Capsule reviews for March 3

Blueback

As it promotes the symbiotic relationship between humans and marine wildlife, this earnest Australian melodrama from director Robert Connolly (The Dry) tugs too aggressively at the heartstrings to make a deeper impact. It follows young conservationist Abby (Mia Wasikowska) as she’s called home to care for her ailing mother (Elizabeth Alexander), an activist who introduced her to deep-sea diving years ago. Inspired by an encounter with a blue grouper, Abby is galvanized by her past while fighting for the endangered future of her undersea companions. The underwater cinematography along Australian’s coastal reefs is breathtaking, although the wholesome and heartfelt script merely skims the surface. (Rated PG, 102 minutes).

La Civil

Putting a face on the harrowing cycle of crime and violence in parts of northern Mexico, this raw and unflinching thriller infuses genre tropes with rich cultural specificity and gut-wrenching emotional complexity. It follows a rural housewife (Arcelia Ramirez) whose daughter is abducted by cartel-affiliated gangsters. When she becomes frustrated with the authorities in solving the case, she transforms into a militant vigilante looking for revenge at any cost. That familiar scenario is given fresh life thanks to a fiercely committed portrayal by Ramirez and the gritty direction of Romanian filmmaker Teodora Mihai, who provides this tense tale of parental determination a vivid urgency. (Not rated, 141 minutes).

Children of the Corn

The latest big-screen adaptation of Stephen King’s short story about a terrorized Nebraska town leaves a familiar sour taste. Essentially an origin story, this version chronicles the adverse influence of outside corporations on the local crop. When farmers threaten to give in, a teenager (Elena Kampouris) leads the protests. But even she’s not ready for the effects of the pesticides and fertilizers on the younger kiddos who have been playing in the cornfields. Veering between sanctimonious and silly, the film from director Kurt Wimmer (Equilibrium) never feels authentic enough in its setting to generate consistent frights. Then the effects-heavy final act devolves into an incoherent mess. (Rated R, 93 minutes).

The Donor Party

Contemporary parenting suffers a setback in this thinly sketched comedy that strains to make maternal empowerment feel edgy and progressive when its protagonist comes off as desperate and morally shallow. The biological clock is ticking for Jaclyn (Malin Akerman), whose dating efforts have hit a dead-end while artificial methods and adoption are financially out of reach. So her friends conspire to turn a birthday party for a rich executive (Rob Corddry) into a top-secret series of hookups with single men. The screenplay by rookie director Thom Harp provides some scattered laughs before its one-joke premise fizzles out, hindering any meaningful relationship insight beneath the quirks. (Not rated, 93 minutes).

The Forger

Finding yet another new angle of World War II heroism, this true-life tale of an artist who uses his talents to help resist Nazi atrocities is uneven but compelling. Cioma (Louis Hofmann) is a charismatic 21-year-old German forced into hiding, where he contributes to an underground network of rescuers by posing as a military officer and meticulously creating fake passports to enable the escape of his fellow Jews. However, his ebullient social life even during the darkest of times puts Cioma’s own survival at risk. The clashes between tone and setting create a sense of detachment, although Hofmann finds the right mix of courage and charm. (Not rated, 116 minutes).

Godland

The haunting beauty of Iceland is the star of this contemplative meditation on mortality and purpose, which balances its narrative bleakness with visual elegance. It centers on a 19th century Danish photographer and priest (Elliott Crosset Hove) sent to build a remote Icelandic church. But the further he ventures into the unforgiving wilderness, he experiences episodes that loosen his grip on reality while being forced to confront his faith and morality. Not for all tastes, it’s an ambitious allegory that’s deliberately paced yet rewards accommodating viewers with a sharply crafted bilingual script by director Hlynur Palmason and gorgeous cinematography that doesn’t leave you cold. (Not rated, 143 minutes).

Gods of Mexico

An insightful and dynamic visual essay, this documentary finds beauty and compassion both in the rugged landscapes of rural Mexico and the resilient and resourceful indigenous people who live there. Employing an observational style with virtually no dialogue, rookie director Helmut Dosantos intimately spotlights the arduous work of generations of salt miners amid a collection of portraits spotlighting the weathered faces and tireless work ethic of people defiantly disconnected from technology and the modern world. Dosantos refreshingly digs beyond familiar topics like immigration and cartels, with a deliberately paced but powerful tribute to manual labor and cultural identity that rewards patience with arresting imagery. (Not rated, 97 minutes).

Palm Trees and Power Lines

An empathetic discomfort simmers throughout this provocative coming-of-age drama that navigates tricky thematic territory with sincerity and conviction. Lea (Lily McInerny) is a disillusioned suburban 17-year-old looking to spice up her summer when she becomes enamored with a stranger (Jonathan Tucker) in his 30s. As he seduces Lea with his charms, she ignores the red flags as their clandestine relationship grows deeper and potentially more dangerous. Some minor logical missteps aside, this gritty and intimate debut for McInerny and director Jamie Dack — expanded from her short film — builds tension as a sharply observed cautionary tale that finds strength in Lea’s fragility without providing easy answers. (Rated R, 110 minutes).

Transfusion

Lacking the dramatic heft to supplement its more thoughtful ambitions, this Australian thriller offers a formulaic exploration of familiar themes such as guilt, grief, regret, and fractured families. Ryan (Sam Worthington) is a former military sniper suffering from PTSD while also mourning the death of his wife. As he struggles to reintegrate, Ryan finds himself drawn to criminal enterprises for a quick buck. That affects his relationship to his troubled son (Edward Carmody), whose rebellious behavior starts to mirror his father. The nonlinear screenplay by rookie director Matt Nable is more emotionally complex than it initially appears yet stumbles through third-act manipulations and cliches. (Rated R, 106 minutes).