Capsule reviews for Aug. 14

The Bay of Silence

A ridiculous climactic confrontation threatens to unravel an otherwise taut Hitchcockian thriller that marks a sharp screenwriting debut for actress Caroline Goodall. When a newlywed photographer (Olga Kurylenko) suffers an accident while pregnant, she begins to experience hallucinations during her recovery. Her husband (Claes Bang) soon learns the cause is more than simple post-partem depression, with traumatic secrets from her past influencing her erratic behavior that threatens their blended family. Bang (The Burnt Orange Heresy) garners sympathy for his character’s resilience and dedication, while the film maintains consistent tension before stumbling down the stretch. Still, the presence of creepy twin children always adds an unsettling chill. (Rated R, 93 minutes).

Emperor

Probably more fiction than fact, this speculative and highly embellished biopic of escaped slave and 19th century freedom fighter Shields Green nevertheless is a timely portrait of courage and resilience. The outspoken Green (Dayo Okeniyi) flees a North Carolina plantation in search freedom for his young son. After a perilous journey north, he meets activist Frederick Douglass (Harry Lennix) and abolitionist John Brown (James Cromwell). Inspired by securing freedom for his young son, Green joins Brown’s daring raid on Harpers Ferry in Virginia. If you can forgive its historical revisionism and heavy-handed tendencies, the directorial debut of longtime producer Mark Amin maintains a powerful grip. (Rated PG-13, 99 minutes).

Endless

Watching Ghost on a continuous loop might be preferable to one viewing of this treacly millennial weepie from director Scott Speer (Midnight Sun) that extends romance into the afterlife. Riley (Alexandra Shipp) is a teenage artist madly in love with her biker boyfriend (Nicholas Hamilton) when he dies in an accident. In her grief, however, Riley thinks she’s found a way to continue their relationship from beyond. The film tries to explore themes such as guilt, regret, and learning to let go with heartfelt sincerity. Yet between the lack of subtlety and eye-rolling logical gaps, its aggressive tugs at the heartstrings will only leave moviegoers dry-eyed. (Rated PG-13, 95 minutes).

Happy Happy Joy Joy: The Ren and Stimpy Story

It’s been almost three decades since the heyday of this groundbreaking cartoon, the volatile behind-the-scenes details of which are the focus of this uneven documentary. It covers plenty of ground, from the edgy show’s popularity and transformation of the television animated landscape in the late 1980s, to the way the obsessively controlling nature of showrunner John Kricfalusi created a toxic working environment (and fueled a personal downfall), to its legacy and influence. There are some intriguing tidbits along the way, although the film struggles to coalesce those varied elements. However, despite the lack of tighter focus or perspective, it’s a worthwhile tribute especially for fans. (Not rated, 107 minutes).

Magic Camp

There’s nothing magical about this strained comedy from director Mark Waters (Mean Girls), which is predictable even for the least discerning viewers in its preteen target demographic. Andy (Adam Devine) is a fledgling illusionist who reluctantly returns to the summer camp that sparked his career interest, as the counselor for a ragtag collection of nerdy youngsters eager to learn the craft. One promising protégé (Nathaniel McIntyre) is a card whiz still grieving his father’s death. The film builds toward a climactic competition with minimal subtlety or surprise. The characters are bland stereotypes, and the broad collection of sight gags and one-liners yields only sporadic laughs. (Rated PG, 98 minutes).

Martin Margiela: In His Own Words

Fashion aficionados should appreciate this documentary about the innovative designs of the enigmatic Belgian impresario, although his notoriously reclusive nature prevents much meaningful insight behind the scenes. The result is a straightforward look at his career, with Margiela narrating glimpses into his early days as an apprentice to Jean-Paul Gaultier, to his rise to fame in European couture circles with the eye-catching audacity of his work, to his sudden retirement from the scene after two decades due to apparent creative burnout. You get the usual interviewees comparing him to Andy Warhol and such, as well as archival runway footage — but it all feels too hagiographic. (Not rated, 93 minutes).

Pearl

While there might be some heartfelt conviction behind this coming-of-age story about redemption and reconciliation, the melodramatic proclivities keep the emotional impact to a minimum. Pearl (Larsen Thompson) is a suburban teenager whose mother is killed in a gruesome murder-suicide with a lover. While picking up the pieces, she’s introduced to a troubled film director (Anthony LaPaglia) who might be the father she’s never met. The latest from veteran television director Bobby Roth, who also wrote the screenplay, feels like it would be a better fit on the small screen. Its labored exploration of grief and fractured families too often seems detached from reality. (Not rated, 92 minutes).

The Silencing

Far-fetched contrivances overshadow much of the suspense in this formulaic thriller that at least features some pleasant forest scenery. Set in the Pacific Northwest, it follows a former hunter (Nikolaj Coster-Waldau) who lives on a remote wildlife refuge where his daughter disappeared years earlier. The case is cold, yet he still holds out hope of finding her, or at least exacting revenge on the kidnappers. But the arrival of a conflicted new sheriff (Annabelle Wallis) complicates things. The film features the usual batch of rural creeps and weirdos who provide the requisite red herrings, although a few clever twists don’t generate much rooting interest. (Rated R, 93 minutes).

Spree

While straining to be hip and edgy, this off-putting nihilist satire is all attitude and no substance as it ridicules social-media addiction. It chronicles a socially awkward rideshare driver (Joe Keery) whose milquetoast efforts to achieve viral fame have gone unfulfilled. So in a killer attempt to desperately boost his followers, he hatches a plan involving a lot of blood, cameras, and unwitting passengers in the back seat of his sedan. With a better roadmap and more confident steering, the idea might have worked. Instead, this shallow and superficial film is as misguided as its protagonist, indulging in the very behavior it attempts to lampoon. (Not rated, 93 minutes).