Capsule reviews for Sept. 23

Bandit

The generic title seems appropriate for such a derivative heist thriller, which squanders some intriguing true-life source material with bland cliches. It’s set in 1985, when career criminal Gilbert Galvan (Josh Duhamel) flees the United States for Canada, where he meets a social worker (Elisha Cuthbert) and subsequently launches a prolific bank robbing spree using various aliases and costumes. But when he gains notoriety and gets in over his head with a notorious loan shark (Mel Gibson), his scheme is threatened. Narrating his own story, Duhamel gives the antihero an offbeat charm, although the script struggles to sustain any meaningful suspense while juggling comedy and drama. (Rated R, 126 minutes).

Buried: The 1982 Alpine Meadows Avalanche

Offering a comprehensive recap of the titular tragedy, which was the most destructive of its kind in American history, this riveting documentary is both tense and emotionally chilling. It’s comprised almost entirely of candid interviews with close-knit workers at the California ski resort who survived the historic late March snowstorm whose recollections and psychological scars are still vivid. Illustrated by a combination of archival footage and re-enactments, the film chronicles the resort’s innovative avalanche prevention program while acknowledging that attempting to control the fury of Mother Nature can be futile. Even if you remember the well-publicized details, the incident is worth revisiting 40 years later. (Not rated, 96 minutes).

Carmen

British actress Natascha McElhone (Solaris) shines alongside the sun-drenched Maltese scenery in this modest yet evocative tale of redemption and empowerment. The bulk of the story is set in the 1980s, with McElhone playing a woman haunted by past tragedy who returns to her coastal village following the death of her brother, the local priest. While her appearance rankles the sister (Michaela Farrugia) of the replacement priest, Carmen befriends a pawn-shop owner (Steven Love) who might hold the keys to her happiness. The bilingual screenplay by director Valerie Buhagiar is a lovely showcase for her native country and for McElhone, even if it’s dramatically inconsequential. (Not rated, 87 minutes).

Dig

Even by modest genre standards, the screenplay for this threadbare thriller features cringe-worthy dialogue and assembly-line characters, yet it insists on providing more talk than action. That’s an unfortunate combination for this ludicrous tale of a widowed contractor (Thomas Jane) who accepts a lucrative but mysterious digging job at a desert property to pay for a procedure for his deaf daughter (Harlow Jane). It turns into a fight for survival when they discover secrets about the loose-cannon homeowner (Emile Hirsch) and his girlfriend (Liana Liberato). As the film grinds through eye-rolling twists, at least a playfully over-the-top Hirsch refuses to take this mess seriously. (Rated R, 89 minutes).

The Infernal Machine

Hinting at deeper themes that never materialize with any urgency, this mediocre thriller takes exploring the relationship between creatives and overzealous fans to extremes, because of course! It follows Bruce (Guy Pearce), a reclusive author whose bestselling book is targeted by an obsessed reader who anonymously lures him out of hiding with a barrage of threatening mail. Bruce is forced to confront the controversial work and his own past. The deliberately paced screenplay by director Andrew Hunt generates only mild intrigue from the twisty cat-and-mouse battle of wits that follows. Pearce leads a strong cast that includes Alice Eve, Alex Pettyfer, and Jeremy Davies. (Rated R, 117 minutes).

The Justice of Bunny King

A powerhouse performance by Essie Davis (The Babadook) galvanizes this otherwise uneven story of parental resilience during desperate circumstances. She plays Bunny, a New Zealand ex-con whose two children are in foster care. Struggling to make ends meet and get a fresh start, she lives with her sister, only to learn of abuse involving Bunny’s timid niece (Thomasin McKenzie). Fighting social and bureaucratic obstacles, any effort to speak up makes Bunny feel more marginalized. Davis generates hard-earned sympathy for a character whose erratic behavior borders on dangerous. While the screenplay withholding key details about Bunny’s past feels too calculated, the film avoids melodrama or cheap catharsis. (Not rated, 101 minutes).

Meet Cute

After the titular encounter between two lonely singles in a bar, this slight romantic comedy with a science-fiction twist can’t sustain its momentum. The ensuing flirtations between Gary (Pete Davidson) and Sheila (Kaley Cuoco) start with promise before taking a bizarre turn when Sheila insists she’s a time traveler — and that their supposedly random dates have been repeating themselves for weeks or even months. When Gary learns she’s serious, the two discover how manipulating the past might unite them in the present. Both performers provide some laughs, particularly the bubbly Cuoco (“The Big Bang Theory”), but the thin premise becomes strained and repetitive at feature length. (Rated R, 89 minutes).

On the Come Up

Some worthwhile coming-of-age themes aren’t given the urgency they deserve in this heartfelt underdog drama about the personal connection between artists and their work, the pressures of family legacy, and the role of hip-hop music in urban social fabric. Sweet-natured Brianna (Jamila Gray) tries to follow the footsteps of her late father into the rap game. After a rocky start on the local battle scene, she tries to find her voice while dealing with family struggles and the economic realities of the music business. Gray’s expressive performance is the highlight of this directorial debut from actress Sanaa Lathan, which is otherwise watered down and predictable. (Rated PG-13, 114 minutes).

Sidney

Perhaps nobody legitimately has a bad word to say about Sidney Poitier, but this documentary from director Reginald Hudlin (Boomerang) goes a bit overboard in its unabashed hero worship for the late Oscar-winning actor. Still, as a straightforward surface-level recap of his life and career, it’s an inspiring look back at Poitier’s groundbreaking rise to fame during the 1960s, paving the way for mainstream Black actors who followed in his footsteps. He also excelled as a director, humanitarian, and civil rights advocate — all while adhering to values taught by his parents. The film’s gushing interviewees include Oprah Winfrey, Morgan Freeman, Barbra Streisand, and Robert Redford. (Rated PG-13, 112 minutes).