Capsule reviews for Aug. 13

Charming the Hearts of Men

A heartfelt plea for inclusion amid 1960s Deep South sociopolitical volatility, this drama’s ambition is squandered by rambling and unfocused execution. Based on a true story, it centers on Grace (Anna Friel), a single woman unable to secure a bank loan to save her family’s Georgia mansion from foreclosure because of gender discrimination. Out of desperation, she finds a senator (Kelsey Grammer) who helps her small-town fight for gender equality alongside the broader civil-rights movement in which both of them are likewise intertwined. Despite some evocative low-budget period details, rookie director Susan DeRose’s deliberately paced screenplay is more tedious than provocative, without much fresh insight. (Not rated, 106 minutes).

Ema

The latest from acclaimed Chilean director Pablo Larrain (Jackie) is a portrait of family bonds and artistic expression that creates some intriguing character dynamics yet rarely achieves the desired emotional resonance. The title character is a dancer and part-time teacher (Mariana Di Girolamo) whose family recently crumbled, leading to a separation from her husband (Gael Garcia Bernal), who directs the troupe in which she stars, and their decision to relinquish their adopted son. Amid a downward spiral of depression and sexual experimentation, Ema hatches a desperate plan for redemption. Despite the strong performances and Larrain’s visual flair, the disjointed narrative structure becomes more frustrating than alluring. (Not rated, 107 minutes).

White as Snow

The venerable Brothers Grimm fairy tale is given a radical contemporary makeover by French director Anne Fontaine (Coco Before Chanel), which tries to give the classic material a layer of feminist relevance but winds up an exercise in style over substance. It chronicles the sexual and psychological reawakening of Claire (Lou de Laage), who escapes the clutches of her jealous stepmother (Isabelle Huppert) before her rescue by seven men who fall under her spell, prompting a journey of self-discovery. There’s not much depth behind Fontaine’s edgy intentions, leaving a well-acted and wildly uneven tale that brings the physical heat while the emotions remain chilly. (Not rated, 112 minutes).