Capsule reviews for Aug. 15

East of Wall

An evocative portrayal of life on the socioeconomic margins, this heartfelt rural drama explores familiar themes such as grief, trauma, and family legacies from a fresh perspective. It’s set on a South Dakota ranch owned by Tabatha (Tabatha Zimiga, one of many first-time actors playing versions of themselves), a gifted horse trainer also saddled with caring for several rambunctious teenagers. As she struggles to process her husband’s death amid significant financial hardships, an offer from a Texas landowner (Scoot McNairy) has her pondering a different future. Although it becomes more conventional down the stretch, the character-driven screenplay by rookie director Kate Beecroft resonates with hard-earned sympathy. (Rated R, 97 minutes).

The Knife

Bringing a fresh perspective to a familiar scenario, this character-driven thriller digs beneath its procedural surface for a perceptive examination of how truth is shaped by motives, impulses, and subconscious biases. Set in a single location over a single night, it chronicles a father (Nnamdi Asomugha) and an unconscious woman who broke into his home in the middle of the night. When a nosy detective (Melissa Leo) seeks answers about a confrontation between the Black homeowner and the white intruder, the line between victim and perpetrator becomes blurred. While the broader social commentary is muddled, the twisty story effectively builds discomfort and tension amid shifting sympathies. (Rated R, 82 minutes).

Name of the Game

Considering the subject matter, it might seem appropriate that this documentary on the legacy of male exotic dancing in Compton, California, is a little raunchy and rough around the edges. At least it captures the energetic vibe while providing some moderate insight and fresh perspective. The film traces a scene that peaked in the 1990s, when strip clubs were filled with women every night and dancers with names like XTC, Hena C, and Slo Motion pocketed a small fortune in tips. While some of their anecdotes tend to ramble, the documentary takes an even-handed look at their profession and its place in cultural history. (Not rated, 113 minutes).

Under Fire

While employing technical gimmickry to amplify its abundant shootouts, this formulaic action-comedy from prolific director Steven C. Miller (Werewolves) mostly fires blanks. Griff (Dylan Sprouse) and Abbott (Mason Gooding) each become entangled in a Mexican cartel drug deal without knowing the other is actually an undercover federal agent. When they become trapped in a valley with smugglers and snipers on all sides, they must set aside their bickering for a chance at survival. Sprouse and Gooding have an appealing chemistry and charisma, although as it severely strains credibility, the film lacks the narrative backbone to generate consistent tension, provide many laughs, or escalate the stakes. (Not rated, 91 minutes).

Went Up the Hill

Sometimes the most frightening ghost stories arise from the demons in our own heads. Such is the case with this intimately haunting glimpse into residual trauma and unresolved grief. It follows a young man (Dacre Montgomery) who travels to New Zealand for the funeral of her estranged mother and meets her widow (Vicky Krieps). Their relationship takes some unexpected turns, mostly because both are tormented by the deceased woman’s spirit in different ways. Mostly a deliberately paced two-hander, the film rewards patience with an intensely psychological depiction of emotional scars that prevent us from moving on. The inconsistent narrative momentum is offset by fully committed performances. (Not rated, 100 minutes).

Witchboard

Although it retains the campy spirit of its predecessor, this reimagining of the 1986 supernatural thriller doesn’t conjure many nostalgic chills or original frights, even for genre aficionados. This more polished follow-up from director Chuck Russell (The Mask) is set in New Orleans, where Emily (Madison Iseman) is opening an eatery with her fiancé (Aaron Dominguez). But when she discovers an ancient ghost-summoning artifact, Emily becomes consumed with its potential powers and consults with an occult scholar (Jamie Campbell Bower) with ulterior motives. Mixing a throwback visual approach with effects-driven mayhem, the film succeeds more at capturing a vibe than telling a coherent story. (Rated R, 112 minutes).