Capsule reviews for Sept. 8

Amerikatsi

Following the Life Is Beautiful playbook, this well-intentioned if uneven comedy from director Michael Goorjian (Illusion) uses real-life tragedy as the backdrop for heartwarming fantasy, but without the tonal dexterity to generate sufficient emotional impact. Goorjian plays Charlie, who fled war-torn Armenia for America as a child but returns decades later to reconnect with his roots as part of a repatriate program. When he is falsely imprisoned by the oppressive Soviet government, he finds a unique way to remain optimistic. It’s a nice try, although the film’s upbeat idealism is driven by Charlie’s annoying naivete, while any broader sociopolitical context becomes lost in the shuffle. (Not rated, 117 minutes).

Aristotle and Dante Discover the Secrets of the Universe

Finding a fresh perspective to explore familiar thematic territory, this tender and sharply observed coming-of-age drama is grounded in cultural and chronological authenticity while yielding universal emotional resonance. Set in 1987 in El Paso, it’s about the social and sexual awakening of the titular teenage outcasts who bond during a summer at the pool, and who wonder if their friendship will blossom into something more. Aristotle (Max Pelayo) feels stifled by his father (Eugenio Derbez), while Dante (Reese Gonzales) is more open with his feelings yet also vulnerable and insecure. The screenplay by director Aitch Alberto mostly sidesteps cliches and sentimentality through its modest charms. (Rated PG-13, 97 minutes).

Gold Run

Despite some heavy-handed narrative clumsiness, this Norwegian thriller manages to capitalize on the inherent suspense in its fascinating true-life tale of World War II courage and resistance. It’s set in 1940, after the Germans advanced into Norway to secure the country’s extensive gold reserves. So it’s up to a bank secretary (Jon Oigarden) and the hot-tempered leader of his military transport (Elvind Sander) to evacuate the riches from Oslo to a safe location and stay ahead of the Nazis. The embellished screenplay is saddled with thin characters and wooden dialogue, although the film keeps the pace lively while generating a rooting interest in some unlikely heroes. (Rated PG-13, 117 minutes).

Joyce Carol Oates: A Body in the Service of Mind

Even if it too easily veers into hagiography, this straightforward documentary is an illuminating portrait of the prolific American writer, along with her influential work and ongoing legacy. Enabling her to tell her own story, the film traces her New York upbringing and personal life, along with a diverse career in writing and academia that shaped her cultural views. Perhaps its best attribute is the insight into the creative inspiration and artistic process of Oates, whose mastery of words is frequently thoughtful and provocative. It provides a treat for devotees Black Water, Blonde, or her other noteworthy titles, and also might attract some new fans. (Not rated, 93 minutes).

My Animal

Ambition surpasses execution in this genre hybrid that brings horror elements into an otherwise grounded coming-of-age drama about queer identity and 1980s nostalgia. It follows Heather (Bobbi Salvor Menuez), an aspiring hockey goalie burdened with a dark family curse that emerges during full moons. When she meets an elite but troubled figure skater (Amandla Stenberg), their relationship becomes mutually therapeutic, even if the angst-ridden teenagers are destined to be torn apart. The actors develop a convincing chemistry while seeking acceptance, although the film as a whole struggles to mesh its disparate ideas and escape its almost dreamlike trance. It’s too uneven to show its teeth. (Rated R, 103 minutes).

My Big Fat Greek Wedding 3

Desperate to wring every last bit of charm and goodwill from its stale premise, this third installment in the 20-year-old comedy franchise is more content to rehash than refresh. It tracks neurotic Toula (Nia Vardalos) as she deals with shifting generational dynamics in her eccentric family, including the death of her father. Needing closure, she and husband Ian (John Corbett) take some of their clan to a Greek village for a wacky adventure to reconnect with their roots. The screenplay by Vardalos, who also directed, is heartfelt yet rarely strays from its formulaic strategy of playfully tweaking cultural stereotypes. At least the scenery is nice. (Rated PG-13, 91 minutes).

Rotting in the Sun

Beneath the surface shock value, this loopy meta comedy from Chilean director Sebastian Silva (The Maid) is a sharply observed satire of influencer culture and socioeconomic class. Silva plays a fictionalized version of himself, as a suicidal artist and ketamine addict who retreats to a gay nude beach, where he encounters a social-media provocateur (Jordan Firstman) who pesters Silva about directing his vanity project. Before that materializes, however, the filmmaker mysteriously disappears. A major twist prompts a transition from raunchy and explicit sex farce to low-key thriller. And although the film meanders in the second half, its gritty audacity and offbeat absurdity keep it compelling. (Not rated, 109 minutes).

Shadow Island

The intriguing setup outweighs the muddled execution in this slow-burning Scandinavian psychological thriller that doesn’t generate enough suspense to make its head-scratching reveal more impactful. David (Johan Heinstadt) is a Swedish meteorologist seeking closure years after his father’s mysterious death. So he takes a solo voyage to the deserted island with a lighthouse to find answers about his work. Along with meeting a similarly isolated woman (Hanne Mathisen Haga), David discovers a sociopolitical conspiracy from a bygone generation that winds up endangering his own life. The film is enhanced by its atmospheric visuals, but the screenplay by rookie director Johan Storm feels manipulative and contrived. (Not rated, 90 minutes).

Sitting in Bars with Cake

Appealing more to the sweet tooth than the heartstrings, this predictable saga of sisterhood and terminal illness from director Trish Sie (Pitch Perfect 3) has too much frosting and not enough batter. Based on a true story, it follows Jane (Yara Shahidi), an introverted baking enthusiast who schemes with her best friend, Corinne (Odessa A’zion), to visit 50 different bars with 50 different cakes to meet men and maybe launch a business. Then everything changes when Corinne is diagnosed with a brain tumor. Offering some strong performances and powerfully intimate moments, the film overall lacks enough substance to serve up an entrée rather than a dessert. (Rated PG-13, 119 minutes).