Capsule reviews for Sept. 2

Blind Ambition

Somehow combining the intricacies of wine tasting with sociopolitical turmoil in Zimbabwe, this crowd-pleasing documentary manages the right blend of sweetness and texture. It follows four refugees who have become talented sommeliers in South Africa. Together, they decide to represent Zimbabwe in the annual Olympic-style competition known as the World Blind Wine Tasting Championships in France. The preparations test their patience and their palettes, in the hopes of inspiring their beleaguered homeland on the world stage. As it navigates predictable underdog territory, the breezy film smartly enables its charming subjects to command the spotlight, making this a flavorful experience regardless of your affinity for wine. (Not rated, 96 minutes).

Burial

As the latest example of historical fiction told through a horror template, this low-budget thriller pairs a compelling setup with a mediocre payoff. Told in flashback, the story tracks a group of Soviet intelligence officers assigned to a dangerous top-secret mission at the conclusion of World War II — transport a casket from Berlin to Moscow with very specific instructions. As the contents become clear, so do their adversaries — an army of Nazi loyalists tasked with keeping Hitler’s corpse from crossing enemy lines. The resulting mix of action and frights yields some intermittent suspense. However, given the clever idea, the screenplay too often settles for genre tropes. (Not rated, 95 minutes).

Gigi and Nate

Any inspiration or uplift in this true-life tribute to the bond between humans and their service animals from director Nick Hamm (The Journey) is compromised by heavy-handed sentimentality. Nate (Charlie Rowe) suffers a serious illness that renders him a quadriplegic, leaving him both physically and mentally paralyzed. His spirits are brightened by an adorable, highly trained capuchin monkey who gives him a new outlook on life. Mixing goofy antics with a contrived subplot about animal rights, the film veers into Hallmark territory, even if the relationship between the two titular primates is touching. The cast includes Marcia Gay Harden, Jim Belushi, and Diane Ladd. (Rated PG-13, 114 minutes).

Loving Highsmith

As the title suggests, this documentary is first and foremost a tribute to the iconoclastic Texas-born mystery novelist behind Strangers on a Train and The Talented Mr. Ripley, among others. However, the film also provides an insightful glimpse into her relationships and creative process. Through interviews with her surviving family members and lovers, along with excerpts from her private diaries, German filmmaker Eva Vitija illustrates how Highsmith’s tumultuous personal life — including her inability to fully embrace her sexuality — and misanthropic worldview inspired much of her writing. The film provides a fresh perspective on Highsmith’s work while also exploring the personalized equilibrium of reality and fantasy. (Not rated, 83 minutes).

One Way

That way is downhill in this ensemble thriller overflowing with style and attitude but lacking any substantive sympathy for any of its characters. It centers on Freddy (Colson Baker), who has stolen cash and drugs from a crime gone wrong. With a gunshot wound in his stomach, he catches a bus out of town for a quick getaway, only to encounter more trouble when some passengers start seeking revenge. As the film tries to ratchet up the tension within the confined space, character development takes a backseat to narrative gimmicks and ridiculous twists. The squandered cast includes Drea de Matteo, Storm Reid, and Kevin Bacon. (Rated R, 96 minutes).

Waiting for Bojangles

Although it too often downplays mental illness as a shallow plot device, this sweeping period romance from French director Regis Roinsard (The Translators) boasts spirited performances and stylish visual flourishes. It tracks the volatile relationship between eccentric Georges (Romain Duris) and free-spirited Camille (Virginie Efira), whose instability leads to caretaker roles for Georges and their young son (Solan Machado Graner). As her condition deteriorates, their primary connection is a love of dancing, especially to the titular song. The moments of heartfelt charm are offset by an overabundance of quirks and forced whimsy. Such playfulness diminishes the emotional impact when Camille’s condition causes an inevitable tonal shift. (Not rated, 124 minutes).