Capsule reviews for June 25

Against the Current

The title of this compelling documentary has a double meaning, and so does the event it depicts — one woman’s ambitious attempt to circumnavigate Iceland in a kayak against the prevailing ocean currents. The harrowing 2,000-kilometer journey carries deeper meaning for its subject, Veiga Gretarsdottir, as she pushes for acceptance for transgender people in her homeland. As it charts her progress at sea, the film intimately and candidly recounts Veiga’s personal struggles with gender identity (and family approval) since childhood. The two components don’t always fit together seamlessly, but the result is a powerful look and transformation and acceptance, along with an impressive feat of physical endurance. (Not rated, 88 minutes).

False Positive

Despite some committed performances, this twisty psychological thriller exploring the anxieties of impending motherhood feels like a muddled variation on Rosemary’s Baby with only a fraction of the suspense or scares. Lucy (Ilana Glazer) had been struggling to conceive with her husband (Justin Theroux) until they visit a highly regarded fertility specialist (Pierce Brosnan). But once she’s pregnant, Lucy begins experiencing hallucinations and paranoia that suggest something more than just the usual insecurities for expecting parents. That’s an intriguing setup, but some third-act contrivances prevent the film from rising above an unsettling diversion, with the sinister reveal yielding more of a shrug than a shriek. (Rated R, 92 minutes).

Fathom

Although at times it feels like a marine biology lecture, this documentary shines a deserving spotlight on two women from different countries making major scientific breakthroughs in whale research. The goals of Dr. Michelle Fournet and Dr. Ellen Garland are similar — to decipher the songs and communicative noises between humpback whales, to see if they are “talking” with one another over great distances underwater, and whether humans might be able to communicate back. The film chronicles their painstaking process and field-study findings in Alaska and French Polynesia, respectively, although above the water’s surface, it struggles to capture the essence of their curiosity, passion, and perseverance. (Not rated, 87 minutes).

I Carry You With Me

As both a timeless coming-out tale and a timely immigration story, this bittersweet romance resonates with heartfelt compassion. It’s set in Mexico, where an aspiring chef (Armando Espitia) and a teacher (Christian Vasquez) fall in love in their 20s, only to drift apart while pursuing new lives in the United States. Over the years, they retain memories of their time together, even as hopes for a reunion dwindle. A confidently crafted narrative debut from documentary filmmaker Heidi Ewing (Jesus Camp), the film’s fractured narrative approach inhibits a deeper emotional connection, although with such richly detailed true-life characters, even cynics can maintain a rooting interest. (Rated R, 111 minutes).

The Ice Road

Another slick action vehicle that Liam Neeson could sleepwalk through, this cliched thriller showcases some proficient stunt driving yet leaves you cold. Neeson and Laurence Fishburne play a big-rig ice road drivers trying to rescue miners trapped inside a snowy diamond mine in northern Canada. The ticking-clock effort requires the convoy to navigate some thawing terrain and an impending winter storm, among other obstacles. The screenplay by director Jonathan Hensleigh (The Punisher), who’s apparently a fan of “Ice Road Truckers,” relies on contrivances rather than character depth. Despite Neeson’ reliably gruff determination, both the drivers and the miners are outshined by their 18-wheeled counterparts. (Rated PG-13, 103 minutes).

Kenny Scharf: When Worlds Collide

Just like his work, this documentary about multidisciplinary artist Kenny Scharf is an acquired taste. Specializing in abstract expressionism while dabbling in pop art and graffiti, he was close with Warhol, Basquiat and others in New York’s bohemian East Village art scene during the 1980s. Later, he settled down and started a family while remaining as free-spirited and eccentric as ever. Scharf obviously has a unique sense of creativity and talent, although this portrait — co-directed by his daughter — tries to oversell his influence and legacy without providing much meaningful insight into the artistic process to back it up. Positioning him as misunderstood isn’t enough. (Not rated, 80 minutes).

Lansky

The latest biopic about notorious gangster Meyer Lansky offers a slightly different perspective, with little fresh insight. It begins with a terminally ill Lansky (Harvey Keitel) spilling the sordid details of his life story in 1981 to a journalist (Sam Worthington) for posthumous publication. Their banter gives the film an edge that’s lacking from the abundant flashbacks that depict a younger Lansky (John Magaro) rising to power in Mafia circles and establishing a worldwide gambling empire years earlier. Give the highly embellished screenplay by director Eytan Rockaway credit for not glorifying its subject or his cohorts, although its disjointed structure squanders Keitel’s deeply felt portrayal. (Rated R, 119 minutes).

Silent Night

There’s not much cheer, holiday or otherwise, in this formulaic British thriller that never gains much momentum as either a quick-witted comedy or a violent crime saga. It centers on Mark (Bradley Taylor), a London hitman just released from prison, who pledges to start over for the sake of his young daughter. But when he’s strapped for cash while working odd jobs with Christmas approaching, his former cellmate (Cary Crankson) lures Mark into teaming for one last job for a crime boss (Frank Harper). Naturally, the scheme backfires, and the screenplay by director Will Thorne turns woefully predictable, not providing much incentive for emotional investment. (Not rated, 93 minutes).

Werewolves Within

Providing more laughs than frights, this subversive horror comedy effectively juggles broad gags with gory violence. In a wintry mountain town, Finn (Sam Richardson) arrives as the new park ranger. The eccentric locals are already on edge about a proposed pipeline when a snowstorm, a blackout, and a murder spree make things worse. Finn and a postal worker (Milana Vayntrub) are left to try and calm the bickering neighbors while finding the mysterious beast. Based on a VR game, the film struggles to generate consistent suspense for its central whodunit, but Richardson and Vayntrub manage an appealing odd-couple chemistry as the ringmasters of this twisted circus. (Rated R, 97 minutes).