Capsule reviews for June 26

Above the Line

Without much satirical focus or emotional resonance, this takedown of greedy Hollywood power brokers swings and misses at a broad target. It’s a heist comedy involving six fledgling creatives — writers, directors, and actors — summoned anonymously on Christmas Eve by the promise of a major payday if they can collectively rob a sleazy producer (Gregg Henry) of his awards. Along the way, they learn details about their misguided mission, including their specific connection to the vengeful mayhem. Despite some scattered laughs, the film’s batch of ragtag eccentrics is more annoying than endearing, which diminishes our rooting interest in solving the mystery or completing the comeuppance. (Rated R, 91 minutes).

40 Dates and 40 Nights

A spirited cast elevates the contrived premise in this otherwise uninspired romantic comedy that follows a familiar template in the final act. Burned out on dating and needing some quick cash, Leah (Bailee Madison) reluctantly accepts a deal from her nosy grandmother (Annie Potts) that could solve both problems. If she finds true love in 40 dates, she’ll receive a year’s worth of rent money. Aside from some quirky charms, there’s not much attempt to flesh out the characters or relationships beyond their plot functionality. By the end, the mildly amusing script feels like it’s merely checking boxes and counting down the days — and dates. (Not rated, 101 minutes).

The Get Out

Without sufficient laughs to work as a comedy nor enough excitement for a crime thriller, this pulpy saga of dishonor among thieves from director Derrick Borte (The Joneses) winds up more formulaic than fresh. It follows an Albanian nightclub owner (Russell Crowe) trying to retire with his girlfriend (Teresa Palmer) when he’s robbed at gunpoint by an unstable professor (Aaron Paul), leading to chaos involving a cop (Luke Evans), a bank teller (Nina Dobrev), and a drug cartel — all with conflicting priorities. Crowe ratchets up the eccentricities in amusing fashion, although all of the deception and scheming in the screenplay doesn’t accumulate into consistent tension. (Rated R, 102 minutes).

Lucky Strike

Although its intentions are worthwhile in saluting military heroism and sacrifice, this earnest World War II thriller from director Rod Lurie (The Outpost) lacks the visual or dramatic conviction to yield a deeper impact. It follows a wounded American soldier (Scott Eastwood) who becomes trapped behind enemy lines during the Battle of the Bulge. Uncertain who he can trust, he’s forced to rely on his ingenuity and physical resilience to evade Nazi capture and survive the harsh winter conditions. Apparently based on true events, the film bogs down in labored dialogue and suffers from uneven narrative momentum, but Eastwood’s performance — often acting alone — is captivating. (Rated R, 102 minutes).

Romeria

Skillfully blending a coming-of-age drama with a haunting family mystery, this evocative autobiographical saga from Spanish director Carla Simon (Summer 1993) is deliberately paced yet quietly powerful. In 2004, orphaned teenager Marina (Llucia Garcia) travels to the coast of northwestern Spain to secure a signature from a grandparent she’s never met, only to be drawn a world of lost relatives and hidden secrets. Discovering her late mother’s diary prompts an obsessive journey to trace her life and wonder how her own family fell apart. As the lines between fantasy and reality blur without lapsing into nostalgia, Garcia’s magnetic dual performance keeps the bittersweet material emotionally grounded. (Not rated, 114 minutes).

Strung

A campy and catty romp masquerading as a twisty psychosexual thriller, this horror-infused melodrama from director Malcolm Lee (Girls Trip) hits plenty of false notes. It chronicles rising violinist Laila (Chloe Bailey), hired by a wealthy family as a live-in tutor for a young piano prodigy (Romy Woods). Growing suspicious as the girl acts withdrawn, she discovers a connection to the seductive stepfather (Lucien Laviscount) while uncovering secrets about the youngster’s mother (Anna Diop) and grandmother (Lynn Whitfield). Regardless of whether the resulting snickers are intentional, the film seems to aim for a Get Out vibe but without the clever satire, emotional subtext, or escalating suspense. (Rated R, 119 minutes).