Capsule reviews for June 17

Brian and Charles

For moviegoers on the same eccentric wavelength, this offbeat Welsh buddy comedy is a charming character-driven tale of companionship and creative inspiration. Brian (David Earl) is a lonely inventor living a solitary existence in a wintry village. His latest creation is a robot named Charles (voiced by Chris Hayward) built from a washing machine who shares his affinity for cabbage and sparks Brian from his doldrums. However, once Charles is discovered, their bond is threatened. The screenplay by Earl and Hayward expands on their 2017 short film in clever ways, overcoming a forced conflict in the final act with big laughs and an understated, life-affirming humanity. (Rated PG, 91 minutes).

Father of the Bride

The latest reworking of the venerable tale of dysfunctional family bickering comes with a welcome Latinx twist and fine performances that can’t overcome the predictability of the material. Billy (Andy Garcia) is a stubborn, self-made Cuban American architect whose wife (Gloria Estefan) has tired of his old-school complaining and wants a divorce. But before they can spread the news, their daughter (Adria Arjona) announces her engagement to a free spirit (Diego Boneta) from a Mexican family. Cultural sparks fly during the buildup to the nuptials, with the exasperated Billy caught in the middle. It’s intermittently amusing and touching, but overall lacks sufficient subtlety and surprise. (Rated PG-13, 117 minutes).

Good Luck to You, Leo Grande

Refusing to be defined by romantic comedy cliches, this intimate and powerfully acted character study sprinkles gentle humor throughout its exploration of aging, sexuality, self-esteem, and companionship. It takes place almost entirely inside of a single hotel room where Nancy (Emma Thompson), a widow and retired British schoolteacher, meets Leo (Daryl McCormack), a chiseled male escort. Their encounters evolve beyond sex and bawdy conversation, pushing each of them to leave their comfort zone and reveal themselves in unexpected ways. Although it might be a better fit on stage, the mildly contrived film finds its rhythm thanks to the chemistry between two fully committed and convincing performers. (Rated R, 97 minutes).

The Good Neighbor

As you’d expect, the titular adjective is proven false in this psychological thriller that finds its mild intrigue thwarted by a string of far-fetched contrivances. It’s set in Latvia, where American journalist David (Luke Kleintank) takes a job while renting a remote house next to British nurse Robert (Jonathan Rhys Meyers). They bond initially until a tragic accident after a night of partying strains their relationship, triggers a cover up, and prompts a police investigation. As ulterior motives are exposed, this remake of a 2011 German thriller lacks consistent suspense and surprise, although the actors elevate the subpar material above some of its derivative trappings. (Rated R, 106 minutes).

The Lost Girls

Stretching the limits of the Peter Pan mythology, this ill-conceived spinoff with a contemporary feminist twist never achieves the desired emotional impact. It chronicles the Neverland effect of Peter (Louis Partridge) on four generations of Darling women, most notably the adult Wendy (Livia DePaolis), who struggles to reconcile her feelings alongside her grandmother (Vanessa Redgrave) and mother (Joely Richardson), while protecting her young daughter. The screenplay by DePaolis (Emoticon), who also directed, is adapted from a 2001 novel but struggles to capture the sense of wonder and adventure in J.M. Barrie’s original source material. Instead, its exploration of mother-daughter dynamics is trite and muddled. (Not rated, 107 minutes).

My Fake Boyfriend

Other than an LGBTQ twist to the characters, this predictable romantic comedy from director Rose Troche (The Safety of Objects) about millennial dating in the social-media age is more formulaic than fresh. Stuck in a lousy relationship, Andrew (Keiynan Lonsdale) sees his best friend (Dylan Sprouse) devise a scheme to help him break up by creating an online profile for a fake lover. But the “catfishing” plan backfires when Andrew meets a real-life chef (Samer Salem) instead. Lonsdale (Love, Simon) brings a charismatic charm to his role, although far-fetched plot mechanics prevent the movie from remaining grounded. Instead, it settles for shallow genre tropes. (Rated R, 100 minutes).

Official Competition

The insider nature of the satirical targets makes this acerbic Spanish lampoon about the movie industry and the artistic process an acquired taste. Yet its trio of playful performers provide welcome depth and texture beneath the cartoonish exterior. An aging millionaire (Jose Luis Gomez) commissions an eccentric director (Penelope Cruz) to adapt an award-winning novel he’s never read, but her grueling rehearsal process prompts psychological warfare between a box-office star (Antonio Banderas) and a respected character actor (Oscar Martinez) before the cameras even roll. Although it feels repetitive in stretches, the film’s intriguing character dynamics complement the broad yet mostly amusing banter and industry jabs. (Not rated, 114 minutes).

Stay Prayed Up

Worthwhile for the music alone, this toe-tapping documentary uses a charismatic subject to broadly explore aging, spirituality, fellowship. and the enduring power of gospel tunes with heartfelt charm. It follows Lena Mae Perry, an 80-something singer responsible for keeping alive the legacy of The Branchettes, a group with old-school roots formed at a rural North Carolina church almost 50 years ago. As it tracks the recording of the group’s first live album, meant to bring well-deserved attention and financial rewards, the film examines Perry’s commitment to her faith through her powerhouse voice. There might not be any groundbreaking insight, but it shines an inspirational spotlight. (Not rated, 71 minutes).

Wild Men

Within a familiar examination of aging and masculinity, this offbeat Norwegian comedy manages some deadpan laughs and heartfelt charm. As a misguided coping mechanism for a midlife crisis, Martin (Rasmus Bjerg) goes full Viking by dressing in animal skins and wielding an ax for a hunting expedition in the mountains. However, when Martin’s lack of basic survival skills scuttle his plan, he finds a companion in an injured drug runner (Zaki Youssef) being chased by the police. As the adventure becomes more perilous, the film doesn’t have anything deep or profound to say, yet it remains engaging thanks to Bjerg’s affectionate portrayal of the bumbling protagonist. (Not rated, 104 minutes).