Capsule reviews for April 23

Here Are the Young Men

Any nostalgic value in this testosterone-fueled Irish coming-of-age saga is compromised by thematic familiarity. Matthew (Dean-Charles Chapman) is a rambunctious teenager whose friendship with cynical Rez (Ferdia Walsh-Peelo) and loose cannon Kearney (Finn Cole) is threatened by the fallout from witnessing a tragedy after a typical reckless night of drugs and partying. Their lives drift apart, yet remain linked through a mutual friend (Anya Taylor-Joy). As it examines the transition to adulthood through an evocative 1980s blue-collar lens, the generic screenplay by director Eoin Macken lacks fresh insight and sufficient emotional depth to generate emotional investment. A talented young cast is squandered along the way. (Not rated, 96 minutes).

My Wonderful Wanda

Amid all the devious and deceitful behavior in this Swiss melodrama, it’s difficult to find a rooting interest. Yet that doesn’t diminish the mischievous fun in this story of a wealthy family who hires Polish caretaker Wanda (Agnieszka Grochowska) for aging patriarch Josef (Andre Jung) after a debilitating stroke at their rural estate. As the two develop a rapport, Wanda’s behind-the-scenes manipulations exacerbate the greed and xenophobia among members of Josef’s dysfunctional family, which sees its fortune and social standing threatened. Despite some mild contrivances and an indifferent ending, the film benefits from a strong ensemble cast while layering its twisty intrigue with biting social commentary. (Not rated, 111 minutes).

The Space Between

Kelsey Grammer showcases his versatility with a fully committed performance that can’t rescue this offbeat musical saga. Grammer has never strayed further from “Frasier” than his portrayal of Micky Adams, a washed-up rocker who becomes an unlikely mentor to Charlie (Jackson White), an aspiring music producer sent to get Micky’s signature to terminate his contract with his record label. As his friendship with the free-spirited — and perhaps mentally ill — Micky deepens, Charlie falls for an up-and-coming singer (Paris Jackson). The film tries to develop its characters through contrived eccentricities rather than keeping them emotionally grounded. But mostly, it plays a flat and familiar coming-of-age tune. (Rated R, 99 minutes).

Tiny Tim: King for a Day

As it traces the life and career of the ukulele-strumming novelty act, this bittersweet documentary argues there was underappreciated talent beneath the eccentricities. Swedish director Johan von Sydow uses animation, archival footage, and interviews to craft a well-rounded portrait of the androgynous falsetto, from his troubled New York upbringing to his breakthrough during the 1960s that included world tours and an infamous wedding on “The Tonight Show.” As his career subsequently faded into obscurity, his personal life became turbulent. Although his overall musical proficiency is debatable, the compelling and compassionate film is persuasive in positioning its socially awkward subject as a kind-hearted outsider worthy of revisiting. (Not rated, 76 minutes).

Together Together

Capturing the awkward dynamics of nontraditional parenting with sensitivity and compassion, this well-acted relationship comedy is both amusing and touching. It follows Matt (Ed Helms), a middle-aged bachelor ready for fatherhood. So he finds a surrogate mother in Anna (Patti Harrison), a loner half his age seeking purpose in her life. As they platonically navigate the pregnancy, Matt’s perfectionist neuroses are offset by a shared desire for the baby’s healthy future. The breezy screenplay by director Nikole Beckwith (Stockholm, Pennsylvania) becomes overloaded with quirks. But for those buying into its simple yet offbeat premise, the film offers sympathetic characters and delicately finds humor in vulnerability. (Rated R, 90 minutes).

Wildcat

The premise outweighs the payoff in this gimmicky thriller set primarily inside a single room. Specifically, it’s a grungy basement in Mosul where an American woman (Georgina Campbell) wakes up to find herself in chains, next to a Marine (Luke Benward) whose chances for escape feel equally slim. As they come face-to-face with their militant captor (Mido Hamada), details are revealed about our resilient heroine’s identity and possible reasons for her imprisonment. During the ensuing battle of wits, the claustrophobic setting tends to inhibit rather than enhance the suspense. Downplaying the broader sociopolitical context, the film doesn’t develop the characters sufficiently to raise the emotional stakes. (Rated R, 93 minutes).