Capsule reviews for April 22

Charlotte

There’s an appropriate painterly vibe to the animation in this otherwise uninspired biopic based on the life and work of German-Jewish artist Charlotte Salomon. It opens in Berlin, where Charlotte (voiced by Keira Knightley) chases her dream during the buildup to World War II. Sociopolitical turmoil forces her to flee to France, where she falls for a fellow refugee (Sam Claflin) and resumes her artistic endeavors, only to become entangled in more volatility. The beautiful watercolor imagery offers a sharp contrast to the depicted horrors, never managing the intended emotional impact. This heartfelt tribute to a worthwhile subject lacks the depth to match its style. (Not rated, 92 minutes).

Hit the Road

Balancing humor with heartbreak, this family road-trip saga marks a sharp debut for Iranian filmmaker Panah Panahi, infusing a well-worn concept with vitality and cultural specificity. It’s set mostly inside a car carrying a family of four — a middle-aged couple and their two sons, one an introspective adult and the other a rambunctious 6-year-old (Rayan Sarlak). As they travel from the city to the mountains with episodes of bickering and bonding, the film hints at the bittersweet purpose for their journey. With expressive performances and multilayered character dynamics, Panahi finds humanity and sincerity in a relatable story both amusing and touching. And the kid is amazing. (Not rated, 93 minutes).

Hostile Territory

As formulaic as its title, this well-intentioned western squanders a compelling true-life backdrop in an uneven mix of shootouts and sentimentality. It’s set in the immediate aftermath of the Civil War, when a Union soldier and POW (Brian Presley, who also directed) learns that his wife has died, and his children have been placed aboard an orphan train headed across enemy lines. So he teams with a freed slave (Craig Tate) to combat trouble at every turn in a quest to reunite his family. There’s not much subtlety or surprise in Presley’s screenplay, which loses focus between its two parallel stories surrounding its flawless hero. (Rated R, 94 minutes).

Marvelous and the Black Hole

With a fresh twist on familiar themes, this modest coming-of-age saga uses narrative sleight-of-hand and strong performances to find a little magic. It centers on Sammy (Miya Cech), an angst-ridden teenage girl as headstrong at home as she is rebellious in school. She meets a children’s magician (Rhea Perlman) and fellow social outcast who becomes an unlikely mentor while providing an outlet for her recalcitrance. More about small charms than major revelations, the screenplay by rookie director Kate Tsang is rough around the edges. But while it veers too often into whimsy, the film is quietly perceptive in getting inside Sammy’s headspace with hard-earned compassion. (Not rated, 81 minutes).

My Name Is Lopez

The fact that his name is so recognizable is a credit to legendary entertainer Trini Lopez, who was pressured to change it during his rise to fame in America, like so many other 1960s Latino crossover entertainers. It also speaks to the talent of the late musician and actor, as detailed in this affectionate documentary tribute. Showcasing Lopez’s career trajectory, it traces his upbringing in a poor Dallas immigrant family, his friendship with Frank Sinatra, his legacy as a crooner on stage and screen, and more. While the straightforward film lacks depth, it benefits from its subject’s charisma, shining a deserving spotlight on a pioneer. (Not rated, 98 minutes).

Nine Bullets

A committed performance by the versatile Lena Headey (“Game of Thrones”) can’t rescue this derivative thriller about resilience and redemption. Headey plays Gypsy, an author and former exotic dancer who becomes the only hope for a preteen neighbor (Dean Scott Vazquez). The boy is on the run from killers after witnessing the murder of his parents by a ruthless crime boss (Sam Worthington). From there, the screenplay by director Gigi Gaston transitions into a standard cat-and-mouse thriller in which the twists become progressively more implausible. Despite some clever periphery details, any meaningful emotional impact is muted. The cast includes La La Anthony and Barbara Hershey. (Not rated, 91 minutes).

Stanleyville

The bemusing weirdness that drives this deadpan Canadian lark provides some intrigue yet wears off before there are any winners in its twisted social experiment. Frustrated mother Maria (Susanne Wuest) is one of five random strangers picked for a mysterious “game” that promises spiritual enlightenment and a shiny new SUV. Set in a single room stocked with supplies, the ensuing contests range from benign to sadistic, turning the competition into a battle for survival between the bickering combatants. The quirky setup provides more absurdist fun than the ambiguous payoff, as the lack of character depth and thematic texture creates a frustrating sense of emotional detachment. (Not rated, 88 minutes).

The Unbearable Weight of Massive Talent

What sounds like a glorified episode of Nicolas Cage fan fiction instead proves to be a clever meta-action yarn in which self-indulgent trappings never turn pretentious. In other words, its star plays along, joking about his self-image and checkered career as a lightly fictionalized version of himself. When a rich superfan (Pedro Pascal) pays for a birthday party appearance, it sounds like an easy cash grab. But when a CIA operative (Tiffany Haddish) recruits Nick for a mission to take down a drug kingpin, their bromance becomes dangerous. Cage channels some of his past roles in a repetitive attempt to playfully satirize his cult-like following. (Rated R, 107 minutes).

Unplugging

Generating most of its laughs from quirks and non sequiturs rather than characters or story, this relationship comedy needs a narrative recharge. It follows a neurotic marketing guru (Eva Longoria) and her hot-sauce entrepreneur husband (Matt Walsh) who book a weekend in the wilderness to ditch their devices and reconnect. Sounds good, but the idea is derailed by drones buzzing overhead, eccentric strangers unspooling conspiracy theories, and danger lurking in the woods. The stars have decent chemistry and comic timing, yet the directorial debut of veteran editor Debra Neil-Fisher (The Hangover) relies too heavily on broad gags that overwhelm any grounded exploration of tech addiction. (Rated R, 94 minutes).