Capsule reviews for April 21

Carmen

Ambition surpasses execution in this stylish but tedious reimagining of Bizet’s opera, which marks a noteworthy collaboration between French choreographer Benjamin Millepied — who makes his directorial debut — and composer Nicholas Britell (Moonlight). Their contributions accentuate the story that begins in contemporary Mexico, where Carmen (Melissa Barrera) flees tragedy for the American border, where she bonds with a troubled border patrol agent (Paul Mescal) on her way to Los Angeles. Millepied’s music-infused genre hybrid is thoughtful yet aimless, a feast for the senses that lacks the narrative cohesion and substance to resonate more provocatively. The spirit of the source material becomes lost in the shuffle. (Rated R, 116 minutes).

Judy Blume Forever

After enchanting generations of youngsters through her beloved books, the author gets a well-deserved spotlight in this straightforward documentary, which compiles an illuminating tribute to her life and career. Narrated primarily by the outspoken yet generous Blume herself, the film probes how a sense of childhood curiosity fed into her early work, how she gained a following among youngsters who connected with her characters, how she found her progressive literary voice and dealt with controversy, and her enduring popularity. The directing tandem of Davina Pardo and Leah Wolchok (Very Semi-Serious) shares their fandom with moviegoers with a warm portrait that connects with readers of any age. (Not rated, 97 minutes).

Little Richard: I Am Everything

Beneath the flamboyant showmanship and catchy ditties, iconic musician Little Richard harbored resentment toward an industry that never gave him proper credit as a true pioneer. This fascinating documentary from director Lisa Cortes (All In: The Fight for Democracy) persuades us he was right. The film traces his life and career spanning decades before pivoting into a thoughtful examination of his legacy — primarily shaped by race and sexuality — and how his charismatic stage presence masked a crippling self-doubt and mental instability. Cortes mixes interviews with luminaries such as Mick Jagger, Nile Rodgers, and Tom Jones, with abundant archival footage to offer an insightful yet bittersweet tribute. (Not rated, 98 minutes).

Other People’s Children

Delicately balancing humor with melancholy, this sharply observed French relationship drama explores maternal instincts and midlife crises with bittersweet compassion. At 40, single teacher Rachel (Virginie Efira) figures she won’t have children. When she begins dating Ali (Roschdy Zem), Rachel is drawn to his 4-year-old daughter (Callie Ferreira-Goncalves), eventually planning to become her stepmother. However, the girl oddly doesn’t seem as keen to embrace their new bond, which threatens Rachel and Ali’s romance. Benefiting from a committed portrayal by Efira (Waiting for Bojangles), the screenplay by director Rebecca Zlotowski (Planetarium) juggles tones and avoids turning heavy-handed while offering an incisive portrait of fractured family dynamics. (Not rated, 103 minutes).

River

Gorgeous nature cinematography highlights this visually stirring documentary about the value of riverways worldwide, tied into a message about conserving our natural resources. Aside from the lecturing about manmade dams and pollution, this travelogue spanning six continents — accompanied by the Australian Chamber Orchestra — is a feast for the senses. With sweeping overhead shots, the film provides educational insight regarding the hydrologic cycle, the damaging effects of climate change, and the ways in which humans and rivers interact for better and worse. Simple yet ambitious, the follow-up to director Jennifer Peedom’s 2017 documentary Mountain, also narrated by Willem Dafoe, flows slowly but is worth soaking in. (Not rated, 75 minutes).

To Catch a Killer

More suspenseful than its generic title suggests, this mildly taut thriller nevertheless stumbles through formulaic procedural trappings and a ridiculous ending. After a mass shooting on New Year’s Eve in Baltimore, local police and federal officials, led by a troubled young cop (Shailene Woodley), a hard-nosed FBI investigator (Ben Mendelsohn), and a seasoned analyst (Jovan Adepo), find their urgent probe — with the city on-edge — compromised by media sensationalism, conflicting bureaucratic agendas, knee-jerk politics, and post-pandemic mental distress. However, those relevant ideas aren’t explored with much conviction in a Silence of the Lambs copycat that would rather focus on the potboiler aspects of the cat-and-mouse manhunt. (Rated R, 119 minutes).