Capsule reviews for May 20

Cordelia

It falls short of its grander Hitchcockian ambitions, yet this tightly wound British psychological thriller is bolstered by solid performances and some clever narrative twists. Cordelia (Antonia Campbell-Hughes) is a single woman haunted by some past trauma that has spiraled into paranoia and possible mental illness. She meets a cellist (Johnny Flynn) who lives in the flat upstairs and offers some comfort, but can she can trust him as their relationship deepens? The uneven screenplay by Campbell-Hughes and director Adrian Shergold (Pierrepoint: The Last Hangman) maintains some intriguing character dynamics within its creepy and claustrophobic setting, even as the tension fluctuates in the final act. (Not rated, 91 minutes).

Facing Nolan

Baseball historians can appreciate this comprehensive glimpse into the life and career of Nolan Ryan, as told by the legendary pitcher himself, as well as those who tried to hit against him. From proud Texas roots, the humble yet fiercely competitive Ryan became arguably the most feared hurler ever, with record-setting longevity and a blazing fastball. Aficionados know the unbreakable records, such as seven no-hitters and more than 5,000 strikeouts. While the film lacks much revelatory insight or contemporary perspective, rookie director Bradley Jackson assembles a compelling tribute featuring an all-star roster of interviewees such as George Brett, Rod Carew, Dave Winfield, and Pete Rose. (Not rated, 103 minutes).

Good Mourning

Mood-altering substances might be required to engender any positive vibes from this scattershot stoner comedy that marks an inauspicious directorial debut for actor-rapper Colson Baker (The Dirt) and musician Mod Sun. Baker also stars as London, a struggling actor whose misadventures stem from an impending choice between the chance to land a part in a new Batman movie or to reconcile with his girlfriend (Becky G). Plenty of low-brow hijinks ensue, many driven by London and his immature friends getting high. The thinly sketched film generates some scattered big laughs but wears thin quickly, leaving it noteworthy only for its parade of bizarre cameos. (Rated R, 93 minutes).

Hold Your Fire

You’re probably not familiar with the 1973 robbery of a Brooklyn sporting goods store that led to the longest standoff in New York Police Department history. However, this insightful documentary not only vividly captures the scene through firsthand accounts, but it also adds layers of thought-provoking contemporary relevance. Archival footage assists in recounting the episode involving four young Black Muslim men trying to steal guns for self-protection before taking hostages, sparking racial and religious tension and eventually leading to outside intervention that helped shape modern policing and hostage negotiation. Examining the incident through a fresh lens, the even-handed film emphasizes humanity over knee-jerk political posturing. (Not rated, 94 minutes).

Mondocane

Although it’s familiar on the surface, this dystopian thriller from Italy evolves into a stark and vivid coming-of-age saga about loyalty and brotherhood. The title translates to “Dogworld,” which is the nickname given to Pietro (Dennis Protopapa), a wayward preteen relegated to the remnants of a sun-drenched seaside town overrun by rampant violence and socioeconomic despair. Pietro and his best friend, Cristian (Giuliano Soprano), become enamored with joining a ruthless street gang. But as the authorities close in, their interdependent bond is tested. This gritty and stylish debut for director Alessandro Celli navigates some narrative contrivances thanks primarily to expressive and sympathetic performances by both youngsters. (Not rated, 117 minutes).

The Valet

Remaking a broad 2006 French farce as a contemporary satire about class and fame, this romantic comedy from director Richard Wong (Come As You Are) struggles to follow through on its weightier ambitions. It follows a movie star (Samara Weaving) who hires a parking valet (Eugenio Derbez) to pose as her boyfriend for paparazzi purposes in order to hide an affair with a real-estate mogul (Max Greenfield) whose latest deal threatens a largely Latino neighborhood with proud traditions. Harboring worthwhile intentions, the far-fetched film generates some scattered laughs from its predictable scenario, although the two leads lack sufficient chemistry to convey a deeper emotional connection. (Rated PG-13, 118 minutes).