Capsule reviews for May 5

Chile 76

Although it falls short of its Hitchcockian ambitions, this taut sociopolitical thriller offers an intriguing look at grassroots activism during — as the title suggests — the early days of the Pinochet dictatorship. That’s when Carmen (Aline Kuppenheim) is drawn out of her comfort zone in upper-middle class Santiago by doing a favor for an aging priest (Hugo Medina). She agrees to shelter a wounded man (Nicolas Sepulveda) and nurse him back to health, unaware that his status within the political opposition makes him a target, and thus Carmen, too. Kuppenheim bolsters Manuela Martelli’s gritty and stylish directorial debut, which effectively balances character-driven drama with twisty suspense. (Not rated, 95 minutes).

Land of Gold

Richly textured characters and a fresh perspective make this modest road-trip melodrama worth the journey. Layering its surface sweetness with a social commentary about the immigrant experience, the story follows Kiran (Nardeep Khurmi), a cash-strapped Sikh truck driver who finds a 10-year-old Latina girl (Caroline Valencia) stowed away in his trailer during his latest cross-country route. After pondering the moral complications, he agrees to shepherd her to a relative’s house without poking the elephant in the room. Their uneasy bond over culture clashes and fractured families might be forced, although the screenplay by Khurmi — who also makes his directorial debut — invites compassion within its familiar framework. (Not rated, 104 minutes).

The Melt Goes on Forever

David Hammons is known for his reclusive nature as much as his artistic brilliance, which makes this documentary tribute seem more like a dutiful career retrospective than a probing portrait about creative inspiration and process. Hammons gained an underground following with his abstract sculptures, performance pieces, and other media — often with an underlying critique of racism or elitism. The enigmatic nature of its subject causes the film to rely mostly on theory and speculation about the intent behind his most noteworthy works. The result feels short on genuine insight, although it should at least give Hammons a brighter spotlight, whether he wants it or not. (Not rated, 101 minutes).

One Ranger

Emphasizing contrived chases and confrontations over character development and emotional complexity, this formulaic cat-and-mouse thriller is primarily content to rehash genre tropes. It follows a by-the-book Texas Ranger (Thomas Jane, with an over-the-top accent) whose crime-solving skills lead to his recruitment by a British intelligence chief (John Malkovich), who teams him with a young MI6 agent (Dominique Tipper) to track an international terrorist (Dean Jagger) posing a threat to both continents. The film delivers in terms of basic action, but despite its globetrotting ambitions, the screenplay by director Jesse V. Johnson (White Elephant) lacks the suspense and intrigue to develop beyond its pedestrian narrative twists. (Rated R, 95 minutes).

What’s Love Got to Do with It

While it playfully tweaks stereotypes with heartfelt charm, this stylish romantic comedy from director Shekhar Kapur (Elizabeth) finds its cultural specificity overwhelmed by predictable genre conventions. Zoe (Lily James) is a British documentary filmmaker chronicling her childhood friend (Shazad Latif) during the buildup to his arranged marriage in accordance with his eccentric family’s Pakistani customs.  However, his unhappiness coincides with Zoe’s bad dating luck, prompting a mutual attraction. There are some scattered big laughs along the way, although the sparks are minimal as film struggles to yield much incentive for emotional investment in whether they wind up together at the end — as if there’s any doubt. (Rated PG-13, 108 minutes).

You Can Live Forever

It feels familiar on the surface, but this richly textured Canadian coming-of-age drama examines the convergence of sexuality and spirituality with tenderness and sincerity. It’s set in the early 1990s, when Jaime (Anwen O’Driscoll) is a withdrawn teenager sent to live with relatives in a Jehovah’s Witness community in Quebec. Already struggling with adjusting to their beliefs, Jaime is drawn to a closeted classmate (June Laporte), which amplifies the friction as their relationship becomes apparent. Rough around the edges, the film is bolstered by sensitive performances, infusing its nostalgic charms with heartfelt authenticity. It retains an even-handed perspective on faith and avoids cheap romantic sentiment. (Not rated, 96 minutes).