Capsule reviews for March 28

Audrey’s Children

Without turning heavy-handed or hagiographic, this biopic of Ronald McDonald House founder Audrey Evans thoughtfully tackles gut-wrenching subject matter through the optimistic lens of its subject. In 1969, Audrey (Natalie Dormer) is a British pediatric oncologist working at a Philadelphia children’s hospital when she and a colleague (Jimmi Simpson) discover a new treatment regimen to curb mortality rates. Eager to fast-track research and testing, her pushy refusal to follow protocols is both a virtue and a vice, earning her a reckless reputation. Dormer’s committed portrayal helps fill in some contextual gaps in the film, which leans into Evans’ idealism yet doesn’t rely on cheap sentiment. (Rated PG, 110 minutes).

The Ballad of Wallis Island

While some of the songs are lovely, it’s the chemistry between its characters that help this quirky British musical comedy find its charming rhythm. It’s set on a remote island where Charles (Tim Key), a widowed lottery winner, has recruited acerbic folk musician Herb (Tom Basden) to perform. However, Herb is unaware that Charles will be the only concert attendee, and has secretly arranged a reunion with Herb’s estranged ex-bandmate (Carey Mulligan), who’s likewise oblivious to the plan. Almost overdosing on bittersweet nostalgia, the screenplay by Basden and Key remains grounded enough to convey genuine poignancy in its more introspective moments without turning sappy or heavy-handed. (Rated PG-13, 99 minutes).

Grand Tour

Beguiling and confounding in equal doses, the latest from iconoclast Portuguese filmmaker Miguel Gomes (Tabu) is a period drama in which the aesthetic ambitions outweigh the narrative shortcomings. The filmmaker employs anachronisms galore and toggles between genres and visual styles to chronicle two episodes in the turbulent relationship between civil servant Edward (Goncalo Waddington) and his fiancée, Molly (Crista Alfaiate). Edward fleeing their planned wedding in 1917 Burma triggers separate odysseys across Asia that change their respective lives forever. The result will be an acquired taste for those unfamiliar with Gomes’ previous work, but patience in the deliberately paced story is rewarded with sumptuous craftsmanship. (Not rated, 128 minutes).

Holy Cow

Navigating familiar thematic territory with tenderness and authenticity, this sharply observed French coming-of-age drama from rookie director Louise Courvoisier adeptly balances gritty strife with heartfelt charm. While grieving his father’s death, mischievous teenager Totone (Clement Faveau) becomes the caretaker for his young sister. His new job is problematic due to personal conflicts with the boss’s son, so instead he hatches a plan for generating income by stealing milk to make and sell regional cheese. Along the way, he meets a girl (Maiwene Barthelemy) who proves a calming influence. Beneath its rambunctious surface, the film’s quieter, more intimate moments tap into angst-ridden adolescence with honesty and sincerity. (Not rated, 92 minutes).

The Penguin Lessons

Steve Coogan and the titular seabird make a charming on-screen duo, but this breezy period drama from director Peter Cattaneo (The Full Monty) — like its protagonist — never takes flight. In full deadpan mode, Coogan plays a snooty English professor whose arrival at a posh 1970s private school in Argentina coincides with intense sociopolitical unrest and government corruption. After stumbling upon a stray penguin, he unexpectedly finds a new purpose. Filtering its true-life source material through some crowd-pleasing contrivances, the film is amusing and heartwarming as a human redemption story, yet tends to awkwardly downplay the serious nature of its historical backdrop, rendering it a tacked-on footnote. (Rated PG-13, 110 minutes).