shane MacGowan. The Irish singer has gained notoriety for his vocal abilities and charismatic stage presence, and his pattern of erratic behavior that includes bouts of alcoholism and substance abuse. Those are familiar topics in MacGowan’s line of work, but director Julien Temple (The Filth and the Fury) mixes archival footage with his own animation and a deep roster of interviewees to add layers of poignancy and insight. The result is both an affectionate tribute and a cautionary tale that finds its own rhythm. (Not rated, 124 minutes).

Dear Santa

You’d have to be a real Scrooge not to feel some holiday cheer while watching this breezy documentary from director Dana Nachman (Pick of the Litter) about the century-old Operation Santa program, in which the U.S. Postal Service tries to match hopeful letters from less fortunate children with “adopters” who can fulfill their gift requests. The film could use more depth and less aggressive cuteness. Yet by spotlighting participants on both ends of the Christmas exchange, it captures the spirit of kindness and generosity toward strangers that should warm the hearts of even the most cynical viewers who might deserve coal in their stocking. (Not rated, 84 minutes).

Godmothered

Too often indulging in the same cliches it tries to tweak, this frothy comedy from director Sharon Maguire (Bridget Jones’s Diary) lacks the self-aware edge to avoid predictable pitfalls. It fashions a more working-class fairy tale story around a single other (Isla Fisher) struggling to find happiness, and the inexperienced fairy godmother (Jillian Bell) trying to help her, and bungling an effort to justify her own existence in an increasingly cynical world. Trying to force its cuteness and charm, the film feels calculated to appease a certain demographic rather than sprung organically from its characters. The finale is heartwarming, but the magic before then is minimal. (Rated PG, 110 minutes).

Half Brothers

Offering only a slight cross-cultural variation on buddy-comedy formula, this saga of reconciliation and male bonding from director Luke Greenfield (Let’s Be Cops) waters down its bilingual concept with predictable cliches. Renato (Luis Gerardo Mendez) is a Mexican aviation executive about to be married when his estranged father (Juan Pablo Espinosa) summons him to his deathbed. He sends the obstinate Renato on a scavenger hunt with his obnoxious half-brother (Connor Del Rio) to rediscover his heritage. Amid the hit-and-miss gags, both halves of this odd couple are so aggressively off-putting. By the time the film shifts into obligatory heartwarming mode, any emotional investment has evaporated. (Rated PG-13, 96 minutes).

I’m Your Woman

Adeptly balancing strength and vulnerability, Rachel Brosnahan’s multilayered performance turns this slow-burning crime thriller from director Julia Hart (Fast Color) into a compelling character study of resilience and empowerment. Brosnahan (“The Marvelous Mrs. Maisel”) plays Jean, who’s forced from her home with her infant child under mysterious circumstances after her husband disappears. Jean subsequently learns the extent of his criminal connections as she’s assisted by one of his associates (Arinze Kene) prepping for a fight for survival. The film features plenty of 1970s visual flair, although the muddled and meandering screenplay remains emotionally uneven, especially when attempting to escalate the stakes toward a final confrontation. (Rated R, 120 minutes).

Love, Weddings and Other Disasters

Four romantic comedies for the price of one is hardly a bargain in the case of this ensemble misfire, for which the latter portion of the title is most apropos. It’s set in Boston, with various overlapping subplots revolving around the impending marriage of a mayoral candidate. The only segment that comes close to connecting involves an uptight caterer (Jeremy Irons) and a blind woman (Diane Keaton) with an incredible knack for photography. Otherwise, without much room for character development, the disjointed screenplay by director Dennis Dugan (Wedding Crashers) features far more groans than giggles. And the far-fetched contrivances derail any potential emotional investment. (Rated PG-13, 96 minutes).

Wander

Squandering a strong cast, this far-fetched thriller works better as a twisty small-town murder mystery than an idiosyncratic character study about redemption. It follows Arthur (Aaron Eckhart), an unstable private investigator with a penchant for conspiracy theories whose latest case involves a woman’s mysterious death along a rural highway. As he accumulates evidence with his equally paranoid buddy (Tommy Lee Jones), Arthur suspects a large-scale cover-up with connections to a tragedy from his own past. Despite some stylish visual flourishes, the overwrought film piles on the contrivances and overdoses on quirks, preventing sympathy for Arthur as he seeks closure, or for the accompanying muddled social subtext. (Not rated, 92 minutes).