Capsule reviews for Sept. 17

Best Sellers

The flat predictability of this cross-generational comedy set in the contemporary publishing world renders it less than a page-turner. Michael Caine is spirited as Harris, a cantankerous novelist who has been a recluse for decades. Lucy (Aubrey Plaza) inherits her father’s publishing house, and in a desperate move to save it from financial ruin, insists that Harris not only produce another contractually obligated book, but also embark on a publicity tour against his wishes. The two struggle to find common ground, leading to an awkward transition from broad comedy to a more serious exploration of legacy and redemption in the final chapter that doesn’t ring true. (Not rated, 102 minutes).

Collection

Moviegoers will be owed a debt after watching this ill-conceived thriller that lacks conviction in trying to generate sympathy for its unscrupulous financial predators. Brandon (Alex Pettyfer) owns a sleazy collection agency whose cutthroat tactics exploit struggling families for big profits. However, he finds his loyalty to his hot-tempered colleague (Mike Vogel) and his ex-con protégé (Jacques Colimon) tested when a delinquent account hits close to his own pocketbook, forcing him to confront his past. The film provides modest insight into the debt collection industry — even if its perspective is exaggerated — before stumbling through a series of third-act contrivances that don’t yield the intended emotional resonance. (Not rated, 87 minutes).

Copshop

The line between heroes and villains becomes very blurry in this pulpy, ultraviolent crime thriller from director Joe Carnahan (The Grey), which doesn’t offer much outside of a stylish throwback vibe. It’s set almost entirely inside of a rural Nevada police station on a chaotic night involving internal corruption, two criminals (Gerard Butler and Frank Grillo) with a score to settle, a vengeful madman (Toby Huss), and a rookie cop (Alexis Louder) looking for someone she can trust. As a barrage of bullets determines the last one standing, the film builds mild tension yet doesn’t provide much rooting interest for anyone to survive until morning. (Rated R, 108 minutes).

In Balanchine’s Classroom

Even the most casual dance fans will be familiar with the legacy of choreographer George Balanchine, known for his passion and innovation — most notably with The Nutcracker Suite — while revolutionizing American ballet during the first half of the 20th century. This insightful documentary tribute goes beyond the usual biographical tidbits by focusing on former students at his famed New York City Ballet, who are now trying to decipher his eccentric techniques and pass along his teachings to a new generation. Through interviews and archival footage, rookie director Connie Hochman spotlights Balanchine’s demanding methods and ongoing influence both from an intimate and a broader perspective. (Not rated, 88 minutes).

Lady of the Manor

Ghosts of superior supernatural comedies can be felt throughout this breezy yet predictable directorial debut for actor Justin Long and his brother, Christian. Hapless stoner Hannah (Melanie Lynskey) lands a job as a tour guide at a historic Savannah estate, in part to get closer to the spoiled womanizer (Ryan Philippe) who apparently owns it. But when Hannah proves inadequate for the job, she’s visited by the apparition of the mansion’s namesake, an 18th century Southern belle (Judy Greer) who insists she straighten up. This genre mashup produces some scattered big laughs thanks to a capable cast, but the sketchy concept feels strained at feature length. (Rated R, 96 minutes).

The Mad Women’s Ball

Despite some narrative contrivances, this richly textured period thriller from French actress and director Melanie Laurent (Galveston) is a stylish and sophisticated look at gender oppression and mental health. It examines corruption in a 19th century Paris asylum through a contemporary feminist lens, centering on an impetuous yet troubled young woman (Lou de Laage) who is wrongly institutionalized due to seizures, prompting her to organize an escape plan with some of her fellow patients. Although the film becomes contrived and uneven in the second half, strong performances especially by de Laage (The Innocents) and by Laurent as a conflicted nurse help generate sufficient emotional investment. (Not rated, 121 minutes).

The Nowhere Inn

“Your life is not interesting enough to make a documentary about,” explains filmmaker Carrie Brownstein (“Portlandia”) to her best friend, Annie Clark — a.k.a. alt-rocker St. Vincent. So Brownstein and Clark try something better with this meta quasi-doc in which both play fictionalized versions of themselves taking a behind-the-scenes look at Clark’s music career, only to watch her character blur the line between fantasy and reality in bizarre and frequently hilarious ways. Along the way, the film explores fame and fan service, inhabiting stage personas, sexual identity, and reconciling with your past. Once this clever and captivating diversion grabs you, what’s fact and fiction becomes irrelevant. (Not rated, 91 minutes).

Prisoners of the Ghostland

This dystopian samurai Western with a science-fiction twist from Japanese filmmaker Sion Sono aims to disguise its lack of thematic depth and narrative coherence by filling every frame with quirky eye candy, combining some moments of full-on Nicolas Cage insanity, and adding in some outbursts of gratuitous violence and gore for genre aficionados. Cage plays a bank robber in a futuristic frontier town chosen by the corrupt Governor (Bill Moseley) to track down and return his missing granddaughter (Sofia Boutella) — navigating a dreamlike assortment of obstacles — within five days or his suit will explode. Unfortunately, the audacious result is a ponderous exercise in style over substance. (Not rated, 103 minutes).

Wife of a Spy

Tension simmers beneath the surface of this World War II melodrama from veteran Japanese director Kiyoshi Kurosawa (Tokyo Sonata), which mixes historical intrigue with offbeat visual flair. It centers on Yusaku (Issey Takahashi), a silk merchant and amateur filmmaker whose relationship with his wife, Satoko (Yu Aoi), starts to fray as political volatility intensifies just before Japan’s involvement in the war. Specifically, when Yusaku is given some classified information, Satoko is forced into a decision with wide-ranging effects. Kurosawa dabbles in familiar espionage themes with a fresh perspective, although the well-acted film also adeptly mixes genres in a way that boosts its twisty narrative. (Not rated, 115 minutes).