Capsule reviews for July 15

American Carnage

Mixing creepy horror with edgy political satire isn’t as easy as Jordan Peele makes it look. This earnest effort aims to follow in those footsteps, although it lacks sufficient subtlety and surprise to heighten the stakes. After an executive order is passed calling for the incarceration of children of undocumented immigrants, a handful are given an apparent reprieve via a volunteer program at a nursing home. When J.P. (Jorge Lendeborg Jr.), Camila (Jenna Ortega), and others arrive for work, their suspicions grow as the residents begin acting erratically. The final twist from director Diego Hallivis (Curvature) is clever enough, but overall, the ambition surpasses the execution. (Rated R, 98 minutes).

Anonymous Club

Credit this documentary for capturing its subject at her most candid and vulnerable. Yet while this behind-the-scenes glimpse into Australian singer-songwriter Courtney Barnett’s mental health struggles during her recent world tour might satisfy fans, it keeps outsiders at a frustrating distance. Much of the footage stems from a rudimentary video diary the notoriously shy Barnett kept at the request of director Danny Cohen, a longtime collaborator. The rambling internal monologues reveals how emotional demons influenced her critically acclaimed work, often at the expense of her well-being. However, by not offering deeper insight into Barnett’s background or personal life, we’re not able to share in her catharsis. (Not rated, 83 minutes).

Costa Brava, Lebanon

Finding a balance between surreal whimsy and sociopolitical provocation, this multilayered drama from rookie director Mounia Akl features relatable characters and thoughtful cultural insight. It’s set in the near future, years after an activist (Nadine Labaki) moved with her family off the grid to escape frustrations with Beirut’s political corruption and urban decay. However, their peace and isolation is disrupted by an act of civic revenge — intentional or not — when a landfill opens right next door, bringing the city’s garbage with it. Such a metaphor isn’t exactly subtle, but the film evolves in unexpected ways, thanks to the deeply felt performances and offbeat narrative sensibilities. (Not rated, 106 minutes).

Don’t Make Me Go

Despite some heartfelt father-daughter dynamics, the road trip in this bittersweet drama from director Hannah Marks (After Everything) travels a path more familiar than fresh. Max (John Cho) is an overprotective California single father to a rebellious teenage daughter (Mia Isaac) who bristles at the thought of tagging along to dad’s college reunion in New Orleans. Lured by the promise of driving lessons, the youngster eventually learns his secret — he’s got a brain tumor. The film finds some genuine poignancy thanks to convincing chemistry between the two leads, although they’re betrayed by a late twist that reflects an eagerness to yank at the heartstrings. (Rated R, 109 minutes).

Gone in the Night

For those who buy the contrived premise of this lumbering psychological thriller, at least this mediocre mix of laughs and chills doesn’t take itself too seriously. It follows Kath (Winona Ryder), who arrives at a remote rental cabin with her boyfriend (John Gallagher Jr.), only to find that it’s been double-booked with an eccentric young couple (Owen Teague and Brianne Tju). After they forge an agreement, Kath’s boyfriend disappears with the younger woman, and the search for their whereabouts yields some disturbing maze of secrets and lies. The familiar premise and awkward nonlinear structure are enlivened somewhat by intriguing character dynamics and Ryder’s committed performance. (Rated R, 90 minutes).

Karmalink

Mixing some Buddhist philosophy with loopy science-fiction weirdness, this low-budget Cambodian drama is rough around the edges yet finds a fascinating angle to explore artificial intelligence, colonialism, and spiritual enlightenment. Set in the near future, it begins with a teenager (Leng Heng Prak) vividly dreaming about his past lives and rallying the few classmates who believe him for some detective work. Their adventure intersects with the work of a neuroscientist (Cindy Bishop) whose high-tech devices attach to subjects to help study their memories. Credit rookie American director Jake Wachtel for sticking to his convictions, infusing his twisty if overly abstruse saga with rich cultural specificity. (Not rated, 102 minutes).

Mrs. Harris Goes to Paris

Just like the title character, this breezy British comedy from director Anthony Fabian (Louder Than Words) overflows with scrappy working-class charm. It also benefits from the infectious enthusiasm of Lesley Manville (Phantom Thread), playing a widowed house cleaner and seamstress in 1950s London whose bubbly optimism portends a rare streak of financial luck. That enables her to fulfill a dream by traveling to Paris, where she infiltrates and disrupts the stuffy haute couture establishment — especially a dismissive executive (Isabelle Huppert) — in search of an expensive dress. For those who buy into its forced whimsy, the result is a crowd-pleasing underdog saga with laughs and heart. (Rated PG, 110 minutes).

The Royal

It takes a mighty swing, but this uneven biopic about former Kansas City Royals slugger Willie Aikens whiffs due to its heavy-handed sentimentality. It explores the path to regret and redemption after Willie (Amin Joseph) is released following a harsh 14-year prison sentence stemming from a crack cocaine habit. While trying to reconcile with his wife (Andrea Navedo) and teenage daughter (Olivia Taylor Cruz), Willie sees coaching as an opportunity to connect his past and future — if he can find someone willing to take a chance. By glossing over many of the hardships and moral complexities in Willie’s story, the film undermines its worthwhile lessons. (Not rated, 98 minutes).

She Will

A committed performance by veteran character actress Alice Krige propels this atmospheric thriller that mixes elements of gothic horror with #MeToo sensibilities regarding residual trauma and revenge. Krige plays Veronica, an aging British actress who, following major surgery, heads to a remote healing retreat in the Scottish Highlands with her beleaguered nurse (Kota Eberhardt). While there, Veronica experiences vivid nightmares in an area where witches once practiced their craft. Rookie director Charlotte Colbert showcases a distinct visual flair, with the haunting imagery helping to sustain the tension even as the plot becomes muddled in the second half. The cast includes Malcolm McDowell and Rupert Everett. (Not rated, 95 minutes).