Capsule reviews for Sept. 29

57 Seconds

There’s some intrigue for those willing to buy into the loopy concept, but this tech thriller from director Rusty Cundieff (Fear of a Black Hat) misses an opportunity to explore its potentially provocative themes with more depth and complexity. It follows a blogger (Josh Hutcherson) whose scheme to meet a neurotech entrepreneur (Morgan Freeman) leads to him discovering a ring that enables him to travel back 57 seconds in time. Harnessing his new power, he plots to take down a corrupt pharmaceutical tycoon (Greg Germann) with unforeseen consequences. The cast elevates the material, which starts with promise before struggling to maintain suspense amid some eye-rolling twists. (Rated R, 99 minutes).

On Fire

Generating more heat as a harrowing survival saga rather than a sappy human melodrama, this eco-thriller fails to spark a deeper emotional resonance despite paying worthwhile tribute to first responders. It chronicles Dave (Peter Facinelli), who lives in a trailer home in the California woods with his very pregnant wife (Fiona Dourif), teenage son (Asher Angel), and cantankerous father (Lance Henriksen). As a raging wildfire bears down on their community, the family becomes trapped in an area rescue crews cannot reach. The film carries a sense of urgency yet struggles to raise the stakes as intended, opting for sledgehammer subtlety rather than lived-in authenticity. (Rated PG-13, 80 minutes).

The Plus One

Aside from some lovely beachfront scenery, this woefully predictable romantic comedy from director Erik White (Lottery Ticket) about a destination wedding gone off the rails is a checklist of cliches. Lizzie (singer Ashanti) wants everything to be perfect to tie the knot with Luke (B.J. Britt), despite her eccentric family and logistical complications. However, her lovelorn “man of honor” (Jonathan Bennett) brings along Lizzie’s social-climbing adversary (Cassandra Scerbo), whose antics threaten to unravel the entire weekend. The engaging cast sparks a few laughs, although the one-dimensional characters and thinly sketched plot feel too detached from reality. The exaggerations and caricatures make it more obnoxious than endearing. (Rated PG-13, 94 minutes).

The Re-Education of Molly Singer

Despite some scattered laughs, this contrived comedy of redemption and arrested development at an upscale college campus feels more familiar than fresh. Desperate to save her law-firm job, bumbling Molly (Britt Robertson) is given a final chance by her demanding boss (Jaime Pressly) — to help her socially awkward son, Elliot (Ty Simpkins), fit in at Molly’s alma mater. The scheme sends Molly and her bestie (Nico Santos) back to school, where they are given a chance to reshape the future for Elliot and for themselves. Robertson (Tomorrowland) is charming enough, although the labored gags and progressively far-fetched twists overshadow any deeper heartfelt emotional impact. (Rated R, 120 minutes).

Story Ave

Sidestepping cliches with authenticity in its characters and setting, this gritty and evocative coming-of-age drama is a compelling exploration of masculinity and mentorship. It follows a Bronx teenage graffiti artist (Asante Blackk) who holds up a subway worker (Luis Guzman) at the titular stop. But when the scheme goes sideways, it winds up linking the strangers together on a shared and unexpected path to mutual redemption. Using art as a vessel for healing but avoiding heavy-handed sentimentality, the nuanced screenplay by rookie director Aristotle Torres is a mildly contrived but deeply felt portrait of a troubled youngster forced to grow up before his time. (Not rated, 94 minutes).

Warrior Strong

Aggressively tossing around cliches about redemption and teamwork regardless of the score, this underdog Canadian basketball drama shoots a narrative air ball. It chronicles a hot-tempered and disgraced pro hooper (Jordan Johnson-Hinds) whose only chance to reform his image involves returning to his small hometown to help coach the ragtag team. But his sincerity is suspect, widening a rift with his old-school former coach (Andrew Dice Clay) who is battling a heart condition. With past glories behind them, just winning a game would be a miracle. The heartfelt performances — including a winning turn by Clay — certainly outshine the absurdly heavy-handed screenplay. There are no winners here. (Not rated, 98 minutes).