Capsule reviews for Feb. 12

Crestone

Probably not as judgmental about its subjects as it ought to be, this documentary tracks a collective of fledgling rappers who live communally as scavengers in the Colorado desert, where they grow their own marijuana and hope for an online breakthrough. These oddball creatives are amusing enough to justify some camera time, but rookie director Marnie Ellen Hertzler is friends with most of them. That leads to blind acceptance of their hypocritical lifestyle choices rather than objectivity. The film doesn’t ask the tough questions, provide any meaningful context, or connect the setting with any sort of creative inspiration. Instead, it feels like free advertising. (Not rated, 73 minutes).

Fear of Rain

If only she had taken her meds, this thriller about a schizophrenic teenager wouldn’t exist. Instead, contrivances overwhelm any attempt to explore her affliction with meaningful depth or sincerity. Seeking normalcy after being hospitalized for delusional episodes, aspiring painter Rain (Madison Iseman) is ostracized at school yet supported by her parents (Harry Connick Jr. and Katherine Heigl). Convinced that a kidnapped girl is captive in a neighbor’s attic, she recruits a classmate (Israel Broussard) to investigate, uncertain what’s real and what’s in her head. The twists provide some surprises in the screenplay by director Castille Landon, but at the expense of logic and narrative coherence. (Rated PG-13, 109 minutes).

Land

As a portrait of grief and resilience, the heartfelt directorial debut of actress Robin Wright ultimately lacks the authenticity to earn the sympathy it seeks. Wright stars as Edee, a widow who decides to buy a small cabin in Wyoming, ditch her phone, and live alone off the grid to start over emotionally and physically. Her isolation is interrupted by a persistent neighbor (Demian Bechir) who teaches survival skills and becomes a confidant. Wright’s portrayal is deeply felt, and her direction features plenty of visual flair. However, the deliberately paced screenplay remains as closed off as its protagonist, rarely resonating with sufficient emotional depth. (Rated PG-13, 89 minutes).

Lapsis

Behind an intriguing concept and a character-driven approach, this science-fiction oddity becomes a clever high-tech cautionary tale. It takes place in a parallel present-day in which delivery driver Ray (Dean Imperial) needs money to pay for his brother’s medical procedure. So he takes a sketchy job as a “cabler” for a new quantum computer system that’s launching around the world. But his opportunity to turn a quick buck comes with unforeseen strings attached. Although its final act is hampered by a more heavy-handed indictment of the gig economy, the screenplay by rookie director Noah Hutton remains grounded, featuring some compelling twists without turning convoluted or predictable. (Not rated, 107 minutes).

The Map of Tiny Perfect Things

More charming than its gimmicky time-loop premise would suggest, this teenage romantic comedy nevertheless covers predictable territory while targeting a demographic that was born after Groundhog Day became a classic. In this variation, Mark (Kyle Allen) is a smart-aleck enduring endless repetition of the same day. His perspective changes after meeting Margaret (Kathryn Newton), who seems to share his fate, for better or worse. Their relationship deepens around the titular list of small pleasures in their routine. But how to they escape their fate, if that’s what they even want? Aside from some scattered laughs and endearing portrayals, the calculated result is hardly memorable. (Rated PG-13, 99 minutes).

Music

Any heartfelt plea for compassion and catharsis is drowned out by the aggressive sentimentality in this ill-conceived musical drama, and that’s before you account for its cringeworthy portrayal of autism. It centers on a New York teenager (Maddie Ziegler) on the spectrum whose grandmother dies suddenly, prompting her older sister, Zu (Kate Hudson), to become her caretaker. But first, Zu needs to clean up her own life with help from an immigrant neighbor (Leslie Odom Jr.). For those buying into the manipulation, the film is padded with fantasy sequences that double as music videos for pop star Sia, whose directorial debut feels more self-indulgent than sincere. (Rated PG-13, 107 minutes).

Tazmanian Devil

Combining familiar themes into a fresh package, this earnest coming-of-age drama uses heartfelt authenticity to overcome its narrative clichés. Dayo (Abraham Attah) is a teenage immigrant from Nigeria who moves to Texas to reconcile with his estranged father (Ntare Guma Mbaho Mwine), a devout yet demanding pastor. However, when a classmate (Kwesi Boakye) urges Dayo to join a fraternity to make friends, the hazing process conflicts with his church values. Personal details in the screenplay by rookie director Solomon Onita add some texture around the edges of what could have become standard genre fare. Plus, Attah (Beasts of No Nation) garners sympathy with a committed performance. (Not rated, 119 minutes).

The World to Come

Visually striking and richly textured, this period lesbian romance is a quietly powerful examination of the clash between passionate hearts and societal expectations. It follows the emerging romance between Abigail (Katherine Waterston) and Tallie (Vanessa Kirby), both wives of neighboring farmers in mid-19th century New England who grow closer to one another as they become distant from their respective husbands (played by Casey Affleck and Christopher Abbott). Battling harsh conditions physically and psychologically, they become empowered the further they stray from traditional gender roles. That brings a layer of contemporary relevance to the material, which is bolstered by emotionally complex performances despite the uneven narrative momentum. (Rated R, 98 minutes).

Young Hearts

Like both of its main characters, this coming-of-age romance is sweet and unassuming, and unlikely to stand out from the crowd. Although they’ve lived across the street from one another for years, precocious Oregon classmates Tilly (Quinn Liebling) and Harper (Anjini Taneja Azhar) suddenly deepen their relationship, which subjects them to gossip and jeopardizes Tilly’s friendship with Harper’s older brother (Alex Jarmon). Sibling filmmakers Sarah and Zachary Sherman offer a tender and sharply observed portrait of contemporary adolescent romance, along with the fragility and awkwardness of first love. But while it’s a modestly fresh spin on familiar themes, the overall impact is slight and forgettable. (Not rated, 81 minutes).