Capsule reviews for July 29

Ali and Ava

The familiar idea of lost souls finding one another is given a fresh twist in this intimate working-class British drama layered with tenderness and compassion. Ava (Claire Rushbrook) is a middle-aged primary school teacher whose students include the young daughter of eccentric musician Ali (Adeel Akhtar). As their friendship evolves into an affair, their romance is met with hostility by family members, causing them to question their feelings for one another. Exploring cultural and socioeconomic differences beneath the surface, the screenplay by director Clio Barnard (Dark River) is complemented by committed actors who garner sympathy for characters whose circumstances and emotions seem authentic and relatable. (Not rated, 95 minutes).

Honor Society

Beneath the surface familiarity — a progressive John Hughes vibe with a Mean Girls edge — this sardonic coming-of-age comedy provides some fresh twists without becoming too detached from reality. Plus, it features a winning performance by Angourie Rice (Spider-Man: No Way Home) in the title role, as a scheming social climber wanting a Harvard scholarship. From flirting with the guidance counselor (Christopher Mintz-Plasse) to tricking a nerdy classmate (Gaten Matarazzo), nothing is off-limits for the ironically named Honor. Although the unsympathetic protagonist’s direct-address narration becomes grating, the film unspools some intriguing character dynamics (except for the absent adults) while delivering a few surprises amid the genre tropes. (Rated R, 97 minutes).

A Love Song

Blending hope and heartbreak, an expressive performance by versatile actress Dale Dickey (Winter’s Bone) propels this modest low-key character study about love, loss, and starting over. Dickey plays Faye, an emotionally broken widow who lives in a trailer parked at a rural Colorado campsite, anticipating a visit from an old flame (Wes Studi) that might provide solace amid her mourning. The evocative film showcases some rustic landscapes, while its narrative simplicity is layered with a tender authenticity. Through a mix of playful quirks and poignant observations, the screenplay by rookie director Max Walker-Silverman is deliberately paced yet quietly profound in portraying both romance and grief. (Rated PG, 81 minutes).

Medusa

Combining elements of dark vigilante thriller with biting sociopolitical satire, this ambitious coming-of-age saga from Brazilian filmmaker Anita Rocha da Silveira (Kill Me Please) is provocative if highly uneven. It follows Mari (Mariana Oliveira), part of an all-female teenage collective that projects an image of devout spirituality by day, which transforms to violent revenge at night. Eventually, a tragic incident tests their bond and causes them to confront the morality of its actions, while Mari questions her faith, purpose, and darkest desires. Beneath the surface spectacle, the story isn’t as intriguing as the characters. Yet the film probes feminism and religious zealotry with stylish intensity and creativity. (Not rated, 127 minutes).

Not Okay

Ambition surpasses execution in this uneven satire skewering millennials in the social-media age, from clickbait and hashtags to the perils of clout chasing and viral fame. It tracks the unlikely rise and inevitable fall of Danni (Zoey Deutch), a fledgling journalist who schemes to fake a Paris vacation on Instagram in order to impress a pot-smoking influencer (Dylan O’Brien). But when her unscrupulous plan goes haywire, Danni must decide between exploiting a tragedy involving a teenage activist (Mia Isaac) and coming clean. The screenplay by director Quinn Shephard (Blame) contains the requisite audacity, yet the hit-and-miss quality of the barbs tends to diminish the overall impact. (Rated R, 102 minutes).

One Man Dies a Million Times

While it threatens to wallow in misery and oppression, this psychologically demanding look at widespread famine during the Siege of Leningrad finds hope and humanity amid its bleakness and anguish. It’s set during the wintry despair facing millions of Russians who went hungry during the outset of World War II, focusing specifically on two botanists (Maksim Blinov and Alyssa Lozovskaya) whose effort to harvest seeds might provide a key to feeding the masses. The deliberately paced film isn’t for all tastes, but for those who engage with the offbeat narrative of director Jessica Oreck, it rewards patience with evocative black-and-white visuals and a cumulative emotional resonance. (Not rated, 92 minutes).

Paradise Highway

Despite the novelty of watching Juliette Binoche play a Deep South truck driver, this predictable thriller takes a long and winding road to nowhere. With her brother (Frank Grillo) due for release from prison, Sally (Binoche) agrees to transport a “package,” not knowing that it’s actually a preteen girl (Hala Finley). As she tries to protect the youngster without ratting out family, Sally becomes a target, including for a retired detective (Morgan Freeman) specializing in human trafficking cases. While it tackles a worthwhile issue, the esteemed cast cannot save a contrived screenplay that struggles to maintain suspense prior to a final twist delivered with sledgehammer subtlety. (Rated R, 115 minutes).

Resurrection

A ferocious performance by Rebecca Hall (The Night House) propels this haunting psychological thriller about a woman who can’t shake a traumatic event from her past. Hall plays Margaret, a respected executive who suspects an older man (Tim Roth) has returned to her life after 22 years to stalk her. While becoming overprotective of her teenage daughter (Grace Kaufman) Margaret endures a downward spiral of obsession and paranoia. The character-driven screenplay by director Andrew Semans withholds key narrative details with a frustrating and manipulative ambiguity. Yet it builds consistent suspense through intriguing character dynamics and an incisive examination of guilt, grief, and parental instincts. (Not rated, 103 minutes).

Sharp Stick

The latest candid if uneven exploration of sexual awakening from director Lena Dunham (“Girls”) is provocative on the surface yet lacks deeper resonance. It follows Sarah Jo (Kristine Froseth), a timid 26-year-old who lives in the shadow of her uninhibited mother (Jennifer Jason Leigh) and impulsive older sister (Taylour Paige) on the fringes of Hollywood. Sarah Jo takes a job as a babysitter but can’t resist the charms of her employer (Jon Bernthal). The film’s freewheeling attitude is refreshing, yet Dunham’s screenplay struggles to balance its comedic and dramatic elements with characters who rarely seem realistically grounded. The protagonist’s awkwardness extends to the film itself. (Rated R, 86 minutes).

Vengeance

A murder mystery in which the central mystery isn’t that important, the directorial debut of actor B.J. Novak (“The Office”) is a fresh and relevant satire about media, politics, and technology. Novak plays Ben, a New York journalist who reluctantly heads to rural Texas for the funeral of an ex-girlfriend, who her eccentric family insists was murdered, prompting Ben to stick around and investigate for his true-crime podcast. As it transitions into a journey of self-discovery, the sharply observed screenplay mostly avoids culture-clash stereotypes. It’s more erratic in terms of messaging yet consistently produces big laughs. Also stars Boyd Holbrook, Issa Rae, and Ashton Kutcher. (Rated R, 108 minutes).