Capsule reviews for April 4

Eric Larue

A deeply felt performance by Judy Greer (Jurassic World) galvanizes this deliberately paced and downbeat drama of parental guilt and grief, which confronts difficult ethical and spiritual questions without supplying easy answers. Greer plays Janice, a suburban mother whose teenage son recently killed three of his classmates in a school shooting. Janice and her husband (Alexander Skarsgard) retreat to opposing religious congregations as a coping mechanism, tearing their relationship apart while searching for explanations. Although the material never is fully freed from its stagebound roots, the directorial debut of actor Michael Shannon is quietly powerful in the way it balances sensitivity and compassion with outrage. (Rated R, 119 minutes).

Gazer

Noteworthy for its cool stylistic influences more than its meandering storyline, this gritty throwback thriller showcases future filmmaking potential yet also stands on its own. Frankie (Ariella Mastroianni) is a New Jersey store clerk who listens to cassette tapes to cope with a rare condition that causes her to misjudge time. Desperate for money, she’s hired by a mysterious woman (Renee Gagner) to get revenge on her abusive boyfriend (Jack Alberts), which turns into a nightmare. Frankie’s affliction is a device in the muddled, noir-infused screenplay by Mastroianni and rookie director Ryan Sloan. But unlike the plot twists, the sensory ambitions resonate in every evocative frame. (Rated R, 114 minutes).

Hell of a Summer

Without much effort to subvert genre tropes or provide a satirical edge, this low-budget slasher thriller from rookie directors Finn Wolfhard and Billy Bryk is more familiar than frightening. The youthful filmmakers also are part of the capable ensemble cast, playing counselors at a summer youth camp who arrive early for a week of partying and hookups before the work begins. However, the campfire stories and drinking games are interrupted by a killer on the loose, and one of their own is the primary suspect. There’s a playful vibe that produces some solid laughs, but the gore is minimal and the nostalgia is muted. (Rated R, 88 minutes).

The Luckiest Man in America

Retelling the 1984 “Press Your Luck” scandal, this true-life drama is unfocused and emotionally distant as a character study, and shallow as an expose of game-show ethics. Unfolding almost in real time, it tracks Michael Larson (Paul Walter Hauser), an unemployed Ohio man who is hiding devious secrets when he lands a spot on the show, then proceeds to rack up unprecedented winnings in suspicious fashion. His story quickly captivates viewers as anxious producers watch in horror. Hauser (Richard Jewell) brings hard-earned sympathy to a fascinating tale, although the surreal embellishments accumulate into a whammy. The cast includes David Strathairn, Walton Goggins, and Shamier Anderson. (Not rated, 91 minutes).

A Nice Indian Boy

Filtering shopworn narrative tropes through a lens of rich cultural specificity, this crowd-pleasing romantic comedy from director Roshan Sethi (7 Days) elevates its formula with winning characters and relentless positivity. Hailing from a strict Indian family, Naveen (Karan Soni) has found the man of his dreams in Jay (Jonathan Groff), a photographer who happened to be adopted by Indian parents as a child. However, selling a traditional gay wedding to his family yields mixed reactions, while Naveen’s neuroses threaten to ruin everything. Although not as subversive as intended, the film generates some solid laughs — primarily via Soni’s sympathetic portrayal — and promotes acceptance without turning heavy-handed. (Not rated, 96 minutes).

Wake Up

Following the title isn’t necessary if you nod off during this thinly sketched thriller from sibling filmmakers Anouk Whissell and Yoann-Karl Whissell (Turbo Kid), which never gains much traction as a gory slasher exercise or a hollow social satire. It chronicles a group of masked Gen Z activists who vandalize a home furniture store overnight to protest a cause — and to gain viral clout, of course. Then a troubled security guard (Turlough Convery) catches them in the act and decides to try out his hunting gear. While some of the ensuing showdowns might satiate bloodthirsty genre aficionados, there’s not much underlying suspense to heighten the stakes. (Not rated, 83 minutes).

We Were Dangerous

Both sensitive and sincere, this slight but impactful Kiwi coming-of-age saga spotlights adolescent sisterhood against a backdrop of societal oppression. It’s set in 1950s New Zealand, mostly centering on Nellie (Erana James), Daisy (Manaia Hall), and Louisa (Nathalie Morris), who are among a group of rebellious teenage girls sent to a remote school for juvenile delinquents run by a strict Matron (Rima Te Wiata) who aims to steer them straight by indoctrinating them with fundamental Christian values. From there, the thematically familiar debut for director Josephine Stewart-Te Whiu finds a balance between bleak and breezy, with a heartfelt message of empowerment amplified by strong performances. (Not rated, 82 minutes).

When Fall Is Coming

Seasoned performers bring emotional depth to this twisty and stylish thriller from French director Francois Ozon (Swimming Pool), which maintains a frustrating ambiguity alongside its beguiling slow-burn tension. It chronicles Michelle (Helene Vincent), a mild-mannered retiree in Burgundy whose daughter (Ludivine Sagnier) cuts off access to Michelle’s beloved grandson for reasons that are initially unclear. So she fills the void by contacting a longtime friend (Josiane Balasko) and forming an unexpected bond with her incarcerated son (Piette Lottin). As secrets are revealed in somewhat manipulative fashion, Ozon’s screenplay unspools a compelling examination of aging, mortality, maternal instincts, and fractured families that tightens its grip. (Not rated, 102 minutes).

William Tell

If all you know is the apple and the overture, you won’t learn much more about the legendary folk hero from this ultraviolent battle epic, which comes off a handsomely mounted and narratively silly variation on Braveheart. Against a backdrop of political turmoil in 14th century Europe, a tyrannical Austrian king (Ben Kingsley) invades neighboring Switzerland. Ill-equipped for a full-scale war, the country rallies around archer warrior William Tell (Claes Bang) to maintain its freedom. Some stirring old-school action sequences can’t plug all the holes in a formulaic script by British director Nick Hamm (Driven) that takes some egregious historical liberties. Plus, the ending is ridiculous. (Not rated, 133 minutes).