Capsule reviews for Aug. 29

American Sweatshop

As it wades into the cesspool of contemporary social media and fetishistic content creation, this mildly provocative thriller unfortunately softens its cynical edges while exploring the ugly moral ambiguities of online voyeurism and capitalism. Daisy (Lili Reinhart) works a thankless job as a third-party moderator of videos flagged for graphic or offensive subject matter. After one especially disturbing clip depicting sexual violence, she becomes obsessed on seeking out its origins and exposing the truth. Reinhart (“Riverdale”) provides a sympathetic emotional anchor, although despite a thoughtful premise. the film struggles to translate its tension from the screen to the real world — which might indirectly be the point. (Not rated, 100 minutes).

Griffin In Summer

As a heartfelt tribute to surviving adolescent awkwardness, this coming-of-age comedy overcomes its predictability and tonal inconsistency with sincerity and charm. Griffin (Everett Blunck) is a precocious 14-year-old nerd with aspirations to become a Broadway playwright. As he prepares his annual basement summer production with his friends in typically pushy fashion, he becomes distracted by an enigmatic handyman (Owen Teague) who also happens to have an art background. In many ways, the protagonist is more obnoxious than endearing, but the screenplay by rookie director Nicholas Colia remains emotionally grounded, providing some big laughs while charting a gentle path for Griffin toward self-esteem and identity. (Not rated, 93 minutes).

A Little Prayer

Despite some mild contrivances, an underlying authenticity and humanity drives this quietly perceptive domestic melodrama about fragile family dynamics. Bill (David Strathairn) is a respected small-town business owner who confronts a moral dilemma when he suspects his adult son (Will Pullen) is cheating on the daughter-in-law (Jane Levy) who Bill adores. Then his trainwreck of a daughter (Anna Camp) visits and brings more chaos. As secrets threaten to tear the family apart, richly textured portrayals bring hard-earned sympathy to flawed and relatable characters, while the screenplay by director Angus MacLachlan (Goodbye to All That) offers a heartfelt and poignant probe of parental responsibility and regret. (Rated R, 89 minutes).

Love, Brooklyn

Both halves of the title are significant in this character-driven relationship drama propelled by sharp performances and smart dialogue. It centers on Roger (Andre Holland), a fledgling writer and cycling enthusiast whose commitment issues have led to volatility with both his ex-wife (Nicole Beharie) and his current girlfriend (DeWanda Wise). All of the uncertainty seems to have clouded his creativity and sophisticated artistic sensibilities. Despite some uneven stretches and a familiar narrative setup, rookie director Rachael Holder affectionately showcases Brooklyn’s visual texture against a backdrop of gentrification and stifled cultural identity, while Holland generates hard-earned sympathy for Roger, who can come across as needy and self-absorbed. (Not rated, 97 minutes).

Red Sonja

Unable to translate its cheesy chaos into consistent thrills, this eye-rolling remake of the 1985 comic-book action saga from director M.J. Bassett (Solomon Kane) examines the female warrior through more of a contemporary feminist lens yet rarely slays. Set in a fantasy world, this version has Sonja (Matilda Lutz) taken prisoner by an evil emperor (Robert Sheehan) before eventually escaping and seeking bloody vengeance while facing persecution from an army of rogues and rebels including her captor’s would-be bride (Wallis Day). Lutz (Revenge) has charisma and physical dexterity to spare, but the budgetary constraints, eye-rolling script, and rudimentary effects cheapen the intended sword-and-sandals spectacle. (Rated R, 110 minutes).

Vice Is Broke

As he keeps reminding us, Eddie Huang has an ax to grind, which makes him not the most objective filmmaker in the case of this documentary about the rise and fall of the multimedia brand. Huang, the author and celebrity chef, was a podcaster at Vice during its heyday, after it transitioned from a quirky urban indie magazine to a massive empire of millennial-focused journalism. However, behind the success, a toxic culture and financial hubris led to bankruptcy. It’s a cautionary tale of corporate greed that Huang strives to expose, but whether this passion project will resonate outside of his inner circle is another matter. (Not rated, 102 minutes).