Capsule reviews for May 13

Foxhole

Ambition surpasses execution in this low-budget experimental drama examining wartime courage and camaraderie over a 150-year time span. The episodic structure features separate stories — set during the Civil War, World War I, and the Iraq War — with the same five actors playing similar characters in each instance. Given the chronological separation of the conflicts, the dynamics between the characters change, as does their moral response to situations that arise in a foggy bunker, a maze of tripwires, or a Humvee behind enemy lines. While director Jack Fessenden (Stray Bullets) infuses each segment with distinct visual flourishes, the cumulative effect is muddled and ponderous rather than profound. (Not rated, 95 minutes).

The Innocents

Putting a fresh spin on familiar coming-of-age themes, this Norwegian supernatural thriller balances some unsettling chills with a richly textured and emotionally complicated examination of childhood innocence. It chronicles the summertime adventures of some wayward kids in a high-rise apartment building who probe the extent and diversity of their telekinetic powers when left to their own devices, before things turn progressively more sinister. The screenplay by director Eskil Vogt (Blind) doesn’t provide any simple catharsis for the dark behavior of its preteen characters, nor does he pass judgment while exploring their impressionable minds. The brutality can be overwhelming, yet the film doesn’t settle for genre cliches. (Not rated, 117 minutes).

Jazz Fest: A New Orleans Story

Overflowing with affection and toe-tapping exuberance, this enthralling documentary from veteran filmmaker Frank Marshall (Congo) celebrates the half-century legacy of the New Orleans Jazz & Heritage Festival with a specific focus on the diverse artists — from world-famous to homegrown — who make it special. The film traces the event’s humble beginnings, its expansion to combine various genres, its role in post-Katrina healing, and its connections to Louisiana’s unique cultural heritage. Ignoring the commercialism that pervades almost all festivals of its scope, Marshall instead recruits an impressive roster of organizers and performers to pay tribute. The result is a feature-length advertisement that nevertheless shines a worthwhile spotlight. (Rated PG-13, 95 minutes).

Mau

Capturing the creative spirit of enigmatic Canadian design whiz Bruce Mau is a challenge, but this uneven documentary is content to mostly just recap his accomplishments and allow his peers to rave about his forward-thinking vision and optimism. The film revisits the chronology of his impressive career, starting with graphic designs and graduating to major corporate ad campaigns. He’s also collaborated with architects and steered urban planning projects around the world with an eye toward sustainability and transforming the future. Mau’s positive energy shines through, yet this hagiographic salute to his career doesn’t dig beneath the surface of his personal life or his professional process. (Not rated, 78 minutes).

Montana Story

Threatened by some melodramatic contrivances, this evocative drama about fractured family dynamics gains emotional traction thanks to deeply felt performances and heartfelt specificity. With their father on his deathbed, estranged adult siblings Cal (Owen Teague) and Erin (Haley Lu Richardson) reunite at the rural family farm to sort through his affairs and say goodbye. But the fate of a beloved horse brings buried family secrets back to the forefront and triggers renewed hostility. Finding a fresh angle to explore familiar themes, the deliberately paced screenplay by directors David Siegel and Scott McGehee (The Deep End) is most moving in its intimate moments amid the wide-open landscapes. (Rated R, 114 minutes).

On the Count of Three

With skillfully modulated performances and impressive tonal dexterity, this bittersweet dark comedy about depression and suicide is somehow life-affirming. Val (Jerrod Carmichael) helps his equally troubled best friend, Kevin (Christopher Abbott), escape from a mental institution under the condition that they kill one another that night — after a day of impulsively rebelling against the world with no consequences. But the plan isn’t as easy as it sounds. The directorial debut for stand-up comedian Carmichael is rough around the edges yet quietly perceptive, mostly avoiding generic buddy-comedy pitfalls by layering its broader moments with emotional grounding. The supporting cast includes Tiffany Haddish and Henry Winkler. (Rated R, 85 minutes).

Pleasure

Incisively exploring female empowerment in a business defined by misogyny and objectification, this contrived yet provocative drama set in the contemporary adult-film industry is both unsettling and enlightening. Bella (Sofia Kappel) is a Swedish teenager who lands in Los Angeles seeking fame in porn. She quickly learns how to play the game, developing camaraderie with more experienced colleagues while climbing the ladder on her own terms. But losing her moral compass comes with consequences. In her feature debut, Kappel conveys genuine screen presence while balancing strength and vulnerability. Rookie director Ninja Thyberg’s screenplay doesn’t develop the periphery characters but scrutinizes the lurid industry with subtle conviction. (Not rated, 108 minutes).

Sneakerella

The world hardly needs another cinematic reworking of the venerable fairy tale, and in this whimsical wish-fulfillment fantasy, the narrative constraints of the source material undermine its breezy charms. New York teenager El (Chosen Jacobs) works as a stock boy at his stepfather’s clothing store, unable to follow his dream of designing cutting-edge sneakers. Then he meets the daughter (Lexi Underwood) of a shoe mogul (John Salley), hoping to woo her with some fancy personalized kicks at an industry gala. You can fill in the blanks from there. Such wholesome predictability is a shame given the enchanting young performers and the stylish musical numbers. (Rated G, 112 minutes).

Tankhouse

Any heartfelt charm is buried beneath the annoying eccentricities that overwhelm this predictable comedy satirizing the stuffy theater scene from Broadway to, well, Fargo. That’s where a former prodigy (Stephen Friedrich) moves with his girlfriend and collaborator (Tara Holt) after being blacklisted following a feud with their mentor (Christopher Lloyd) in New York. Fargo is her hometown, which sparks jealousies as the couple tries to whip some local thespian wannabes into shape for a debut performance. Despite some scattered laughs amid the labored gags, the film misses more than it hits, resembling a fledgling sitcom pilot that lacks depth and squanders its unique setting. (Rated R, 94 minutes).