Capsule reviews for June 2

Concerned Citizen

Examining familiar themes of gentrification and subconscious bias through a fresh sociocultural lens, this modest Israeli drama finds compassion in confronting volatile issues of race and privilege. Ben (Shlomi Bertonov) is preparing to adopt a child with his partner (Ariel Wolf) as they settle into an apartment in a diverse section of Tel Aviv. However, after a confrontation with African immigrants leads to tragedy, Ben’s guilt sends him into a downward spiral and threatens the fabric of the neighborhood he’s trying to preserve. The sharply observed screenplay by director Idan Haguel takes an intriguing perspective on immigration and discrimination, softened only by an abrupt ending. (Not rated, 82 minutes).

Koko: A Red Dog Story

Canine aficionados, especially those Down Under, will appreciate this lighthearted look into the making of the 2011 Australian drama Red Dog. It combines traditional documentary elements with comedic fictional re-enactments that include actors playing the filmmakers. If that sounds confusing, it makes for a disjointed viewing experience that diminishes the overall impact. However, the titular Kelpie is heartwarming whenever he’s on screen, even if you’re not always sure of the line between fact and fantasy. You can see why Koko became a phenomenon in his native Australia, where this charming hybrid will play best as a tribute to the enduring bond between humans and pups. (Not rated, 78 minutes).

Lynch/Oz

Combining astute observations with persuasive technique, the latest documentary mining film history from director Alexandre Philippe (78/52) provides a new lens through which to view both The Wizard of Oz and the works of eccentric filmmaker David Lynch. Philippe takes a deep-dive into the bizarre convergence between the two, specifically how Lynch’s obsession with the 1939 classic has influenced his own projects over the past several decades, both directly and indirectly. The result sometimes languishes in the weeds, although the film’s meticulous presentation of clips and theories — delivered by fellow filmmakers and Lynch admirers — makes for a fascinating study of artistic inspiration and creative process. (Not rated, 108 minutes).

Padre Pio

Awkwardly mixing political allegory with introspective spirituality, this biopic from iconoclastic filmmaker Abel Ferrara (Bad Lieutenant) is incoherent rather than insightful. It chronicles the formative years in the priesthood for the titular Italian friar (Shia Lebeouf) during the 1920s, when Pio finds his faith tested by his own demons combined with the rise of fascism and ideological extremism in the years following World War I — during the early years of the Mussolini regime. What could have been an intriguing exploration of religion and politics, however, instead feels muddled and fragmented, with its budget constraints hampering its more high-minded ambitions. It’s more tedious than provocative. (Rated R, 104 minutes).

Past Lives

Culturally specific yet universally resonant, this bittersweet Korean drama from rookie director Celine Song is a quietly perceptive and deeply profound look at unspoken relationship bonds. Childhood best friends Nora (Greta Lee) and Hae Sung (Teo Yoo) lose touch when Nora’s family emigrates from Seoul to Toronto. They reconnect online as college students before she later settles in New York and marries a fellow writer (John Magaro). More than a decade later, Hae Sung makes a bold attempt to see if there are still any sparks between them. Song’s thoughtful screenplay is gut-wrenching in its heartfelt honesty and most powerful in its understated moments of reflection. (Rated PG-13, 106 minutes).

Rise

Lively dance sequences galvanize this sweet-natured drama about redemption and rebirth from French director Cedric Klapisch (Back to Burgundy). It follows Elise (Marion Barbeau), a Paris ballerina whose on-stage injury threatens to prematurely end her career at the same time she breaks up with her philandering boyfriend. Facing an uncertain future, she finds a potential new path after relocating to a small town with a modern dance company that rekindles her passion — if only her body is still capable. While the melodramatic screenplay sometimes feels flat-footed, the well-acted film intimately examines the physical and emotional fragility of the ballet world with perception and empathy. (Not rated, 117 minutes).

Shooting Stars

Fans of basketball superstar LeBron James might not care that this shallow biopic from director Chris Robinson (ATL) offers only Wikipedia-level insight into his high school days while glossing over adversity in favor of highlight-reel dunks. After all, it’s intended to salute the bond between his close-knit teenage teammates in Akron, Ohio, who helped James (played by real-life hoops phenom Mookie Cook) win multiple championships before embarking on his legendary pro career. Based on James’ memoir, the film spotlights brotherhood and lasting friendships without much depth in exploring the muddled morality in contemporary youth sports. The cast includes Dermot Mulroney, Wood Harris, and Caleb McLaughlin. (Rated PG-13, 116 minutes).

Simulant

While its futuristic concept suggests an intriguing cautionary tale about artificial intelligence and technological overreach, this science-fiction thriller from director April Mullen (Wonder) winds up more familiar than fresh. Faye (Jordana Brewster) is a grieving widow who commissions a humanoid clone of her late husband (Robbie Amell). But that backfires when the “simulant” persuades an underground hacker (Simu Liu) to remove government restrictions on his capabilities, prompting a police detective (Sam Worthington) to investigate the potentially widespread ramifications. Despite some topical subject matter, the film lacks the subtlety and nuance to be more provocative, with narrative twists providing insufficient depth to the characters — human or otherwise. (Not rated, 95 minutes).

Unidentified Objects

Both silly and sweet, this absurdist comedy puts a fresh twist on a familiar concept about two lost souls finding companionship while navigating a quirky road trip. The pandemic-era story begins with Winona (Sarah Hay) needing a ride from New York to the Canadian wilderness for an upcoming alien abduction. She recruits her reluctant neighbor, Peter (Matthew Jeffers), a misanthropic dwarf who tags along to escape his isolation. As their bickering gives way to codependency, the character-driven film’s surreal fantasy sequences don’t resonate as strongly as its introspective moments of self-discovery. In the process, our pity evolves into genuine sympathy as they seek a fresh start. (Not rated, 100 minutes).