Capsule reviews for April 29

Anais in Love

As fickle and impulsive as its title character, this endearing French romance is less about Anais loving any other one person as it is about finding love for herself. That sounds more thematically ambitious than it plays out, as free-spirited Anais (Anais Demoustier) becomes frustrated with her boyfriend (Christophe Montanez), so she begins an affair with an older man, Daniel (Denis Podalydes), for little more than a change of pace. But later circumstances draw her an author (Valeria Bruni Tedeschi) who also happens to be Daniel’s romantic partner. The breezy screenplay by rookie director Charline Bourgeois-Tacquet is highly uneven yet benefits from Demoustier’s resolute portrayal. (Not rated, 98 minutes).

The Aviary

Despite some convincing performances, this psychological thriller about two cult escapees squanders an intriguing concept while struggling to sustain tension. It follows Jillian (Malin Akerman) and Blair (Lorenza Izzo), who are wandering through the New Mexico desert seeking their freedom. But as their senses fail them and their resources dwindle, hallucinations about their controlling cult leader (Chris Messina) cause the women to lose trust in one another. The subsequent fight for survival never carries the intended emotional stakes, in part because of a wobbly screenplay that seems to make up the rules as it goes along. It doesn’t get into our heads or under our skin. (Rated R, 95 minutes).

Black Site

A strong cast can’t quite save this formulaic action thriller that becomes both trite and preposterous under the weight of some eye-rolling twists preceding its obligatory final showdown. Abby (Michelle Monaghan) is a CIA agent working overseas who becomes obsessed with tracking down the terrorist mastermind (Jason Clarke) allegedly behind an attack that killed her husband and child. But when he’s apprehended and brought to a remote bunker for interrogation, her quest for vengeance goes haywire, putting everyone’s lives at risk. While downplaying the sociopolitical complexities that form its backdrop, the film squanders a promising start with dwindling narrative urgency in the second half. (Rated R, 91 minutes).

Crush

Checking all the boxes for inclusivity and representation, this predictable teenage romantic comedy might have hip and edgy aspirations, yet it rings false because of inauthentic characters and contrived plotting. It’s set in a standard-issue contemporary suburban high school, where Paige (Rowan Blanchard) is an aspiring artist who is forced to join the track team for academic purposes. Although she hates running, her crush (Isabella Ferreira) is one of the captains. However, it’s another teammate (Auli’i Cravalho) who might be her true love interest. The young actors are charming enough, yet outside of some scattered laughs, the film feels thinly sketched and emotionally calculated. (Rated R, 92 minutes).

Firebird

Considering the current real-life sociopolitical landscape, this earnest drama of forbidden love might gain some added relevance it doesn’t really deserve. Set against the backdrop of the Cold War during 1970s, it chronicles the forbidden romance between a charismatic young Soviet soldier (Tom Prior) and an enigmatic fighter pilot (Oleg Zagorodnii) assigned to his base in occupied Estonia. As their clandestine relationship deepens, they must keep their passion hidden, knowing the severe consequences. Based on a true story, the film is most powerful in its intimate, character-driven moments. Yet the lack of broader historical context, combined with a reliance on narrative contrivances, mute the overall impact. (Rated R, 107 minutes).

Hatching

Both a deadpan satire of suburban affluence and a progressive exercise in body horror, this slow-burning Finnish thriller is stylish and suspenseful. It centers on Tinja (Siiri Solalinna), a preteen gymnast who finds a giant egg and hides it in her bedroom. As the unstable contents become difficult to conceal, a presence begins inflicting harm on those who cause Tinja distress, especially her overbearing mother (Sophia Heikkila). Marking a confident debut for director Hanna Bergholm, the film turns more conventional in the final act yet remains unsettling beneath the surface. While exploring fractured family dynamics, it maintains an effective balance between amusing and disturbing. (Not rated, 86 minutes).