Capsule reviews for Feb. 21

The Comeback Trail

A collection of remarkably esteemed actors are saddled with a predictably sophomoric script in this dusty 1970s showbiz satire from director George Gallo (Middle Men), which squanders their collective talents. It follows a struggling movie producer (Robert De Niro) whose latest flop leaves him indebted to a mobster investor (Morgan Freeman). So he secretly devises a desperate scheme surrounding his next picture, a cheesy Western starring a washed-up cowboy actor (Tommy Lee Jones), that backfires. Amid its parade of stale and cartoonish gags, the film’s awkward attempt to pay tribute to a bygone Hollywood era is peppered with references to big-screen classics we’d rather be watching. (Rated R, 104 minutes).

Ex-Husbands

Some moments of character-driven authenticity, sparked by a convincing ensemble cast, help this modest melodrama about intergenerational relationship dynamics overcome its thematic familiarity. Peter (Griffin Dunne) is a Manhattan dentist enduring a midlife crisis after his wife (Rosanna Arquette) leaves him. Meanwhile, Peter’s elderly father (Richard Benjamin) is divorcing his mother. Will a trip to Mexico, which happens to coincide with the bachelor party of his adult son (James Norton), provide some relief or inspire more chaos? Hampered by contrivances, the screenplay by director Noah Pritzker (Quitters) starts out like a nostalgic throwback but evolves into a warm and witty examination of contemporary middle-class masculinity. (Not rated, 98 minutes).

Invader

An almost disorienting sense of dread lingers throughout this gritty low-budget thriller from director Mickey Keating (Darling), even if the narrative doesn’t add up to much in the end. It’s set in Chicago, where Ana (Vero Maynez) already feels like an outsider when she arrives from Mexico to visit her cousin (Ruby Vallejo), who has stopped communicating with her, triggering paranoia that she is in danger. While trying to make her way to her cousin’s house, Ana realizes the reunion is becoming a nightmare. The result is more slight than substantial, with a muddled subtext offset by consistent visceral tension that transcends cheap gimmicks. (Not rated, 69 minutes).

Millers in Marriage

Marking a chronological, but not thematic, departure from his comfort zone, the latest relationship drama from director Edward Burns (She’s the One) ultimately feels more familiar than fresh. It follows the intertwined relationship travails of siblings Andy (Burns), Eve (Gretchen Mol), and Maggie (Julianna Margulies) — during a time when each of their marriages is in flux, thrown into turmoil by infidelity, career instability, emotional distance, or impulsive behavior. While its portrait of middle-aged affluence might be relatable to some, the film too often veers into melodramatic contrivances, leaving it short on sincerity or generational insight. The cast includes Minnie Driver, Morena Baccarin, and Patrick Wilson. (Rated R, 117 minutes).

Old Guy

A committed performance by Christoph Waltz in the charismatic title role can’t rescue this action-thriller from director Simon West (Con Air) that recombines genre cliches and stereotypes without much humor or excitement. Waltz plays an aging hitman whose bosses are phasing him out in favor of a younger generation. In fact, his next assignment is training a smug young protégé (Cooper Hoffman), which leads to the expected friction. However, their mission also reunites him with an alluring ex-partner (Lucy Liu) as they get in over their heads. Despite a somewhat promising setup regarding ageism among assassins, the pedestrian screenplay doesn’t offer much incentive to care. (Rated R, 93 minutes).

The Quiet Ones

Eschewing some of the formulaic trappings of traditional heist thrillers, this true-life Danish crime drama from director Frederik Louis Hviid (Enforcement) sneaks up on you by building intensity through solid craftsmanship and meticulous detail. Set in 2008, it centers on Kasper (Gustav Giese), a fledgling boxer who seizes an opportunity to plan and executive a massive bank heist on behalf of foreign perpetrators. Intending to help his family financially, Kasper’s loyalties are torn when the scheme doesn’t unfold as planned. Based on one of the most notorious robberies in Danish history, the film lacks character depth but spotlights some compelling twists and underlying moral complexities. (Not rated, 110 minutes).