Capsule reviews for June 23

The Country Club

Like a millennial Caddyshack without the stars and the laughs, this low-brow farce is considerably below par, and not in the golf-scoring kind of way. It’s meant to poke fun at affluent snobbery through the story of two dimwitted and cash-strapped sisters (played by real-life siblings Fiona and Sophia Robert, who also wrote the screenplay) who infiltrate a posh country club to flirt with rich guys and cheat their way to a tournament prize. Naturally, their scheme for capitalist comeuppance veers into the rough. So does the movie, which swings at broad comedic targets but lands only a fraction of its clumsy sight gags and one-liners. (Not rated, 90 minutes).

The Last Rider

Decades of controversy in professional cycling might have overshadowed the accomplishments of champion American rider Greg LeMond, whose career is the focus of this insightful and inspiring documentary. It specifically focuses on the 1989 Tour de France, which is considered one of the greatest races in the history of the sport, with LeMond’s underdog bid to make history as a focal point. Those who already know the outcome might find the approach of director Alex Holmes (Maiden) to be a bit overdramatic, but the film shines a deserving spotlight on LeMond and his accomplishments. You don’t have to be a fan to join this cinematic peloton. (Rated PG-13, 97 minutes).

Maximum Truth

The contemporary political landscape is loaded with the type of grifters and opportunists skewered in this mockumentary-style satire, which might have been better as an extended sketch than at feature length. Rick (Ike Barinholtz) is a sleazy lawyer and political consultant hired to dig up dirt on a congressional candidate (Max Minghella). So he teams up with an equally unscrupulous activist (Dylan O’Brien) to chase unreliable sources while trying to manipulate online trolls, the press, and the public. The film manages some scattered big laughs, although the gags gradually become more labored and obvious without digging deeper into the true-life ideological division that inspires them. (Rated R, 86 minutes).

Nimona

Visually striking and thematically ambitious, this lively animated fantasy combines familiar genre elements with a feisty protagonist to create a stirring good-versus-evil adventure. It’s set in the future, when a knight (voiced by Riz Ahmed) is framed for a queen’s murder and flees into seclusion. His only hope of redemption becomes a reluctant partnership with Nimona (Chloe Grace Moretz), a sassy teenager with a secretive past who also morphs into a shapeshifting creature. As it funnels toward an inevitable high-stakes final showdown, its message of open-minded inclusion become muddled in the mayhem. Yet overall, this adaptation of the acclaimed graphic novel is thoughtful and thrilling. (Rated PG, 98 minutes).

Revoir Paris

The arduous cycle of trauma and healing is examined with clear-eyed sincerity in this poignant drama from French director Alice Winocour (Proxima), even if its optimism in the face of tragedy feels somewhat forced. It follows a translator (Virginie Efira) who survives a terrorist attack on a Parisian bistro that caused mass casualties. However, she doesn’t retain any memories of the incident, which prompts her to retrace her steps, meet with victims’ families, and seek catharsis for her lingering emotional wounds. Efira (Benedetta) bolsters a film that’s both geographically specific — showcasing the beauty of its titular setting even in the darkest of times — and thematically universal. (Not rated, 104 minutes).

World’s Best

Despite some heartfelt charms, this coming-of-age crowd-pleaser combining math and hip-hop through a unique cultural lens doesn’t add up. That’s despite a winning performance from young Manny Magnus as Prem, a suburban preteen math prodigy whose mother (Punam Patel) wants him to fulfill his destiny as a math prodigy. However, Prem carries a secret passion for becoming a hip-hop emcee that connects him to his late father (Utkarsh Ambudkar). As it drifts between reality and fantasy — as depicted in several performance sequences — the film is upbeat yet predictable. Beneath the playful surface, it’s less successful in exploring grief, heritage, and legacy while finding your voice. (Rated PG, 101 minutes).