Capsule reviews for Nov. 12

Clifford the Big Red Dog

Overdosing on low-brow gags and sappy cuteness in equal measure, the latest big-screen adaptation of the beloved children’s book franchise never breaks free from its leash. The same certainly can’t be said for the titular rambunctious canine after he’s given to a preteen social outcast (Darby Camp) by a magical animal rescuer (John Cleese). After growing to 10 feet tall overnight, the mutant mutt proceeds to wreak havoc on the lives of the girl and her beleaguered uncle (Jack Whitehall), and eventually all of Manhattan. Created via visual effects, Clifford’s mischievous antics might appeal to youngsters, but the aggressive sentimentality won’t leave you feeling puppy love. (Rated PG, 96 minutes).

Cusp

Playing at times like a real-life, next-generation Dazed and Confused, this verité documentary captures the turbulence of contemporary adolescence and sisterhood even if it lacks broader depth or meaningful insight. The film chronicles the summer exploits of three wayward yet empowered teenage girls in a small Texas military town, as they rebelliously navigate a cycle of parties, relationships, and suspect parenting while pondering an uncertain future. That’s hardly original, although rookie directors Parker Hill and Isabel Bethancourt inject a gritty visual flair to the material. The subjects are remarkably candid, sometimes thoughtful and endearing, which bolsters a film content to observe rather than contextualize their mischief. (Not rated, 83 minutes).

Julia

Even if it’s more of an appetizer than a full meal, this well-rounded documentary about groundbreaking chef Julia Child conveys the same passion and effervescent charm as its eccentric subject. Using a straightforward chronological approach, directors Julie Cohen and Betsy West (RBG) create a recipe of more than just mouth-watering cuisine, chronicling how Child helped transform the way Americans prepare and consume food, but also became a pioneer as an author and television host during a career that began at Le Cordon Bleu and spanned more than four decades. The film glosses over aspects of her personal life, yet adds well-deserved spice to her legacy. (Rated PG-13, 95 minutes).

Love Is Love Is Love

Some esteemed talent on both sides of the camera can’t quite rescue this watered-down romantic triptych from director Eleanor Coppola (Paris Can Wait), wife of Francis. It tells three stories about love — in case the title wasn’t clear — and friendship involving older women. An acting showcase first and foremost, the trio of vignettes mixes gentle humor and charm with pearls of wisdom about aging and relationships, except Coppola’s screenplay doesn’t explore its myriad issues with any meaningful depth or thematic complexity, except for the final segment chronicling an impactful lunch. The ensemble cast includes Joanne Whalley, Kathy Baker, Cybill Shepherd, Rita Wilson, and Rosanna Arquette. (Not rated, 91 minutes).

Small Time

An expressive performance by child actor Audrey Grace Marshall keeps this uneven coming-of-age drama about the opioid crisis emotionally grounded. She plays Emma, a precocious young girl growing up in a rural environment populated by addicts, creeps, and lowlifes. Through a combination of naivete and resilience, she copes while her care is divided between relatives and their sketchy acquaintances — a combination of drug dealers, gun enthusiasts, and religious zealots. The screenplay by rookie director Niav Conty overdoses on the stereotypes and eccentricities surrounding Emma, although beneath the surface, the meandering film finds a resonant intimacy as it explores fractured families with compassion and tenderness. (Not rated, 104 minutes).

Soulmates

Perhaps a refugee from the Hallmark Channel, this woefully predictable romantic comedy manages a few chuckles amid its abundant contrivances. Set in a quaint yet eccentric Vermont town, it follows Jessamine (Stephanie Lynn) and her BFF, Samantha (Alexandra Case), whose lifelong bond is threatened when Jessamine falls for Landon (Mark Famiglietti). He’s an executive for a syrup conglomerate building a factory that endangers the future of local maple farmers. As Big Syrup imperils small-town traditions and Samantha tries to sabotage their wedding, the resulting examination of corporate responsibility turns heavy-handed. Meanwhile, the screenplay written by the two stars makes their characters much too sweet. (Not rated, 92 minutes).