Capsule reviews for April 2

Amundsen: The Greatest Expedition

Despite the title’s proclamation, this stylish biopic of Norwegian explorer Roald Amundsen curiously lacks a sense of wonder and discovery. It chronicles Amundsen (Pal Sverre Hagen), on the heels of a successful voyage to the South Pole in 1911, as he obsessively tries to add the North Pole to his resume. But such adventures sound more rousing than they play out here, with the title character’s personality as chilly as his surroundings. Veteran director Espen Sandberg (who co-directed the most recent Pirates of the Caribbean sequel) captures the daunting wintry landscapes with abundant visual flair, although the formulaic screenplay rarely penetrates the icy surface. (Not rated, 125 minutes).

Drought

Heartfelt intentions alone cannot rescue this contrived low-budget drama about a cathartic road trip that travels familiar territory. It takes place in drought-stricken North Carolina circa 1993, when Sam (Hannah Black) struggles to keep her working-class family together between her overbearing parents and autistic teenage brother, Carl (Owen Scheid), who happens to be a weather savant. So when Carl experiences a personal crisis, Sam offers to indulge his meteorological passion by chasing a severe storm in an ice cream truck. The screenplay by Black, who also directed in tandem with co-star Megan Petersen, manages some effective character-driven moments. Yet the broader narrative arc remains mostly cloudy. (Not rated, 84 minutes).

Every Breath You Take

An intriguing premise yields a lackluster payoff in this character-driven thriller from director Vaughn Stein (Terminal). It follows Phillip (Casey Affleck), a small-town psychiatrist whose patient dies of an apparent suicide shortly after experiencing a family tragedy. The arrival of the grieving older brother (Sam Claflin) coincides with a downturn in Phillip’s personal and professional life, endangering his wife (Michelle Monaghan) and teenage daughter (India Eisley). As secrets are revealed, Phillip suspects a vendetta that he might be powerless to stop. Despite some solid performances, the film lacks the necessary moral complexity, while the twists gradually become more ridiculous and far-fetched. The suspense dwindles accordingly. (Rated R, 106 minutes).

The Man Who Sold His Skin

A playful satire about the intersection of art and commerce ambitiously collides with a thoughtful examination of immigration and human trafficking. Sam (Yahya Mahayni) is a Syrian refugee in Lebanon whose girlfriend (Dea Liane) is stuck in a marriage of convenience in Belgium. Sam can’t travel to see her until he agrees to allow an eccentric artist to tattoo a politically charged painting on his back, thereby rendering Sam as a commodity in the government’s eyes. However, when the artwork gains popularity, Sam’s freedom isn’t what he envisioned. The multilayered script by Tunisian director Kaouther Ben Hania is uneven as it stretches credibility, yet also provocative. (Not rated, 104 minutes).

This Is Not a Burial, It’s a Resurrection

A melancholy meditation on the clash between tradition and progress, this evocative African drama finds beauty in its sadness. It provides a rare glimpse inside the tiny kingdom of Lesotho, where an aging widow (the late Mary Twala) is left alone and contemplates ending her own life rather than continue to grieve. However, she finds rejuvenation from an unlikely source — a government order that would force her neighbors to relocate for construction of a new reservoir, thereby flooding the local burial grounds. Meshing politics with spirituality, director Lemohang Jeremiah Mosese compiles some arresting imagery to accompany his unconventional narrative. It’s deliberately paced yet rewards patience. (Not rated, 119 minutes).

WeWork: Or the Making and Breaking of a $47 Billion Unicorn

At its core, the WeWork saga is a corporate cautionary tale about blind faith and due diligence. But it’s more fun the way this documentary tells it, by focusing on Adam Neumann, the young entrepreneur whose charisma and vision built the company, and whose ego and capitalist hubris tore it down. The film chronicles the rise and fall of the Manhattan-based company that championed communal workspaces — with free beer — for small startups, launching a progressive trend in the 2010s that apparently skyrocketed WeWork’s value. But as Neumann achieved celebrity status, he attracted scrutiny into his smoke-and-mirrors strategy. It’s captivating and insightful, regardless of your business savvy. (Not rated, 104 minutes).