Capsule reviews for Sept. 20

A Different Man

Strong performances smooth out the narrative rough patches in this incisive satire from director Aaron Schimberg (Chained for Life) about the overlapping obsession between beauty and fame. Ed (Sebastian Stan) is an aspiring actor in New York whose disfiguring facial condition limits his opportunities, even as he becomes friendly with an alluring neighbor (Renate Reinsve). When he participates in an experimental program seeking a cure, Ed experiences regret when Oswald (Adam Pearson), who shares his prior affliction, is taking over his former life. If it’s not as insightful or provocative as intended, the film finds emotional depth amid its wry laughs and amusing twists. (Rated R, 112 minutes).

In the Summers

An expressive and evocative portrait of a family torn apart by alcoholism and abuse, this bilingual coming-of-age drama brings a fresh perspective to familiar themes. It chronicles four nonconsecutive summer visits, primarily during their teenage years, for California siblings Eva and Violeta to see their father, Vicente (Rene Perez Joglar), in Las Cruces, New Mexico. While navigating the drunken neglect and violent temper of Vicente and his enablers, the sisters bond over trying to escape the influential grip of a man they once adored. This incisive and visually striking debut for director Alessandra Lacorazza Samudio builds a cumulatively bittersweet emotional power that transcends cultural boundaries. (Not rated, 95 minutes).

The Invisibles

Aside from its persistent gimmicks and aggressive sentimentality, an underlying sweetness enables this Canadian romantic fantasy to resonate as a poignant examination of guilt and grief. Charlie (Tim Blake Nelson) is a businessman still coping with a family tragedy that his wife (Gretchen Mol) has handled better. Then he suddenly disappears into a purgatory of sorts, among a jovial group of ghostly outsiders with a fresh perspective on life and death. Is it worth returning to the pain of real life? Committed performances help even out the contrivances in the screenplay by director Andrew Currie (The Steps), at least for those who buy into its premise. (Not rated, 107 minutes).

A Mistake

A renowned surgeon makes a split-second error that might have caused a patient’s death. Rather than exploring the aftermath from the perspective of the grieving and litigious family, the internal fallout is the focus of this compelling New Zealand thriller bolstered by a terrific Elizabeth Banks performance. Her character unravels personally and professionally as the hospital tries to save face, her staff wavers in its support, and the psychological toll of the gaffe yields both defiance and guilt. Despite some mild contrivances, the screenplay by director Christine Jeffs (Sunshine Cleaning) ultimately is a tribute to the dedication of trauma surgeons that remains both even-handed and suspenseful. (Not rated, 101 minutes).

My Old Ass

Although narrative gimmicks water down the emotional impact, this delightfully quirky coming-of-age saga provides an irreverently witty mix of laughs and heart. Elliott (Maisy Stella) is a mischievous teenager who, while hallucinating on mushrooms, opens a portal into her own future and meets her 39-year-old self (Aubrey Plaza). Their rapport gives her a new perspective on family, plus the allure of a local boy (Percy Hynes White) who conjures romantic sparks. The screenplay by director Megan Park (The Fallout) is a thoughtful exploration of generational quirks and adolescent impulsiveness, combined with a playful wish-fulfillment fantasy about how a window into the future impacts the present. (Rated R, 89 minutes).

Never Let Go                                             

Immersed in ominous atmosphere, this slow-burning dystopian thriller from director Alexandre Aja (The Hills Have Eyes) emphasizes jump scares over consistent suspense. It chronicles a single mother (Halle Berry) living primitively in a remote cabin with her two young sons (Anthony B. Jenkins and Percy Daggs IV). Given her constant reminders about evil spirits and family curses, the trio remains tethered to the house via rope whenever they venture outside. But when the youngsters start questioning mom’s stories, desperation builds and their bond is threatened. The performances are solid. Yet as a muddled examination of trust, isolation, and childhood innocence, the film lacks a coherent payoff. (Rated R, 101 minutes).

Omni Loop

More than just a darker variation on the Groundhog Day formula, this bittersweet comedy about discovery in the face of mortality is both clever and amusing. It follows Zoya (Mary-Louise Parker), a Florida physicist trapped in a time loop that involves waking up in a hospital with a week to live, awkward family interactions, visits with a student (Ayo Edebiri) inspired by Zoya’s textbook, and taking a pill to start it all over again. The duo winds up revisiting Zoya’s research from years earlier, given a fresh urgency by her current condition. Although it becomes muddled, the film benefits from performances that provide depth and charm. (Not rated, 110 minutes).

Summerlight, and Then Comes the Night

Immersing us in a small-town Icelandic setting without much regard for traditional narrative structure, this slight and episodic comedy finds a uniquely absurdist rhythm. Adapted from a novel by Jon Kalman Stefansson, its vignettes follow various characters in a small village through tales of varying tone and substance, such as a factory manager whose Latin dreams spark a new outlook on life, or a farmer who begins an affair with a neighbor, or a young man who becomes lost in his bird art. The unfocused screenplay by director Elfar Adalsteins (End of Sentence) has its charming moments, and at least the landscapes are lovely. (Not rated, 111 minutes).

The Unlikely Pilgrimage of Harold Fry

Jim Broadbent brings a relatable charm to every step of this slight yet heartwarming British drama that examines familiar themes of guilt, grief, and mortality. Broadbent plays the title role, a retiree who receives a letter from a dying former co-worker that — rather than a written reply — prompts a cross-country odyssey on foot to say goodbye. With his wife (Penelope Wilton) left befuddled, Harold becomes a small-town folk hero along a journey that becomes a quest for redemption and catharsis after a family tragedy. With its appropriate leisurely pace, the film relies on crowd-pleasing sentimentality, yet it also builds an emotional potency beneath its quirky surface. (Not rated, 108 minutes).