Capsule reviews for Oct. 1

The Addams Family 2

This lackluster sequel to the 2019 animated comedy has all the markings of a cash grab, with few laughs and little charm compared to its mediocre predecessor. The story takes a familiar strategy by saddling its oddball — or ooky, if you will — macabre clan with some wacky road-trip misadventures. The destination is Death Valley, which sounds funnier than it is, given the script’s reliance on uninspired culture-clash gags. Despite some intermittent deadpan amusement and crisp animation, the material lacks the freshness of the original, and can’t approach the cleverness of its source material. The voice cast includes Oscar Isaac, Charlize Theron, and Bette Midler. (Rated PG, 92 minutes).

Adventures of a Mathematician

The parts don’t quite add up in this uneven period drama that squanders some intriguing true-life source material. It’s centered on Stan Ulem (Philippe Tlokinski), a Polish immigrant and eccentric Harvard professor who is hired at the onset of World War II to be part of the Manhattan Project team in New Mexico. Stan deals with personal tragedy overseas while trying to stay focused on the challenges of constructing a hydrogen bomb that he hopes will never be used. Juggling the wartime backdrop, larger sociocultural context, scientific breakthroughs, and conflicts in Stan’s private life, the film lacks the focus and urgency its subject matter needs. (Not rated, 101 minutes).

Falling for Figaro

It hits some charming notes, but this British romantic comedy about aspiring opera singers from director Ben Lewin (The Sessions) ultimately feels a bit out of tune. Millie (Danielle Macdonald) abruptly quits her job in finance to pursue her dream of performing arias, so she hires an eccentric teacher (Joanna Lumley) to mentor her with tough love. As a prestigious Scottish signing competition approaches, Millie develops feelings for a fellow student (Hugh Skinner), except she already has a boyfriend (Shazad Latif) at home. Combining familiar ideas into a marginally fresh package, the predictable film benefits from Macdonald’s spirited performance and the cast’s collective vocal dexterity. (Not rated, 105 minutes).

Karen Dalton: In My Own Time

You’ve probably never heard of Dalton, and that’s just fine with her. While many music documentaries trace a singer’s rise to stardom, this portrait instead chronicles the troubled life and career of the obscure New York singer-guitarist whose melancholy blend of blues and folk gained her a modest following in the late 1960s. Yet when it came time for her breakthrough, Dalton’s inner demons took hold, prompting a downward spiral of drugs and depression. Certain elements of her story feel familiar, although the film smartly focuses on her inspirations and artistic process, combining interviews and unseen archival footage to give its subject a deserving spotlight. (Not rated, 85 minutes).

Mayday

Style surpasses substance in this muddled mix of science-fiction thriller and feminist revenge fantasy, which lacks the narrative audacity to match its provocative concept. It follows Ana (Grace Van Patten), who discovers a portal into a fantasy world on a remote island alongside some ruthless female warriors intent on wooing and murdering male sailors who pass by. While befriending their leader (Mia Goth), Ana tries to find her purpose. The screenplay by rookie director Karen Cinorre doesn’t bother fleshing out the context of its premise, and the characters aren’t sympathetic enough to prompt an emotional investment. But she knows how to make violence look good. (Not rated, 100 minutes).

Old Henry

Veteran character actor Tim Blake Nelson (O Brother, Where Art Thou) shines in the title role of this atmospheric Western that puts a mildly fresh spin on frontier mythology. Henry is a resourceful Oklahoma farmer in 1906 who lives a quiet life with his impressionable teenage son (Gavin Lewis). He finds a wounded man (Scott Haze) with a satchel of cash, only to become targeted by a gunslinger (Stephen Dorff) seeking the money. As Henry goes into survival mode, he reveals little about his past or true identity. While ambling toward an inevitable final showdown, the deliberately paced film generates some intrigue with a late twist. (Not rated, 99 minutes).

Runt

A committed portrayal by the late Cameron Boyce drives this otherwise unfocused coming-of-age drama about the effects of bullying on a suburban high school. Boyce plays Calvin, a dog-loving social outcast who is picked on by stars on the football team, whose coach (Jason Patric) is eager to cover for them. As the violence intensifies, Calvin seeks revenge. While chasing the girl of his dreams (Brianna Hildebrand), an insecure classmate (Nicole Berger) becomes an ally. This earnest plea for tolerance in the face of enablement covers familiar ground, offsetting its heartfelt intentions with a series of contrivances and exaggerations that creates a sense of emotional detachment. (Not rated, 97 minutes).

The Survivalist

The COVID-19 pandemic has already spawned a handful of dystopian thrillers like this workmanlike low-budget effort that can’t muster consistent suspense and strains to be provocative. In the near future, the aftermath of a deadly virus has left survivors fighting for land and resources. Former FBI agent Ben (Jonathan Rhys Meyers) tries to defend his family’s ranch, but finds himself outnumbered by a gang of marauders whose ruthless leader (John Malkovich) has ties to Ben’s past and to a young woman (Ruby Modine) who has taken refuge inside his house. Malkovich’s creepy performance elevates the intrigue, although the prolonged final showdown lacks the necessary high stakes. (Rated R, 90 minutes).

Titane

For all of its frustrating narrative detours and ostentatious visual flourishes, this outrageous French horror fantasy from director Julia Ducournau (Raw) more than compensates with breathtaking audacity and transgressive fortitude. It generally centers on Alexia (Agathe Rousselle), an exotic dancer and car aficionado whose method of feminist revenge against patriarchal convention involves adopting a new identity alongside a single father (Vincent Lindon) with a tragic past. The relationship between these two loners propels the narrative momentum, but Ducournau is more intrigued by pushing boundaries and taking subversive risks that challenge preconceived notions of sexual identity and fluidity. The uneven result is a hypnotic wild ride. (Rated R, 108 minutes).